119, no. One of used in the types numerous dance Byrd, Morley, and Gibbons, who others. harvard Still Quantz and Ph. (i) In singing, the proper adjustment of the vocal apparatus. 4). B: Vibrations of Different Frequencies: I, of 12 cycles; II, of 14 cycles; III, resulting vibration showing 2( = i4-i2) maximum vibrations per second two or more air vibra- (beats). 1895), and William Grant Still (b. [emailprotected] Gracefully. For a bibliography of recent psychological studies, cf. The air is pressed, through a tube with mouthpiece, into the mouth of the player whenever his breath does not suffice, e.g., for long-held tones or long melodies in full legato. See *Mechanical ments instru- III. The same ambiguity with the French term a deux. An instrument comprising a long narrow box, with six or more gut Aeolian harp strings stretched inside over two bridges. subject - Antecedent and consequent. In Europe, too, a number of composers have tried their hand at trators of musical cosmopolitanism characteristic ing field, even though they have come to turn away from it because of its rather from the popular verve and sparkle which set them apart from the common run of such pieces, while the quasi- Viennese melodies of the Victor Herbert (1859-1924) operettas which urban Carpenter, Cop- land, Louis Gruenberg (b. Nevertheless, the adoption of popular elements which are in some ways a folkspirit which characterizes Americans everywhere, rather than a single race or group, is a highly significant step in the evolution of a American distinctively ANDANTE methods is the one-sided application of only one point of view, for instance, that of form (D. F. Tovey, Beethoven's rent Pianoforte Sonatas) or of phrasing (H. Riemann, Analyse von Beethoven's Klaviersonaten). . Appoggiando emphasized, also [It.]. on January 23, 2017, There are no reviews yet. denotes the third item of the Proper of the *Mass. Affaiblissant minuendo. Another characteristic feature of the Restoration anthem, adopted in numerous later works, is a concluding hallelujah chorus in fugal style. 1881) who has written ballad-songs several New which have ranked with Broadway hits in popularity, and has also been active in the larger forms: several operas (in- cluding Shane wis), and a considerable list of orchestral works; the late Rubin Goldmark (1872-1936), a teacher of composers as well as a composer himself; and Walter Damrosch (b. This method was known as chomonie. The 17th-century other special form of slide, peculiar to keyboard music, is that in which the first note is held throughout. A. W. Thayer, The Life of Bee- tempo mark, Musifalischer Parnassus (c. S. Bach, French Suite no. designation for these tones is paror harmonics. This meaning of the term probably originated in the fact that the second chorus originally consisted of women or boys who repeated the melody at the higher octave. The method em- ployed in the Anglican Church for the singing of the psalms, canticles, and other unmetrical texts. Small steel bars, struck with a hard wooden or metal beater, which have [see // lies *Psalmody]. is "Grande Senate pour Piano" (1806). Jazz writers have abundantly availed themselves of prolongation of the On * sonatas, marks. artificial the vowels of "alleluia Affabile [It.]. Other composers of this period are William Croft (16781727), John Weldon and Maurice (1676-1736), Greene (1695-1755). and style chiefly guardian friend who warns him of some approaching danger [cf. An English choral composition written to English words from the Scriptures or to another sacred text and performed in the worship of the Anglican tempne]. There are also who have been many Negro composers eloquent interpreters of the older ones are Among their race. [471 ARGENTINA ARCO Lit. is sung On greater feasts the antiphon entire both before and after the psalm; at other times the first word or two only (*Incipit) are sung before, and the whole after. Aerophones. It should be noted, 8 = 4 %. 1875) must be mentioned. tetrachord, Besides this division of the many others were in use, e.g., one named after the Bagdad lutenist Zalzal (8th century) which used the tones 0-168-355-408-498 A special cents. 1910). [see manuscript as early as century [cf. The Belknap Press of Harvard University P, Sindromul Prader-Will Stefan Anda si Radu Cristina Seria I, Gr. See *Dance music III. Ce reprezinta SPW? A name given to American male singing organizations, generally amateur, corresponding to the French Apollo Club. Typical is an meter with the rhythm of the measure ilar to that % of "European" cent investigations have raised this field of study from the former stage of experimentation to an important branch of frequently provide a rhythmical counterpoint [see Ex. 1888); Arthur Shepherd (b. up ment should always begin on in Ex. 8 (Beethoven, Bagatellen op. : A. J. Goodrich, Complete Musical Analysis (1887); K. Westphal, in [see DM xxiv, 5. From an earlier century the songs of Stephen Foster typified several features humor, its of American life sentiment, and the flavor of at was least a of these the body and the later recent the more still and impro"jazz" vised "swing" music. ready been admitted by some of the late 18th-century authorities (who referred to as a durchgehender Vorschlag, distinct from both the langer and the \urtzer Vor- Menuetto; b: Mozart, Piano Sonata K.V. Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. for fingering. See *Lute Angklung. 3]. A], showing two original vibrations (I, II) of the same 14] ACTION ADDITIONAL ACCOMPANIMENT is portant of different frequencies, e.g., of 2 and 3 cycles per second, or of 12 and 14 cycles per second [Ex. ALLEMANDE ALIQUOT STRINGS Aliquot Brings, aliquot scaling. (1) Short texts from the Scriptures or elsewhere, set to music in a simple, syllabic before and after a psalm or style, and sung canticle.

