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Excerpt from A Dictionary of Musical Terms: Containing Upwards of 9, 000 English, French, German, Italian, Latin and Greek Words and Phrases Used in the Art and Science of Music, Carefully Defined, and With the Accent of the Foreign Words Marked; Preceded by Rules for the Pronunciation of Italian IT is the aim of this Dictionary of Musical Terms to furnish an accurate and concise explanation of any technical word or phrase which the student is apt to meet with. The English vocabulary will be found practically exhaustive. Want of space forbade making the foreign vocabulary equally so; but the editor has endeavored to preserve a proper balance by giving any term, appearing in either German, French, or Italian, in each of those languages, thus maintaining a con sistent polyglot character so far as necessary limitations permitted. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
It is the aim of this "Dictionary of Musical Terms" to furnish an accurate and concise explanation of any technical word or phrase which the student is apt to meet with. The English vocabulary will be found practically exhaustive. Want of space forbade making the foreign vocabulary equally so; but the editor has endeavored to preserve a proper balance by giving any term, appearing in either German, French, or Italian, in each of those languages, thus maintaining a consistent polyglot character so far as necessary limitations permitted. The scope of the work, which is rather a dictionary than a lexicon, rendered the editor's task more that of a compiler than of an original investigator. Most of the material here presented has been gleaned from numerous standard works of reference, such as those of Grove (Dictionary), Riemann (Musik-Lexikon), Gevaert (Instrumentation), Weitzmann (History of Pianoforte-Playing), Stainer and Barrett, Ambros (Geschichte der Musik), Paul (Handlexikon), Soullier (Dictionnaire), Helmholtz (Tonempfindungen), Niecks, The Century Dictionary, many English, German, French, and Italian periodicals and musical journals, etc., etc. Literal quotations are duly credited to their sources; condensations and adaptations, however, are, for obvious reasons, not so credited, and must, therefore, be included under this general acknowledgment. The information so gathered has been carefully sifted, and supplemented by the personal researches of over ten years.
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