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^Musical Terms 5000 ^MUSICAL TERMS: COMPLETE WCTIOINARy . OBKEK, HEBREW, ITALIAN, FBENCH. GKBMAJt SPANISH, ENGLISH, tfOS, PHRASBS, ABBREVIATIONS, AND SIGNS * TO rotr> I* TUB vnsc* <tr BKKTHOVBN, BBBTINI, BCBftMl'LLBB, CARULLI, CTUMBB. DONIZVm. BATDN, HANDEL, HERZ, HTJjrTBM, tABmKT KBTBUBBBK, XBNDBL8ROHN, MOZABT, BHTCK, IPOHfc, THALBBBO, WAKUBN, WBBR&, AND OTHBB EMINENT MD8IOAI. CUMPOUB1U. t:ZLEBKATEI> DICTIONABLCB UV I*fc CUKOT, OKA8SINBAD, AND UAJULTOB KOBD, RBTIiBD, AMD OOmXOTBV BY JOHN & ADAMS. A1>OU> A TJWAT11K UN ri.*ri!H* m IT rmomca vxv. ML BOSTON: oE OLIVER DITSON & CO., 277 WASHINGTON 8T NEW YORK: C. H. DITSON & CO. 85 A New in Piano-forte Epoch Playii METHOD FOR THE PIANO-FOR' BY WILLIAM MASON & E, S, HOADLY, The most Interesting and Practical Musical Work ever iss; MR. MASON has long been esteemed the leading pianist in this this offers attractions to tenchers and try, arid in new work pupils have never before been published. It contains charming Gems of ation, both simple and classical, from many of the finest works of nent composers. Published with American and Foreigrn Fingering, ia separate editic PRICE, $4.00. " It great features are the manner In "This is the best Method for the tlie difficulties are antici- forte which learner's yet published ; the clearness of t pated, and the clearness of the direction* that rangements, the simplicity of the direc enable him to surmount them." London the admirable selections, and the thor Musical World. ness of progression, together with the 1 ful and "Thi 'Method,' for comprehensiveness, typography general neat app of the whole recommend it for perfection of detail, and clearness of treat- work, j use our teachers." . ment, exceeds thing of the kind within among Amtr. any Journal. our knowledge. It is really a grand work." Sunday Times. MASON & HOADLY'S fot The Latest Instruction Book for the Piano-Forte. UNEXCELLED IN ITS PROGRESSIVE LESSONS, EXERCISES, AND RECKEATIO FOR YOUNG PUPILS AND BEGINNERS. JUST WHAT TEACHERS NEED, TO INTEREST AND ENCOURAGE THEIR PUPILS IN THEIR EARLY LESSORS, PRICE IX BOARDS, $3.0O c' e vo 'd of and in of them I A 1 1 1 n 1 1 A 1 1 A melody, speaking inUlllU M W " llnlUMAn, calling one piece more classical" than 1 music, other than that written for dances 3. Rolling Stock. m so-called "classical" programmes, pieces ," and even the "Bohemian Girl!" We ,-ritten to the Montreal Star for a definition C oon of MONDA^ TWENl' that the compositions of Mozart, Handel, iY instant, for the immedi assical. Of course, the Star is not a - ig Stock : Rolling s to know everything, but we think it would : ars, all than to have spoken authoritatively on a Baggage Cars, niliar. Our object in mentioning the matter, v, but to show that even in and rs . enlightened of the term is not understood, in fact hcations b ining may sen, and ot c v- c r> > a r\- ,.- r -M ehnitlon from Grove's of Music on application at the office of > "Dictionary icific Railway, Ottawa, and-Tiusicians, but to amateurs : Intercolonial Monct Railway, s much the same signification as it has in to be delivered tne ' r P^ ace m general estimation for a con- un- on the Peml cific Railway, on or before erally considered to be of the same type and l a ed to works in the forms which were 5y order ^ Ppl' lied F. BRAUN ^ tne ' ast century, as instrumental works in .in rece ' ve d traditions and in this sense the Secretar^ ; ipl< 'n the , . between the musicians who .cd | controversy C ^ hose, like Schumann, who wished music to be ith ~~ e free e's inspiration of the composer, and less eeis is; Pacific Railway music is not and would be out of .Kill classical, o's't 1 on fter cond ioo miles section Was wnat principle they make these distinc- e I be received under distinctive titles, but, as in literature, del by the undersij IDE AY, the 29th of March nexi tnese distinctive titles, and. perhaps without imb mOre com are R ssini to Beethoven, or Balfe tend from the end of the P 1.00 Thomas Moore and or Op estern boundary in Manitolf Shakespeare, plain ue c side of usi the valley of Bird follows : ffen uch the thov Spohr Schubert, Mendelssohri. Jluis printed which , fonn, ' a ?!V int. G Un d ' may be had at the Pacific tig V"', *%?h alIaCC ^ C ' ' Balfe > erdl '' ^ ra < s, in Ottawa and Winnipeg' f March next. classical music, in fact they knew no other y Order ^ s were developed, and many of the modern F. times. Much of Mendelssohn's music should, BRAUN, " Secretar' ; and although Verdi's "II Trovatore and ) Canals, i > i i , . >. c ,8S iida may be considered "romantic if not i least