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By John Stainer (editor), William Barrett (editor)

This illustrated dictionary, written by way of the prolific Victorian composer Sir John Stainer (1840-1901) - most sensible remembered this day for his oratorio The Crucifixion - and W. A. Barrett, used to be first released via Novello in 1876. It offers definitions for 'the leader musical phrases met with in medical, theoretical, and functional treatises, and within the extra universal annotated programmes and newspaper criticisms', starting from brief reasons of the Italian phrases for tempi, via descriptions of historical tools to expansive articles on such issues as acoustics, copyright, hymn tunes, the larynx and temperament. That it therefore ran to a number of extra variations means that it supplied welcome information for the concert-going public within the 19th century.

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Extra resources for A Dictionary of Musical Terms

Sample text

By unauthorized additions, or foliations, was felt as much one thousand years ago as it is now. For we read that the good lessons in plain-chant given to the French clergy, when Pope Stephen II. was the guest of Pepin, King of France, were soon forgotten; and that in the time of his son, Charlemagne, the church-song had become exceedingly corrupt. Charlemagne, for the purpose of remedying this, obtained the services and help of Theodore and Benoit, who carried with them from Rome a copy of the Antiphoner of Gregory, which the Pope himself (Adrian) had noted.

5. The first published collection of Anthems they are as keys and indices to the tone and in score was that made in 1724 by Dr. W. mode, to which the Canticle or Psalm folCroft, of his own compositions, the only piece lowing ought to be chanted antiphonally. " When the Purcell. The old practice of printing each part Prscentor of ancient times started the Tone separately not only led to the loss of the for the psalms some sort of antiphonal several parts, but also increased the difficulty singing was practised between him and of a correct understanding of the effect, for the Choir, in singing the Antiphons; and the want of a score.

R A _ em -3 often rendered prominent, is now happily Antifona > . ) } t A n almost obsolete. )} , A .. ] not wanting. Socrates, in his ecclesiastical Antiphon. (i) In ancient Greek music history (Book vi. chap, viii), says : " Ignatius, antiphony (ayrupavi), or avrifiayoi) meant third Bishop of Antioch in Syria from the; " sounds in octaves " as being responsive to, Apostle Peter, who had also conversed famior over against each other. The relation liarly with the Apostles themselves, saw a between sounds at the interval of an oc- vision of angels hymning in alternate chants tave was thus implied by avrujxavij, while the Holy Trinity; after which he introduced.

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