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Scraper of the Baule and Agni-Morofwe peoples of Ivory Coast. A serrated stick passes through a hole pierced in a nut; the right hand moves the nut along the stick against which the left hand occasionally presses a small resonator. The instrument, played only by women and young girls, is used for rhythmic accompaniment to singing for amusement....

Symbols appended to musical notation which indicate to the performer the manner in which particular notes and phrases should be played.

Until the late 18th century the only signs commonly used to indicate distinctions of articulation were the slur and the staccato mark (a dot, a vertical stroke, or a wedge) placed above or below the note head. In the 19th century composers became concerned to specify their requirements with ever greater precision, and other forms of articulation mark were introduced, though only a few of these were widely adopted. The principal meaning of the slur has remained relatively constant, though the manner of its employment has varied greatly over the centuries. Except where slurs are written over a succession of notes on the same pitch to indicate portato, they specify that notes of different pitches should be performed without separation, that is, legato. There is, strictly speaking, no greater or lesser degree of connectedness; terms such as ...

The Fingering of keyboard music with figures 1 to 5 for each hand, 1 standing for the thumb, a system in general use throughout the world today. The term was used in Britain in the 19th century in contrast to so-called English fingering (not, however, exclusively English), which provided for four fingers (marked 1 to 4) and a thumb (marked +)....

(Lat.: ‘high [part] against the tenor’)

A line in polyphony lying just above the tenor. In the 15th century, as music came to be written in four rather than only three voices, composers approached the addition of the fourth voice by an extension of earlier compositional procedure. The most common arrangement of three voices had been superius (or cantus), tenor and Contratenor; in the new four-voice texture the composer used two contratenor parts, a contratenor bassus and a contratenor altus. The original method of writing these two voice parts is still evident in Pietro Aaron’s Il Thoscanello de la musica (1523), where ten rules set out ‘the method of composing the controbasso and the controalto, after the tenor and canto’ (bk 2, chap.21). In Italy ‘contratenorbassus’ was abbreviated to ‘bassus’, ‘controbasso’ or ‘basso’; ‘contratenor altus’ became ‘altus’, ‘controalto’, ‘contr’alto’, ‘contralto’ or ‘alto’. In France the term became Haute-contre. English usage was complicated because even in the late 16th century (by which time the word ‘contratenor’ had long been obsolete on the Continent) an alto part might also be called a meane, a contra, a counter or a ...

Rhythms in which long notes alternate with one or more short notes, so called because the long notes are usually written with the aid of the dot of addition (see Note values). Dotted rhythms are found in mensurally notated music of all periods; this article, however, deals mainly with music of the 17th and 18th centuries, in which it was customary to alter certain sorts of written rhythmic values in performance (see also Notes inégales; for notational meanings of the dot before 1600 see Notation, §III). The principal issue is the degree to which such rhythms sounded uneven, rather than the specific manner of their notation (e.g. the dot may be replaced by a rest or tie).

Dozens of contemporary theoretical and pedagogical sources indicate that the dot was ordinarily equal to one half the value of the note or rest preceding it, just as it is today. But the treatises also present various exceptions. The dot could stand for a tie (...

(1) An adjective used, like ‘contra-’, to indicate a lower octave, hence qualifying particular instruments. Thus the double bassoon (or contrabassoon) plays in the octave below the bassoon, the double bass (or contrabass) an octave below the cello, and so on. This usage derives from the old practice of identifying notes below gamma ut (the G on the bottom line of the bass stave) by double letters, FF, EE, and so on. Organ builders still refer to these low pitches as ‘double F’, ‘double E’, etc., and name 16′ manual ranks ‘double open diapason’, etc. ‘Double harp’ (arpa doppia) denotes either a harp with two ranks of strings or a harp with a downward extension of pitch, or both. Keyboard instruments with two manuals are often called ‘double’. But in the 16th and 17th centuries the terms ‘double harpsichord’, ‘double regals’, ‘double virginals’, or even ‘double curtall’ (and also the ...

The intensity of volume with which notes and sounds are expressed. In the 20th century dynamics came to be seen as one of the fundamental parameters of composition which function interdependently to create musical meaning and structure.