consistent, his operas are all of the " "at her lips" an<l tin- Power of love" could even ^' er is our "DAPTPTP D A TT W di> beyond comprehension. and his instrumentation is much nearer .tat-rAlurib HAlLi^^eras, " 'lece u ' ai an d sometimes j- humourous composi- Rollins'' Stock'' PP ost )r. Sullivan, who has written "The Prodigal ilC ll , ,1" and many ballads of the popular order, and llt.S nvited for furnishinei CT>- i u i -\/i c t -^ 1 r '" ial b L ' r Man f the 110 1< quired to b delivered or >' J >'- >' compositions lew *-ay within the next four yn, and others of the present day, may be con- unit: ry m each year of aboui Isclu bt>le of the earlier masters; at the same time Juad hich would be out of place r.t a "classical" ' :oncerts under the above title these few .'loth rs given (a proportion befng slcei- i c ,. i Cars, do r*ica ' opera is fast dying out, Beethoven and erdi even aggage Cars, ; Weber's grand operas have given Ckrs 8 ' s f confess that not are Wagner. We must we do resources at command and the stage itself has Ottawa, February 6th, 1880. M 5000 fSICAL TERMS: A COMPLETE DICTIONARY or UlTIN. GREEK, HEBREW, ITALIAN, FRENCH. SPANISH, ENGLISH, WORDS, PHRASES, ABBREVIATIONS, AM) SIGNS 4.UBEV, BEETHOVEN, KRI'.TINl, BVROMUI.LER, CAliVI.Ll, CUAMER, OXBK DONUETTI, HAYDN, IIANDKL, HEKZ, HVNTEN, LABITZKt, 1.UT&, MKYEHB2KH, MENDELSSOHN, MOZABT, UlNC'K. BPOH&, TUALBEUO, WAUKEN, WEBER, AMD OTHKft EMINENT MUSICAL COMi'OSEltS. Wftk * MULJt WCUI'UINU TUK i;ZI,KUKATKD DICTION AKIEK OI y.i U CZtKNV. UHASolNt-AU. A.NU AJULAKOBD, UKVI4ED, AND CO.RBCTS BY JOHN S: ADAMS. TRKAT1BE UN BI riau&EB. rru BOSTON: OLIVER DITSON & CO., 277 WASHINGTON ST. NEW YORK: C. II. DITSON & CO. THE TIME TABLE. I* A O is to 2 or 4 or 8 , or 16 1* or 32 , or 64 equal p, f, f * * A is to 2 or 4 or 8 or 16 I* or 39 p equal , I*, I*, u $ $ * A f is equal to 2 I*, or 4 I*, or 8 I*, or 16 I*. 1 u P A P u? equal to 2 (*, or 4 P, or 8 A is to 2 or 4 equal , ML * 10? /1 31 A r is equal to 2 bt*ra4 tccorllng to Act of Congreit, In the jvti 18S1, by OLITIB DITSOX i Office of the District ourt of the District of MassachusetU. DICTIONARY OF MUSICAL TERMS. ABBREVIATIONS, denoting the language in which the terms are written or are derived : from which they F., French ; G., German ; Gk., Gree,k H., Hebrew; /., Italian; L., Latin; 8., Spanish; PL, Plural. A, the alphabetical name given to the sixth note of the scale of in ascending. A, (/.) to, for, by, at, &c. ; as, a tre, for three. AANES, a Greek term, applied to modes and tones. ABACUS, an ancient instrument for dividing the intervals of an octave. A BALLATA, (2.) in the manner of a ballad. A BATTUTA, (7.) by beating, or in strict time, after an ad libitum. ABBANDONASI, -\ (I.) with self-negation and aban- ( ABBANDONATEMENTE, donment. Despondingly ; with- ABBANDONE, con, ? out restraint, making the time ABBANDONO, con, j subordinate to the expression. ABBASSIMENTO DI MANO, (7.) the falling of the hand in beating time. ABBREVIATURE, (7. PI.) contractions or abbreviations in musical notations. 1BBELLIMENTI, (/.) ornaments introduced to set off a plaw melody. A BENE PLACITO, (7.) at the pleasure of the performer. t DICTIONARY OF MUSICAL TEEMS. ABRUR2.UNGEN, (G.) abbreviations. ABSATZ, (G.) a section, or musical sentence. ABSETZEN, > (G.) These words imply a style of performmw ABSTOSSEN, $ similar to staccato. ABWECHSELEND, (G.) alternating, as mit Abwechsekndon Man ucden, alternately from the great choir to the organ, &c. ACADEMIE ROYALE DE MUSIQUE, (F.) tne name given fc the French Opera House. A CAPELLA, (I.) in the church style. A CAPRICCIO, (I.) at will, agreeable to our fancy. ACATHISTUS, a hymn sung in the ancient Greek church is honor of the Virgin. ACADEMIA MUSICALE, (7.) Musical academy. The first one was instituted at Vicenza, A. D. 1500. ACADEMIE ROYALE, (F.) an academy of music, instituted at Paris, A. D. 1669. ACADEMY, (MUSICAL,) musical meetings, held under a direct- ing leader. The first of these in England took place A. D. 1710. ACCADEMIA, (/.) a concert. ACCAREZZEYOLE, in a persuasive and caressing manner. ACCAREi^EVOLMENTE, same as Accarezzevole. ACCELERANDO, (/.) with gradually increasing velocity of move- ment. ACCELERATO, (/.) accelerated, increased in rapidity. ACCENT, a slight stress placed upon a note to mark its place and relative importance in the bar. to accentuate to ACCENTUARE, (/.) ; perform with expressive accentuation. ACCIACCATURA, (7.) a species of arpeggio. ACCIDENTS, occasional sharps, flats, and naturals placed before notes in the course of a piece.
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