Partition Complete Book, Musiklexikon, Riemann, Hugo

Hugo Riemann

Description

Pratiquez la partition de Musiklexikon Complete Book, Dictionaries, fruit du travail de Riemann, Hugo. Partition de style de musique romantique.
La partition propose plusieurs mouvements et est répertoriée dans les genres

• Dictionaries
• écrits
• langue allemande

Visionnez de la même façon tout un choix de musique sur YouScribe, dans la catégorie Partitions de musique romantique.
Edition: London: Augener & Co, n. d. [1896].
Traducteur: John South Shedlock (1843-1919), English text

Sujets

• Romantique
• Riemann

Informations

• Publié par: RIEMANN0
• Nombre de lectures: 39
• Licence : Libre de droits
• Langue: Deutsch
• Poids de l'ouvrage: 36 Mo

Extrait

OF MUSIC.DICTIONARYAUGENER'S EDITION, No. 9S00.
DICTIONARY of MUSIC
BY
DR. HUGO RIEMANN.
THE AUTHOR.NEW EDITION, WITH MANY ADDITIONS BY
TRANSLATION BY
B.A.S. SHEDLOCK,
J.
i^-^G/%er€^*,.€^r'^1-<y-^-«-'^"^
London:AUGENER & CO.,
^-5-.REGENT STREET, W.199.
School DfepARXMBNT—City Bsahch— Library &
Regent Street, W.Newgate Street, E.C. 8i,22,;
Dictionary of Music.
8VA iMssa_ bassaj_8^* 15"*the name of the first note of the musical and orevenby and 15"*A,
D E F The Italians. yet the ordinaryalphabet (A B C G). limits of notation are those of
Spanish, call the same la, or (especially our present concert-grand pianofortes,French, with a
theoretical works) with the complete compass from Double Contra A to five-timesin old
solmisation name A lamire, or evenA mila. (See accented c. Compare the following synopsis, in
SoLMiSATioN and Mutation.) which at the same time the usual letter notation
octaves are distin^The A's of the various of the notes is given. (TheFrenchcall the great
from one another when written as octave the ist, the small the znd, etc. ; and theguished
means ofadditions—^first by the differ- Contra octave the minus ist [— and theletters by '],
ence between capital and small letters, then by Double Contra octave the minus and ; so they
small letters,strokes over or to the right of the call our a', la', and so on.)
the capital letters The once-accented is situated inand under or to the left of c (c') the one
of the stroke—as now usual—the the middle of the keyboard—our orchestrasor instead
8va.
Small Octave.
Double.ct_
Great Octave. ttraraOctavtOctave;' 1 Contra Octave.^^
jg-A ^^ = "B AG F E D d ',B ,A .G 7f |E .D |d /b ^A'> :^ ^^ ^
gi^ c f e' g'd e g a b c' d' f a' b' C'
O(B Small Octave, Once-accented Octave.
SYNOPSIS OP NOTES CLEFS.AND
generally tune from the once-accented a (a^)>corresponding figure ; so that c, or c", or c^,
bears the same meaning. The total compass of indicated above in all clefs by a o-note, which
The normal pitch ofserviceable musical sounds extendsfrom Double is given out by the oboe.
formerly was very uncertain,Contra to six-times accented i.e. through the same, whichC c,
the French Acadimie in 1858 atnine octavesif but the very lowest and very was fixed by
single, or double, vibrations per secondhighest tones of this giant scale occur only in 870 435
"the are not down, but (called Paris (Samber-pitch, also low pitch,"organ. They written
considerably higherappear reinforcements sound the to distinguish it from theonly as of (in
use [different in different32-feet stops on the one hand, and in the one an general
and cities]) ; the Paris pitch (Diapasonsmallest mutation stops. Quint or and Tierce countries| |,
normal) is gradually being everywhere intro-on the other hand. [See Foot-tone.]) The;
heldAt the International Conferencenotation can indeed show these sounds (by duced.— —" : — ;
Abbreviations
in Vienna, Nov. to establish unity (Ital.), in the ballad style.i6-ig, 1885, A ballata
of pitch, it was resolved to recommend this an abbreviation of dbbassamento (dimano),Abb.,
Governmentspitch tobe officiallyadoptedbythe indicatingwhichhand is togounderin acrossing
all represented. In Germanyof the countries hands organ music. (C/. Alz.)of in pianoforteor
and France the tuning-forks from which
pianoAbbandonatamente, or con abbandono (Ital.),
Englandfortes are tuned give a^ (or a'), while in with self-abandonment, unrestrainedly.
titles old vocal part-they give c".—On the of
Abbandono (Ital.), with self-abandonment.
books, means Alius (alto part). In recentA — Abbassamento (Ital.), the act of lowering, or—scores and parts, letters (A Z, Aa Zd) are
the state of being lowered. Abbassamento direhearsal, a con-written as signs; so that, at
mano, lowering of the hand in beating timeductor may easily point back to any particular
abbassamento di voce, lowering of the voice.bar. In recent theoretical works (those of
Abbatini, Antonio Maria, composerGottfriedWeber, M. Hauptmann, E. F. Richter, of the
and others), letters are used with chord-mean- Roman school, b. or 1605, Tiferuo, or.1595