Dynamic variation is so natural to the performance of almost all styles of music that its presence can normally be assumed even when indications for it are mainly or even entirely absent from the notation. That dynamic transitions occurred in the music of ancient Greece is suggested by Plutarch’s accounts, and it is likely that the monophonic hymns of the 1st century ce displayed nuances of volume illustrating their meaning or imitating the tone of speech. Medieval musicians had no word for ‘dynamics’ per se, but it is implicit in the concepts of structura and processus. By the early Renaissance period dynamic values were reflected in changes in the number of voices and their registers. In Josquin’s ...

The repetition of sound after a short time interval. In addition to the applications discussed below the term is used for a signal-processing device (also known as a delay) that produces a slightly delayed playback of sounds either by a tape loop or by digital delay; see Electric guitar §2 .

See also Organ stop .

Natural echoes arise from the reflection of a sound wave by a solid surface, such as a wall or cliff. For the echo to be perceived as distinct from the original sound, the extra path length travelled by the reflected sound wave must have a minimum value of around 17 metres, corresponding to a minimum time interval of 50 milliseconds between direct and reflected sounds.

The reverberant sound field in a concert hall is created by multiple reflections of sound waves. In a well-designed hall, the direct sound reaching a member of the audience is followed by a series of reflections within a time interval of around 35 milliseconds. These ‘early delayed arrivals’ are not heard as separate echoes; because of the ‘precedence effect’ they are perceived as a reinforcement of the direct sound. Subsequent reflections blend smoothly into the reverberation. A concave surface, focussing sound waves into a particular part of the hall, can give rise to an audible echo; a ‘flutter echo’ can arise from successive reflections between parallel walls....

The Fingering of keyboard music with figures 1 to 4 representing four fingers, and + the thumb, of each hand, a system used in England and elsewhere in the 19th century and now obsolete. The term contrasted with Continental fingering, which provides the figures 1 to 5 for each hand, 1 standing for the thumb, a system in general use throughout the world today....

A term used to describe melody that is ornamented, either written out by the composer, or improvised by the performer. It can apply to a single melodic line, or to polyphony. In the florid organum of Aquitaine in the early 12th century the upper part of the note-against-note counterpoint is embellished with melismas. The term is also used to describe the musica figurata of early Netherlandish composers such as Ockeghem, in which elaborate polyphony was created by combining a number of equally florid lines. Most often it refers to a profuse style of ornamentation running in rapid figures, passages or divisions, but it can also designate ornamentation in general. For example, P.F. Tosi’s treatise on improvised embellishment, Opinioni de’ cantori antichi e moderni, o sieno osservazioni sopra il canto figurato (1723), translated into English (1742) as Observations on the Florid Song, includes specific ornaments, such as trills and appoggiaturas, alongside various types of passage work....

[KTV]

Electronic music player that accompanies singers with pre-recorded music. The name comes from Japanese, kara (‘empty’) and oke (‘orchestra’). The basic karaoke machine includes some form of music player, a built-in audio mixer, microphone inputs, and audio outputs. The first karaoke systems included a microphone, eight-track tape player, amplifier, loudspeaker, and printed songbooks. Later machines display the lyrics on a video screen, and the more expensive versions can adjust the pitch level to suit the singer without changing tempo (some early systems allowed for changing the pitch but only by changing the tape speed, altering the tempo). Some early 21st-century versions include an Auto-Tune audio processor to correct intonation and software for making music videos. Karaoke systems for public spaces often are integrated into a pedestal that holds the controls, song storage, microphones, and video display, with separate loudspeakers. Portable systems resemble portable CD players, with or without a video screen. Wireless-microphone karaoke systems by companies such as Entertech use television or entertainment consoles for both audio and video. Video-game versions allow singers/players to receive scores or perform ‘with’ famous bands, sometimes as an animated character onscreen....

(It.: ‘licence’)

(1) In the 17th and 18th centuries a passage or cadenza inserted into a piece by a performer.

(2) In the same period, an epilogue inserted into a stage work (opera or play) in honour of a patron’s birthday or wedding, or for some other festive occasion. This usually consisted of recitatives and arias but choruses were sometimes included. The ...

(Fr.: ‘unequal notes’)

A rhythmic convention according to which certain divisions of the beat move in alternately long and short values, even if they are written equal.

