DOCSLIB.ORG

Glossary of Musical Terms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Glossary of Musical Terms Page 1 Glossary of Music al Terms AB form a musical form with a main theme and a alto lowest female voice; same as contralto; contrasting theme (binary). second highest part in choral or part music. ABA form three part form: a musical form with analogous concept a concept used in the same a main theme, a contrasting theme and a return to way across the arats, such as repetition or the main theme (A-B-A). contrast. AABA form a musical form with repeated main andante literally, “at a walking pace;” theme, a contrasting theme, and a final return to a moderately slow tempo, between allegretto and main theme. adagio. AABB form form where two different melodies anthem a short choral setting of a religious text, are each repeated. either with or without solo parts; also a short, solemn, secular voiced piece, as in national anthem. a cappella choral music without instrumental accompaniment; it is Italian for “in chapel style” (in antiphonal singing that alternates between the style of a small place of worship). g r o u p s , o r in d iv id u a l s a n d g r o u p s . accelerando a gradual quickening of the tempo; arco playing a stringed instrument with a bow, as accel. opposed to pizzicato (plucking the strings). accidental a sharp (#), flat (b) or natural ( ) aria an accompanied song sung by a solo voice. that appears in the musical score but is not part of the key signature; arpeggio literally, “harp-like;” the notes of a chord sounded in succession rather than accent greater emphasis on note or chord; often simultaneously. indicated by ^ or > placed above the note or chord. arrangement the adaptation of a composition for accompaniment a subordinate musical part that a medium different from that for which it was supports the main theme or melody. originally written. ad lib, ad libitum indicates that the performer articulation the way in which musical tones are may vary the tempo of a composition in a musical attacked. It is related to the clarity in vocal or way. instrumental performance. Legato and staccato are types of articulation. adagio a slow moderately tempo, between andante and largo. art song a song written for beauty, to express great musical emotion. aesthetic a philosophy dealing with the nature of beauty, art and taste and with the creation and a tempo return to the previous tempo after appreciation of beauty. slowing down or speeding up. agogo an African percussion instrument consisting atonal music music not in any key, or without of conical metal bells, each having a different tonality. pitch. atonality the lack of a tonal center. allegretto moderately fast tempo, between allegro and andante. augmentation presentation of a melody in longer notes. allegro fast, lively temp aural relating to the sense of hearing. Excerpt from MusicaLive! 2005, NAD Atlantic Union Conference of Seventh-day Adventists Page 2 autoharp a stringed instrument on which simple brace a bracket connecting two or more staffs in chords are produced by strumming the strings; bars, a musical score. upon being depressed, damp all strings except those selected for the chord. brass instruments a group of wind instruments made of brass and other metals and played by balalaika a triangular-shaped Russian stringed blowing through a cup-shaped or funnel-shaped instrument. mouthpiece; the chief brass instruments of the orchestra are the trumpet, trombone, French horn, ballad a song that tells a story in which all and tuba. verses are sung to the same melody; also a narrative poem breath control method used in breathing to help produce good vocal and instrumental tone. band an ensemble consisting mainly of woodwind, brass, and percussion instruments. bridge part of a stringed instrument that supports the strings and transmits vibrations to the banjo a stringed instrument with a body shaped body of the instrument. like a shallow drum;, a long neck with frets, and five or six strings, played by plucking or strumming. broken 7th chord a chord where the tones are played individually with an interval of a seventh bar line a vertical line drawn on the staff to occurring between the first and last note. divide music into measures. cadence a succession of chords, usually two, at Baroque music European music from the period the end of a section or a composition, giving a between 166 and 1750. feeling of rest or finality. bass the lowest male voice. canon a strict form of imitation in which a melody, stated in one part, is imitated for its entire length in one or more other parts. beat the basic unit of time and the underlying pulse in music; the basic unit within a measure. cantata a musical composition consisting of vocal solos, recitatives, duets, and choruses with behavioral objective statement that contains instrumental accompaniment. specific skills or behaviors that learners are expected to acquire. carol a traditional seasonal song of a joyful character; particularly for Christmas. bi-tonal the simultaneous use of two different keys in different parts of the musical fabric. cello short for violoncello; an instrument of the violin family which plays tones mainly in the bass binary form music composed of two contrasting range; lowest member of the string quartet. sections, A and B. chamber music instrumental ensemble music blend a harmonizing of voices having similar intended for performance in a private room or small qualities. auditorium and usually having one performer for each part. blues music which gives a sad feeling. changing meter frequent changes of meter in a body percussion sounds made by clapping hands musical composition. slapping thigh and chest, and stamping the ground. chant a single, unaccompanied melody. bongo drums a pair of small connected drums with different pitches; held between the knees and choir a group of singers, especially in a church. struck with the hands. choirmaster the person who directs the choir. bowing the technique of using the bow on stringed instruments. choral music music written for a chorus or choir. Excerpt from MusicaLive! 