ing : A then indicates theA-major chord ; a, the (according to Baini) Castello, d. 1677, Castello.
He becameA-minor chord, etc. In old antiphonaries, etc, (1626) maestro at the Lateran, from
of Gregorian song, especiallythosewithNeumse, which post he passed to similar ones at other
an a written at the commencement indicates churches in Rome (del Gesu, S. Lorenzo in
that the song is in the first ecclesiastical tone. Damaso, Sa. Maria Maggiore, and N. D. di
In Italian marks of expression and indications Loreto). A. wrote a large number of church
" "of time, a must be translated by with," in," compositions, of which some were for a great
"to," "at," "for," "by"; for ex., a due, for number of voices ; four books of psalms, three
two (two-part). {SuT>VE,.) books of masses, Antiphons for 24 voices
(1630and five books of Motets38, 1677), (1635)A;| (Ger. Ais), an a raised a. half-tone
were pubUshed; he produced an opera at
Rome in 1654, entitled Dei Male in Bene, and
and then in connection with
another at Vienna, 1666,' entitled lone. He also
"assisted Ath. Kircher with his Musurgia."
thorough-bass figuring ^really f) it stands for Abbellimento (Ital.). Same asnrnament (q.v.).
Abbellitura (Ital.), embellishment, ornament.
the triad of a with raised third, i.e. the A-major
Abbey, John, celebrated Paris organ-builder,chord, and finally the A-major key. On the
b. Dec. 22, Whilton (Northampton),1785, d.other hand, (ij] or aj? denotes thsA-minorchorA,
Feb. ig, 1859, Versailles. A. built, amongtheor A-minorkey. But thismode of indication
others, the organ for the National Exhibition ofis not general, and, on account of its ambiguity,
1827, also the orgue unfortunatelyexpressif de-little worthy of recommendation. {Cf. A, and
stroyed at the Tuileries in 1830 (both designedKLANGSCHI-ijSSEI,.)
by S. Erard)
; and in 1831 the one for the Paris
(i)Aaron, Abbot of the monasteries of St. Opera House, which was burnt in 1873.
Martin and St. Pantaleon at Cologne, d. Dec.
14, Abbreviations are used in great number in
1052 ; author of the treatise (in the library of St! notation itself, as well as in the marks ex-of"Martini) De Utilitate Cantus vocalis et de pression and indications of time. The mostModo Cantandi atque Psallendi," also (accord- usual A. in notation are : (i) The employmenting to Trithemius) of another, "De Regulis of repetition signs {see Reprise) instead ofTonorum et Symphoniarum." {z) Pietro, also writing out twice a number of bars or a wholewritten Aron, adistinguished theorist, b. about
section also, instead
; of this, especially in theFlorence,1490, d.between and1545 1562 ; acanon repetition of a few bars, the indication lis, orofRimini, afterwards monk of the(1536) order of due volte (twice) is employed. repetitions(2) InCross-bearers, —first at Bergamo, then at Padua,
finally at Venice of
; published "I Tre a short figure,libri dell' the sign ,** or wj", also JS.
Istituzione armonica" (1516, also in Latin by
G. A. Flaminio) "
; II Toscanello in Musica
{1523, 1525, 1529, 1539, and 1562); "Trattato
oella Natura et Cognitione di tutti gh
Tu"oni di Canto figurato (1525); "Lucidario in In repetitions of the same(3) sound in notes of
Musica di alcune Opinione autiche e moderne" short value, the employment of notes of larger
<I545); and "Compendiolo di molti dubbi value with indicationof the species of note into
Segreti et Sentenze intorno al Canto termo whiche they are to be resolved : ^
"figurato (without year of publication).
Abaco, Evarista F. dall', a very
remarkable composer from about 1700-20, Electoral
FlayedBavarian Capellmeister he
; published sonatas
for I and for violins2 with continuo, and
conJ J ijt^itzJ icertos for stringed instruments. ^^mAbbreviations Abel
tf ^ ^
/l— ;
AbtAbel
besidesAlmoUim (1890),Astorga, Ekkehard, DieKarl Fried-concertos.—sixviolin (4)published
etc., have won forquartets, songs,overtures,Cothen,former, b. 1725,brother of therich,
name.him a goodlast performer onLondon, theTan. 22,d. 1787,
esteemed in 1837, Marjolitzhighly 13,a composer Edmund, b. Jan.the gamba, and Abesser,
Bach's, at St. Vienna, a prolificpupil of S. 1889,He was a (Saxony), d. July 15,his time. J.
From to 1758 liebliche Fee.Leipzig. 1748 opera DieThomas's School, salon composer,
bandDresden courtof thehe was member [See Strophe.)(Ger., "aftersong").Abgesang
and livedconcert tours,went onafter that he beginning. [Seefrom theinitio (Lat.),exception of two Abwith theLondon 1759-1787,in
he Da capo.)Germany. In 1765spent inyears (1783-5)
com-Queen (also Avos, Avossa),chamber-musician to Girolamoappointed AboB,wa^
at the be-sonatas, concertos the Neapolitan school, bornnumerous poser ofCharlotte. His
at Malta, d. aboutovertures, and of the i6th centurystrings, quartets, ginning
. for pf. and
Leo and Durante. Hemention. Liidwig, b. Naples pupil ofdeserve (5) 1786,