However, discover. 5). See also under tics * Architectural sical acoustics; *Electronic instruments. Contemporary with the Boston group, set apart from them because of his striking individuality, was Edward MacDowell (1861-1908), who, with the possible exception of Gottschalk, was the first American composer to achieve a foreign reputation. 10 (Chopin, Rondo op. . Second Edition, Revised and Enlarged Animated. Halle 1924); H. Goldschmidt, Die Musityiestheti^ des 18. See *Editions, Historical, I. Archlute, arciliuto [It.]. Lit. A lute with two pegboxes, one for the fingered strings, the other for the bass courses (theorboe, chitarrone). An indicawhich gives the performer the liberty: (i) to vary from strict tempo (contion trast a *battuta)\ the part of (2) to include or omit some voice or instrument (contrast *obbligato); (3) to include a *cadenza according to his own inven- due Direction in orchestral that two instruments notated on one staff (e.g., Flute i and 2) parts are to [It.]. SchGMB Affettuoso y no. [It.]. Kretzschmar's method has been elaborated by Schering A recent [see under *Hermeneutics] American publication, E. Sorantin, The . Nuestras mquinas expendedoras inteligentes completamente personalizadas por dentro y por fuera para su negocio y lnea de productos nicos. Anglican chanting may ANGLICAN CHANT be impressive to a certain degree, but it contains four defects which render it defi- ANONYMOUS New drawn from The Plainchant (2) Hyinnal appear below. It has been [45] ARABIAN MUSIC ARABIAN MUSIC claimed that, as early as the loth century (Al-Farabi), the Arabs considered the third a consonance while in Western Europe it was not recognized as such until about 1300. (i) * Antiphon. The drums instruments [It.]. See *Negro music. anxiety. Here, as in other examples, the dialogue character of the melody is phasized by its distribution between instruments [see emtwo *Durchbrochcnc Ar- in the anthems of Monteverdi's pupil Walter Porter (c. 1595-1659; cf. Agilmente; conagilita [It.]. 1897); the Hollandborn Bernard Wagenaar (b. See *polychoral style. : W. Davies, \The Church Anthem derness." Grand opera by Giuseppe Verdi (1813-1901), libretto by A. Ghislanzoni; commissioned by the Khedive of Egypt for the new Opera House at Cairo and produced there in 1871, The plot has an ancient Egyptian background and centers around the love of the Egyptian warrior Radames (Tenor) for the captive Ethi- opian princess Aida (Soprano), and the item (except for the *Itc missa est) of the Ordinary of the Agnus tury, which were finally adopted into all European music and were generally indi- Mass com- of Amneris (Mezzo-soprano), daughter of the king of Egypt Amonasro (Bass). no. Ais, aisis [G.]. The Church Angosciamente Service Boo^ ; con angore [It.]. theory, the oc- See *Antiphon, history. (3) While the chants mentioned above are the only ones called antiphons in the liturgical 40] books of the present day, the ANTIPHONAL SINGING name is APPOGGIATURA also applied in historical studies to certain chants of the Mass itself, namely, the *Introit (introit antiphon, antiphona ad introitum), the *Offertory (antiphona ad offerendum), and the *Communion *Notre Dame (c. See 1200). A number of composers have adopted contemporary methods in part, but have not departed far enough from accepted idioms to encounter resistance from the public. tempo. . burn, Addolcendo Addolorato deux [It.]. Al fine [It.]. 1899). The study of the acoustic properties of a room (par- Hindu alternating between the archetto Archives des Maitres de POrgue. . Em. The present repertory of Gregorian chant includes more than 1000 such antiphons.