2005, NAD Atlantic Union Conference of Seventh-day Adventists Page 3 chorale early Protestant hymn tune. composer a person who writes music. chord three or more tones sounded con moto with movement; with animation. simultaneously. concert performance of music open to the public. chord root the fundamental tone on which a chord is built. concerto a composition, usually in three movements, for solo instrument and orchestra. chorus a large group of singers; a choral segment of an oratorio, the refrain of a song. concerto grosso musical form, similar to the concerto, but using a small group of instruments chromatic scale a scale entirely composed of against the full orchestra. half steps. conductor the director of a band, choral group, chromaticism notes that move to the closest or orchestra who, by means of hand and body note above or below, often requiring sharp, flat, or motions, coordinates the ensembles’s performance. natural signs. conjunct a term used to describe melodies that church sonata chamber music written for move by stepwise intervals. performance in church conservatory a school specializing in one of the classical a European musical period characterized fine arts. by emotional restraint and in which formal structure and design play a predominant part; the consonant harmoniously sounding pitches. term usually refers to the period of Haydn and Mozart (1750-1825) contour the shape of a melody. classical symphony an elaborate form of the contralto the lowest female voice; same as alto sonata for orchestra. cooperative learning working together in a clarinet a woodwind instrument consisting of an group to achieve learning. end-blown cylindrical pipe made of wood, ebonite, or metal, a mouthpiece with a single reed, finger countermelody a melody that is added above or holes, and keys. below the main melody. clavichord an early keyboard instrument having counterpart music in which two or more melodic strings that were struck rather than plucked. lines are sounded simultaneously; the technique of writing such music. clavier a generic word for all keyboard instruments. crescendo gradually getting louder, abbreviated cresc.; clef a sign placed at the beginning of a staff designating the pitches of the lines and spaces. cumulative song a song with many verses and each successive verse containing a new word or coda a composed ending of a musical composition. phrase. cognitive the process of mental learning. cut time the half note gets one beat; dividing the meter by 2. 4/4 = 2/2 codetta a little coda, or ending. cymbals a percussion instrument consisting of a col legno tap strings with wood of the bow. pair of large round metal discs which are either clashed together or struck with a drum stick. common time 4/4 meter. (the symbol may be C) composition a written piece of music Excerpt from MusicaLive! 2005, NAD Atlantic Union Conference of Seventh-day Adventists Page 4 da capo abbreviated D.C.; indicating that the downbeat the first beat of the measure. music is to be repeated from the beginning. Da capo al fine indicates that the music is to be dulcimer a name given to several types of repeated from the beginning to the word fine. American traditional stringed instruments, including the plucked dulcimer and the hammered dulcimer. dal segno abbreviated D.S.; indication for repetition not from the beginning, but from a place duet a composition for two performers; a marked by the sign.?? combination of two performers. decorum propriety and good taste in conduct and duple meter meter based on two beats or appearance. multiples of two. decrescendo gradually getting softer; duration length of time a vibration or sound abbreviated decresc.; also indicated by the symbol.
Load more

Recommended publications
  • Kisd Band Ms 3 Curriculum Year at a Glance
    KISD BAND MS 3 CURRICULUM YEAR AT A GLANCE TEXT: Essential Elements for Band THE LEARNER WILL: 1st 9-Weeks 2nd 9-Weeks 3rd 9-Weeks 4th 9-Weeks Identify, define, write, and analyze whole, half, quarter, paired and single Identify, define, write, and analyze all previously learned elements adding eighth, sixteenth, dotted half, and dotted quarter notes with corresponding 9/8, 12/8, and 5/4 time signatures and the keys of G and Db. (1B, 1D, 1C, rests in simple time and dotted quarters and triplets in compound time; 2B, 3F) multi-measure rests; repeat, first and second endings, da capo al fine, dal segno al fine, da capo al coda, dal segno al coda; dynamics (pp-ff); staccato, Identify, define, write and analyze all previously learned elements in addition to the following: largo-presto, sforzando, fortepiano, chord structures legato, accent, marcato; crescendo, decrescendo; 2/4, 3/4 ,4/4, 2/2, 6/8; keys and tuning in a major key. (1B, 1D, 1C, 2B, 3F) of Bb, Eb, F; instrument names; musical forms; fermata; andante, moderato, ritardando, accelerando, largo, adagio, allegro. (1B, 1D, 1C, 2B, 3F) Perform a 2 octave chromatic scale with correct pitch, fingerings, and Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, accurate intonation. (1B) fingerings, and accurate intonation (quarter = 80bpm utilizing an eighth fingerings and accurate intonation (quarter = 100bpm utilizing an eighth fingerings, and accurate intonation (quarter = 100bpm utilizing a triplet note pattern).
