Dictionary of Music.Pdf

The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London. Reproduced by kind permission of C.F. Peters Corporation, New York, on behalf of Peters Edition, Ltd. Printed in the United States of America VB Hermitage 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. CONTENTS Author’s Note vii Abbreviations ix Key to Pronunciation xi Dictionary of Music 1 Index of Composers 483 Index of Instruments 491 AUTHOR’S NOTE The entries in this dictionary include the most com- advised to seek them out, are printed in small capi- monly used musical terms. In addition, they include tal letters, as, for example, ADAGIO or AEOLIAN considerable material on music history, with a view HARP. to explaining the background of musical practice. Pronunciations for foreign words are as close an The biographical articles also reflect this historical approximation as possible of how the words are pro- orientation, including relatively little detail about nounced in the respective languages, and a pronun- composers’ lives, which is readily available in books ciation key appears on page viii. devoted entirely to this subject, but rather concen- Titles of compositions are given in the original trating on the composer’s works. language except when that language is judged unfa- Additional historical information is provided in miliar to most readers (for example, Russian and the form of charts that briefly identify the composers Hungarian) or when the English translation of a associated with important styles and periods, rang- famous title has come into very common use (for ing from the Middle Ages to the twentieth century. example, Bach’s The Art of Fugue and his The Well- At the end of the book, an Index of Composers lists Tempered Clavier). Dates usually refer to the date of all of the composers whose names appear in these first performance, unless indicated otherwise. charts, along with those who have separate entries, This considerably expanded fourth edition as well as an Index of Instruments for which there includes new developments in both classical and are entries. A second kind of chart is used to present popular music. It incorporates recent research and notable examples of major musical forms, such as discoveries in early music, as well as revised and oratorio and opera. Further, the articles on musical expanded information about technological advances instruments generally list some of the repertory for in sound reproduction and creation. The most impor- each instrument, in order to assist readers interested tant contemporary composers have been added, and in hearing recordings featuring an instrument and, the repertory for instruments and musical forms as for those considering the study of a particular instru- well as all of the tables have been brought up to date. ment, to indicate something about its repertory. The author is deeply indebted to the many friends The terms in this dictionary, whether they con- and acquaintances who have unstintingly answered sist of one word or of several words, are listed in questions, given advice, lent musical instruments and strict alphabetical order, letter by letter, up to the photographs, and otherwise donated invaluable sup- comma in the case of inversion. In the case of iden- port and assistance. Special thanks are due to David tical terms in different languages and with different Ammer for his patient explanations and knowledge- meanings, they are listed under a series of num- able answers to numerous detailed questions. The dic- bered definitions in one article, along with closely tionary has been vastly improved through their help; related terms. Terms mentioned in one entry but its faults and errors and shortcomings are entirely the further explained in another, where the reader is author’s own responsibility. vii ABBREVIATIONS The following abbreviations and symbols appear in the text and in charts: c. circa comp. composed cont. continued def. definition defs. definitions fl. flourished illus. illustration no. number op. opus pl. plural pub. published rev. revised sing. singular b flat n natural # sharp º double flat Ü double sharp ix KEY TO PRONUNCIATION Primary accents indicated by ′ following the syllable, secondary accents by ′′. Phonetic Pronounced Phonetic Pronounced Symbol As In Symbol As In a ash, fat, carry ou our, lout, town a¯ ale, faith, lay p peel, tapping, lap â(r) hare, pair r rail, marry, hear ä arm, calm s sit, hiss, fasten b bell, ebb shà shall, hash, nation chà child, hatchet, catch t tea, hitting, bat d die, red thà thick, thimble, wrath e get, ferry th⁄ these, rather, lithe e¯ eat, see, hurry u under, above er error û(r) urgent, burst, dirt e¯r ear,leering v veil, raven, dove f fill, cough w will, reward g get, rig y yell, canyon h have, hill z zodiac, easy, fuzz hw while, anywhere zhà Asian, barrage i it, banish ə about, listen, cannon, bonus ı¯ idea, fight, sky ə final, total, riddle, dire, hire j judge, danger, rage k keep, rake, racket Foreign Sounds l lie,calling,fall m man, hymn, hammer A French aller (A la¯′), midway n not, pain, runner between ä and a ngþ running KHà German ich (iKHà ) o on, box N French ton (tôN), sans (säN), un (ŒN), o¯ oats, echo, total fin (faN) ô ought, thaw, fall Œ French peu (pŒ), German König oià oil, toy (kŒ′niKH) oo took, lurid, pull Y French une (Yn), German übel (Y′bəl) oo— ooze, cruel, woo ə French digne (de¯n′yə) xi The FACTS ON FILE Dictionary of Music A a, à For Italian and French musical terms begin- posing instrument, such as the A clarinet (or clarinet ning with a or à, such as a cappella, à deux, or a due, in A), that sounds each note a minor third lower than see under the next word (CAPPELLA; DEUX; DUE). it is written; for example, the fingering for the written note C yields the pitch A. A 1 One of the musical tones (see PITCH NAMES), the sixth note in the scale of C major. The A above a battuta See BATTUTA. middle C is used to tune the instruments of the orchestra because, by international agreement, its Abendmusik (ä′bent moo— zik′′) German: pitch is set at a frequency of 440 cycles per second; “evening music.” 1 In the seventeenth and eigh- this pitch is called CONCERT PITCH. (See SOUND for teenth centuries, concerts held at the Marienkirche an explanation of pitch and frequency.) The scales (St. Mary’s Church) in Lübeck, Germany. The prac- beginning on the tone A are known as A major and A tice began with organ recitals but later was extended minor. A composition based on one of these scales is to performances of oratorios. 2 A general name for said to be in the key of A major or the key of A concerts held in churches. minor, the key signatures (see KEY SIGNATURE) for these keys being three sharps and no sharps, respec- Abgesang (äp′ ge zänk′′) German. See under tively. The note one half tone below A is called A- BAR FORM. flat or G-sharp (see ENHARMONIC for an explanation); the note one half tone above A is called absolute music Also, abstract music. Music that A-sharp or B-flat. For the location of these notes on exists purely for its own sake, in contrast to PRO- the piano, see KEYBOARD. 2 An abbreviation for GRAM MUSIC, which tells a story or represents a per- ALTO in choral music. Thus S A T B in a score stands son or location. A fugue by Bach or a piano sonata for the soprano, alto, tenor, and bass voices. 3 In an by Mozart, in which the only ideas portrayed are analysis of compositions that have more than one musical ones, is considered absolute music. A song, section, the letter A stands for the first section, B for aria, or other work having a text, on the other hand, the second section, etc. One common musical form is not absolute music, since to some extent the music found in the early sonatas of Haydn and Mozart is is fashioned to fit the meaning of the words.

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