Architectural acoustics. This scale Arabian music. Ancora piu *Neumes See Andamento means, in *Sequence. F. Runge, fD/> Sangesweisen der Colmarer Liederhandschrtft, p. 173]. Finally, the i3th of harmonic is 13 = 3 %, whereas the intonation fact, (*%X% nearer to the 4 F A just intonation Frequency; Harmonics the tone of the fre- quency n actually produces vibrations (pure sounds) of the frequencies n, 2/1, (up to 200 and more). and AMW v; H. G. ZMW in O. Urspning, in B. Bartok, in ii; J. Roua- RM BSIMvii PMA lii; v, viii; R. P. Thibault, in (1911). is [It.]. Our partners will collect data and use cookies for ad personalization and measurement. 1880). follow- ing quotation from the Talmud, given at the beginning of his book, is an ade- quate expression of the central thought of musical autonomy: "If you want to understand the invisible, look carefully at the visible." 151, 169, 171], This form, in which sections for full chorus alternate with sections for one or more solo voices, was preferred throughout the i yth century, with the full anthem into prominence again in the subsequent period. While this question as such would seem to be rather irrelevant, it becomes important in the there Anacrusis. P. A. Appoggiatura, Double. 1898), an Oklahoman by birth whose works represent an altogether national expression in seeming to derive from the vast spaces of the Southwest; Aaron Cop- land (b. (Blessed Virgin Mary), namely: Alma redemptoris mater\ Ave regina coelorum\ Regina coeli lactarc; * Salve regina [cf AR, 65-69] These . 1880); Otto did not in folk bring a national expreswhen the composers themselves were not of the same race as itself sion, particularly those who produced the folk songs orig- There have, however, been many excellent works based on native material, and a number of composers have been inally. alamire. 5 (by C. P. E. Bach).

A by footbellows or (aeolodicon) . as Analysis. III (a); Lit. See A Action, a sort of artificial (i) written in slow tempo, especially the sec- in (1940), pp. DO Some of these maqam go back to local traditions and may be compared attention has also been given to the question of the influence of Arabian I'hongroise. less cases it heard today chiefly through his piano pieces, own to their It is difficult to classify American com- posers into groups, for many of them have attempted work in a number of fields, and their styles and idioms have changed as they themselves have developed and progressed. The orna- 9] . 6. Recent times have witnessed a growing understanding of the Baroque style and a consequent demand for authentic, unarranged, performances. Service. Antiphon. Apsidenchore [G., from L. apsis, apse] Same as *cori spezzati. Albumblatt [G.], album leaf. He admits the use of designations such as "powerful," "graceful," A ff anno so "tender," "passionate," but only in order to illustrate the musical character of the findsamer passage, not to suggest a definite feeling on the part of composer or listener. America has mentalists. Kurth, H. Hermann, F. Joede, others, advocated the separation of musical work from the emotional world of both the composer and the listener, and the emancipation of the musical thought from "sensuous intoxication and hallucination." Loving. In modern music it is customary to snap the grace note sharply onto the following note, so that it slightly anticipates the beat and imparts a decided accent to the main note. The secondary vibrations, however, have a much smaller am- plitude, approximately between one-fifth and one-fiftieth of that of the fundamental fundamental. . Thus the tetrachord c-f in- cluded five tones which are almost identical with the tones c-d-eb-e-f of the modern (0-204-294-408498, instead of 0-200-300-400-500 cents). The example illustrates the manner in which *beats are pro- duced, in the present case 2 (14-12) per second. 1894), William Grant Still, and Otto Cesana (b. . The rhythm of Arabic melodies is simmusic.

The result of this a small series of (unequal) quarter-tones. Franz. It and other English same notation the used who composers, but called it a slur.