    [Show full text]
  • New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
    1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................
    [Show full text]
  • Dictionary of Braille Music Signs by Bettye Krolick
    JBN 0-8444-0 9 C D E F G Digitized by the Internet Archive in 2012 with funding from National Federation of the Blind (NFB) http://archive.org/details/dictionaryofbraiOObett LIBRARY IOWA DEPARTMENT FOR THE BLIND 524 Fourth Street Des Moines, Iowa 50309-2364 Dictionary of Braille Music Signs by Bettye Krolick National Library Service for the Blind and Physically Handicapped Library of Congress Washington, D.C. 20542 1979 MT. PLEASANT HIGH SCHOOL LIBRARY Library of Congress Cataloging in Publication Data Krolick, Bettye. Dictionary of braille music signs. At head of title: National Library Service for the Blind and Physically Handicapped, Library of Congress. Bibliography: p. 182-188 Includes index. 1. Braille music-notation. I. National Library Service for the Blind and Physically Handicapped. II. Title. MT38.K76 78L.24 78-21301 ISBN 0-8444-0277-X . TABLE OF CONTENTS FOREWORD vii PREFACE ix HISTORY OF THE BRAILLE MUSIC CODE ... xi HOW TO LOCATE A DEFINITION xviii DICTIONARY OF SIGNS (A sign that contains two or more cells is listed under its first character.) . 1 •* 1 •• 16 • • •• 3 •• 17 •> 6 •• 17 •• •• 7 •• 17 •• 7 •• 17 •• •• 7 •• 17 •• •• 8 •• 18 •• •• 8 •• 18 •• •• 9 •• 19 •• •• 9 •• 19 • • •• 10 •• 20 • • •• 12 •• 20 •• 14 •• 20 •• •• 14 •• 22 • • •• •• 15 • • 27 •• •• •« •• 15 • • 29 •• • • •« 16 30 •• •• 16 • • 30 30 i: 46 ?: 31 11 47 r. 31 ;: 48 •: 31 i? 58 ?: 31 i; 78 ::' 34 :: 79 a 34 ;: si 35 ;? 86 37 ;: 90 39 ':• 96 40 ;: 102 43 i: 105 45 ;: 113 46 FORMATS FOR BRAILLE MUSIC 122 Format Identification Chart 125 Music in Parallels
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Musical Rudiments
    Toronto Conservatory Text Book Series No. 1 MUSICAL RUDIMENTS By LEO SMITH MUS. BAC. MANCHESTER, ENG. HON FELLOW OF THE ROYAL MANCHESTER COLLEGE OF MUSIC 75 ce n t s Boston, M ass. THE BOSTON MUSIC COMPANY NEW YORK: G. SCHIRMER CONTENTS Chapter Page I. Preliminaries; So u n d s; N o ta tio n i II. Sc a l e s ....................................................... 10 III. In t e r v a l s ............. ............ 27 IV. T ime an d R h y t h m ............................. 36 V. C om pressed an d O pen S c o r e ; - the C -C l e f ; T ransposition .. 51 VI. Orn am en ts; A g r e m e n s; G r a c e s .. 60 VII. T r ia d s; the C ommon C hord an d its In v e r s io n s; th e D o m in an t- S even th .............................................. 70 VIII. M a r k s of E x p r e s s io n ; I ta lia n V o c a b u l a r y ; A bbreviations ; D e f in it io n s ........................................ 81 Questions and E x er cises (C hapters I - V I I I ) ........................................ 99 Copyright, 1920, by The Boston Music Co. B. M. Co. 6418 MUSICAL RUDIMENTS CHAPTER I PRELIMINARIES; SOUNDS; NOTATION 1. Music, according to a French philosophi­ cal school, is “ The art of thinking in sounds.” The formulating of such sounds into artistic design so as to establish a counterpart with utterance and thought1 and reflection of life, con­ stitutes the story of music and is of fascinating interest to those who would pursue it.