As it existed in France from the mid-16th century to the late 18th the convention of notes inégales was first of all a way of gracing or enlivening passage-work or diminutions in vocal or instrumental music. As styles changed and the figurations born of diminution entered the essential melodic vocabulary, inequality permeated the musical language. Its application was regulated by metre and note values; it always operated within the beat, never distorting the beat itself. (An anomalous instance of alteration of the beat appears in Gigault; see §2.) The degree of inequality (i.e. the ratio between the lengths of the long and short notes of each pair) could vary from the barely perceptible to the equivalent of double dotting, according to the character of the piece and the taste of the performer. Inequality was considered one of the chief resources of expression, and it varied according to expressive needs within the same piece or even within the same passage; where it was felt to be inappropriate it could be abandoned altogether unless explicitly demanded....

(It.: ‘necessary’)

An adjective or noun referring to an essential instrumental part. The term is often used for a part ranking in importance just below the principal melody and not to be omitted. Obbligato is the opposite of Ad libitum when the latter qualifies the mention of a part in a title. On the title-page of Corelli's Concerti Grossi op.6, for example, the concertino parts are designated ‘obligato’ while the ripieno parts are described as ‘ad arbitrio, che si potranno radoppiare’ (as you wish, when you are able to double the parts). Used in connection with a keyboard part in the 18th century, obbligato designated a fully written-out part instead of a figured bass. Sometimes obbligato means simply independent, as in C.P.E. Bach's Orchester Sinfonien mit zwölf obligaten Stimmen (1780).

In music for voice with instruments, ‘obbligato’ refers to a prominent instrumental part in an aria or other number. The archetype of the obbligato part is the instrumental solo which, with a basso continuo, constitutes the accompaniment of vast numbers of late Baroque arias. The direct antecedents of the late Baroque phenomenon are to be found in the ...

(It.: ‘division’)

A term used fairly frequently in the late 18th and early 19th centuries to denote exercises in figured-bass playing, not so much as accompaniments to a solo instrument as self-contained pieces. Composers using this term were very often Neapolitan or Milanese, though the significance of this is unknown. The word may or may not refer to the 17th century practice of divisions, i.e. performing variations on a repeating (figured) bass; more likely it reflects the common Italian practice c 1700 of writing bass lines for keyboard players to work into fully-fledged pieces. The definition is attested to as early as 1634 by G.F. Cavalliere in Il scolaro principiante di musica (Naples). Examples are common in MSS, e.g. the ‘Arpeggi per cembalo’ exercises in GB-Lbl Add.14244 (?A. Scarlatti), the organ ‘Versetti … per rispondere al coro’ in Lbl Add.31501 (?B. Pasquini), and the complete solo and even duet figured-bass sonatas for harpsichord by Pasquini in ...

(Lat.)

In 15th-century keyboard music, a form of conclusion consisting of formulaic counterpoint over the long-held final note (ultima) of a section of the cantus firmus, before reaching a closing consonance. Octaves and 5ths frequently constitute the salient features of the figuration. This procedure was a part of organ-playing practice in the 15th century, the most extensive collections of examples being in Conrad Paumann's ...

A quasi-Latin term derived from pedalis (a part ‘for the feet’) to indicate that a piece of organ music so labelled is played by both hands and feet. The word appears to have arisen as an antithesis to Manualiter and was so used by Schlick (1511). Although it does not indicate a piece played by pedals alone, it does in practice imply one with a developed pedal part. Sometimes composers used it to suggest a large-scale work in several ‘voices’ (e.g. Scheidt's ‘Benedicamus à 6 voc. pleno organo pedaliter’, 1624). However, in the third section of his Clavier-Übung Bach seems to have contrasted manualiter with a phrase such as ‘canto fermo in basso’; but pedaliter itself also appeared in music from his circle, chiefly outside the context of organ chorales and pedal melodies, as for example in the autograph manuscript of bwv535a, and in Buxtehude's C major Praeludium in the ‘Johann Andreas Bach Buch’....

Term for any device, mechanism, or means by which a player controls an instrument. It embraces keys and keyboards, valves, mouthpieces, bows, plectra, beaters, ribbon controllers, joysticks, touchscreens, other computer input devices and displays running control software, and any other intermediary between player and instrument (real or virtual) giving the player control of the sound-producing elements....