1909), Gardner Read (b. 1862), who is more important as a conductor and musical missionary. ); H. G. Farmer, A History of Arabian Music to the xiiith Century (1929; bibl. Maquinas vending ultimo modelo, con todas las caracteristicas de vanguardia para locaciones de alta demanda y gran sentido de estetica. PAVALCO TRADING nace con la misin de proporcionar soluciones prcticas y automticas para la venta de alimentos, bebidas, insumos y otros productos en punto de venta, utilizando sistemas y equipos de ltima tecnologa poniendo a su alcance una lnea muy amplia deMquinas Expendedoras (Vending Machines),Sistemas y Accesorios para Dispensar Cerveza de Barril (Draft Beer)as comoMaquinas para Bebidas Calientes (OCS/Horeca), enlazando todos nuestros productos con sistemas de pago electrnicos y software de auditora electrnica en punto de venta que permiten poder tener en la palma de su mano el control total de su negocio. Among them are Carpenter, D. G. Mason, and Converse (already men- Luening (b. Secondly it has been eword*. a node develops at the closed end, a loop at the open end. The justification for this Antwort in the fact that these terminology chants originally sprang from the same method of antiphonal psalmody which also survives, in a different form, in the antiphons embracing a psalm or a canticle Anvil. Other composers however (perhaps the majority) use molto andante to mean a tempo still slower than andante. SaRM, 16. See*A [F.]. While in the Elizabethan anthem the vocal part (or parts) of the verse-sections are contrapuntally conceived of a contrapuntal fabric the (i.e., as parts other voices of which are played on the coming new declamatory arioso-style of Italian origin [see *Monody] was introduced for the verse-sections around 1630, organ), a Violin no. With the exception of (a) and (b), which are exclusively French, these interpretations were note; (d) if the main note is followed by a rest, the appoggiatura takes the whole taken over by musicians of all nationalities. Stumpf s procedure has been the point [171 AESTHETICS OF MUSIC AESTHETICS OF MUSIC of departure for many investigations along similar lines, especially in America, e.g., C. E. Seashore, The Psychology of Music (1938); M. Schoen, The Effects of Music (1927), and others [see *Tests] For a criticism of these methods, cf. Gerold, L'Art du chant en France au He siecle (1921); L. de la Laurencie, ^Chansons au luth et airs de cour au le siecle (1931); A. Arnheim, in (c. XV piano player, consisting of broken chords [see also *Murky bass] . i (Bach, French Suite in Eb, Sarabande). Upbeat. Extremely Bibliog- (i) Any kind of mechanism used in instruments as a means of trans- fingers phonies, etc. See *Societies, American organ. 1 The name Antiphonarium Mediceum is erroneously ap- MS Eighteenth-century Ger- Applicatur. See [G.]. F. A. Gevaert, La Melopee antique dans le chant de I'eglise latine (1895) ] Aside from the . 1896) and Walter Piston (b. These are some- what more elaborate musically [cf., e.g., textually as well as AR, 54iff]. 3 these four rules are trated by quotations 42] illus- from the works of APPOGGIATURA Mozart and Beethoven (a: Mozart, Piano Sonata K.V. Anglican chant. Analysis is of little ods, frequently encountered in modern [36] ANDANTINO ANGLICAN CHANT is, of course, quicker, not slower, than that of the preceding andante espres- section sivo. Iff 332; c: Mozart, Piano Sonata K.V. An MoML y . ZMW Affetti [It.]. no. Bach, marks an im- be taken in farther its in this direction Affektenlehre [G.; doctrine of affecThe aesthetic theory of the *emptions] . The more elaborate examples of Ara- bian music (chiefly instrumental) consist of a prelude in free rhapsodic style which serves to establish the maqam in the mind m Voice UtUl Drum.- j J J J J> ^^ bawm A - . But, perhaps, it is precisely this mystery of her origin which accounts for the charm of her beauty." ), for instruments, etc.). The 'ud as well as the tanbur were tuned in fourths (e.g., a-d'-g'-c") and were profrets which gave a number of middle tones between the open string and its upper fourth's. (communion antiphon, antiphona ad communioncm). Anwachsend [G.]. It is occasionally used as an abbreviation in manuscripts of Gregorian chant. 1911), Diamond Bernard Herrmann (b. 2, with warmth. I. Aesthetics is generally defined as the philosophy or study of the beautiful. Andauernd [G.]. Berlin 1936); Lit. Cf. Die H. Kretzschmar, Agende (1894); R. musifylische v. Liliencron, Musifolisch-liturgische Geschichte des evangelischen Gottesdienstes 1525-7700 (1892). is See *Pythagorean scale. : H. Bagenal, Planning for Good Acoustics (1931); A. H. Davis, The Acoustics of Buildings (1927); P. R. Heyl, Architectural Acoustics (1930); V. O. Knudsen, Architectural Acoustics ( 1932) ; P. E. Sabine, Acoustics and Architecture, (1932); F. R. Watson, Acoustics of Build- ings (1930); H. H. Statham, in vii. CO >; Sec "Euouae. The Restoration anthem is represented by Henry Aldrich (1647-1710), iiiy Pelham Humphrey (1647-74), Michael Wise (1648-87), John Blow (1649-1708; cf.



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