    [Show full text]
  • Complete Method
    C O M P L E T E M E T H O D F OR THE O F M USIC , AND A OR G A NEW. I INAL. AND PROGRESSIVE KOBE OF ACQUIRING IN TERSPEBSED WITH A PLEA SIN G VA RIETY OF PO PULA R SONG S AND NATIONAL MELODIES. O T T O F E D E R . BO STO N PUBLISHED BY I ER m a A SHIN G TO N ST. 0L V sox co . W _ _ , N E W H WT O N Y O RK : 8 T G O RDO N . LA EL H A LA . P I D P I BECK C lN ClN N A Tl : TRUA X A: BA LDWI N P R E F A C E . a ua nted w th th e nstru ti n b s b th wh o want to a the u tar n o a m an ment a T n o s s who are cq i i i c o ook i pl y G i o ly f r cco p i , h ve o r an a o lo een dul c n s r the G uitar wi s ar e lo ok f dered. But fo r t em s e rto publis hed fo , ll c c ly p gy b y o i h , thi volume would have In ven een en ar whe a n ew bo o k th s nd is a d e re them. e d b a e ti n o f G atrc ht e es as it i s the n of i ki l i b fo b l g y coll c o a e pi c , tu s as s ert n do n t resume to int mate that c o n rs t two arts are ndis ens a e to the student who w u d la rin g thi io , I o p i I fi p i p bl o l p y the uitar as de d o f mer t a m an ments that desm e h sider h e e s t n meth ds fo r .
    [Show full text]
  • November 2.0 EN.Pages
    Over 1000 Symbols More Beautiful than Ever SMuFL Compliant Advanced Support in Finale, Sibelius & LilyPond DocumentationAn Introduction © Robert Piéchaud 2015 v. 2.0.1 published by www.klemm-music.de — November 2.0 Documentation — Summary Foreword .........................................................................................................................3 November 2.0 Character Map .........................................................................................4 Clefs ............................................................................................................................5 Noteheads & Individual Notes ...................................................................................13 Noteflags ...................................................................................................................42 Rests ..........................................................................................................................47 Accidentals (Standard) ...............................................................................................51 Microtonal & Non-Standard Accidentals ....................................................................56 Articulations ..............................................................................................................72 Instrument Techniques ...............................................................................................83 Fermatas & Breath Marks .........................................................................................121
    [Show full text]
  • Higher Home Learning Tasks
    „Higher‟ Homework Workbook “Understanding Music” Listening & Literacy Replacement Copy Cost: 50p 1 “H” Homework Workbook 2016 1 HOMEWORK DUE DATES Title Date due Assignment 121 WRITING MUSIC I Assignment 122 WHAT‟S THE GENRE? I Assignment 123 TIME SIGNATURES I Assignment 124 NAME THAT STYLE I Assignment 125 LITERACY QUIZ I Assignment 126 CONCEPT MATCHING I Assignment 127 NOTE NAMING I Assignment 128 STRUCTURES & FORMS I Assignment 129 WRITING MUSIC II Assignment 130 DYNAMICS I Assignment 131 INTERVALS I Assignment 132 CONCEPT DETECTIVE WORK I Assignment 133 KEY SIGNATURES, SCALES & CHORDS I Assignment 134 WHATS THE GENRE? II Assignment 135 LITERACY QUIZ II Assignment 136 NAME THAT STYLE II Assignment 137 NOTE NAMING II Assignment 138 DEFINE THAT CONCEPT I Assignment 139 WRITING MUSIC III Assignment 140 INTERVALS II Assignment 141 KEY SIGNATURES, SCALES & CHORDS II Assignment 142 WHAT IS MINIMALISM? Assignment 143 REPETITION & SEQUENCE I 2 “H” Homework Workbook 2016 2 Title Date due Assignment 144 WHATS THE GENRE? III Assignment 145 LITERACY QUIZ III Assignment 146 CONCEPT MATCHING II Assignment 147 NOTE NAMING III Assignment 148 INSTRUMENTS OF THE ORCHESTRA I Assignment 149 WRITING MUSIC IV Assignment 150 KEY SIGNATURES, SCALES & CHORDS III Assignment 151 INTERVALS III Assignment 152 CONCEPT DETECTIVE WORK II Assignment 153 TIME SIGNATURES II Assignment 154 STRUCTURES & FORMS II Assignment 155 LITERACY QUIZ IV Assignment 156 WHATS THE GENRE? IV Assignment 157 NOTE NAMING IV Assignment 158 DEFINE THAT CONCEPT II Assignment 159 WRITING MUSIC V Assignment 160 LITERACY QUIZ V 3 “H” Homework Workbook 2016 3 ASSIGNMENT #121 Writing Music I When writing music it needs to be done as neatly as possible; the information in a piece of music is read, and has to be understood at very high speeds so neatness is VERY important.
    [Show full text]
  • Strecket Att Komponera För Jazzmusiker
    Kurs: DA1005 Självständigt arbete, 30 hp 2015 Konstnärlig masterexamen i musik, 120 hp Institutionen för komposition, dirigering och musikteori Handledare: Anna Einarsson Mika Pohjola Strecket Att komponera för jazzmusiker Skriftlig reflektion inom självständigt, konstnärligt arbete Det självständiga, konstnärliga arbetet finns dokumenterat på härintill bifogade partitur och inspelning på internet: • Wedding March • Anonymous Creed • Three Limited Pieces Innehållsförteckning Strecket................................................................................................................................3 Ett Barndomsminne: Claude Debussys pianomusik........................................................... 4 Biografi: musikaliska referenser..........................................................................................7 Stilkompatibilitet inom jazzen...........................................................................................11 Jazzmusikers musikaliska karaktär....................................................................................11 Notation............................................................................................................................. 15 Tradition – klang, jamkultur och repetition.......................................................................20 Pulsuppfattning..................................................................................................................22 Att jobba med jazzmusiker................................................................................................26
    [Show full text]
  • Music Dictionary
    Nitschmann Middle School Music Dictionary Principal Words and Symbols used in Modern Music Daniel Zettlemoyer 2010‐2011 # 8va Play the notes indicated up one octave (eight notes higher). 8vb Play the notes indicated one octave lower (eight notes lower). A Accerlerando Gradually increasing in speed, to slowly get faster Accent Emphasis on certain parts of a measure Adagio Slowly, leisurely Ad libitum (ad lib.) Not in strict time A due (a 2) To be played by both instruments Agitato Restless, with agitation Al or Alla In the style of Alla Marcia In the style of a March Allegretto Slower than allegro, moderately fast, faster than andante Allegro Lively, brisk Allegro assai Very rapidly Amoroso Affectionately Andante In moderate slow time Andantino Strictly slower than andante Anima, con Animato With animation A piacere At pleasure; EQuivalent to ad libitum Appassionato Impassioned Arpeggio A broken chord Assai Very, A tempo In the original tempo Attacca Attack or begin what follows without pausing B Barcarolle A Venetian boatman’s song Bis Twice, repeat the passage Bravura Brilliant; bold, spirited Brio, con With much spirit C Cadenza An elaborate, florid passage introduced as an embellishment Cantabile In a singing style Canzonetta A short song or air Capriccio a At pleasure, ad libitum Cavatina An air, shorter and simpler than the aria, and in one division without Da Capo Chord The harmony of three or more tones of different pitch produced simultaneously Coda A supplement at the end of a composition Col or con With Col legno Playing with the wood (bow‐stick) part of the bow.
    [Show full text]
  • Repeated Musical Patterns
    SECONDARY/KEY STAGE 3 MUSIC – HOOKS AND RIFFS 5 M I N UTES READING Repeated Musical Patterns 5 MINUTES READING #1 Repetition is important in music where sounds or sequences are often “Essentially my repeated. While repetition plays a role in all music, it is especially prominent contribution was to in specific styles. introduce repetition into Western music “Repetition is part and parcel of symmetry. You may find a short melody or a as the main short rhythm that you like and you repeat it through the course of a melody or ingredient without song. This sort of repetition helps to unify your melody and serves as an any melody over it, identifying factor for listeners. However, too much of a good thing can get without anything just patterns, annoying. If you repeat a melody or rhythm too often, it will start to bore the musical patterns.” listener”. (Miller, 2005) - Terry Riley “Music is based on repetition...Music works because we remember the sounds we have just heard and relate them to ones that are just now being played. Repetition, when done skillfully by a master composer, is emotionally satisfying to our brains, and makes the listening experience as pleasurable as it is”. (Levitin, 2007) During the Eighteenth Century, musical concerts were high-profile events and because someone who liked a piece of music could not listen to it again, musicians and composers had to think of a way to make the music ‘sink in’. Therefore, they would repeat parts of their songs or music at times, making Questions to think about: their music repetitive, without becoming dull.
    [Show full text]
  • Musical Symbols Range: 1D100–1D1FF
    Musical Symbols Range: 1D100–1D1FF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation.
    [Show full text]