anticipazione

It. n. (an-te-che-pa'-tsl-o'-ne) be in the same key. During the musical reforms of the Eighth and Ninth Anticipation. Centuries were drawn up the Tonals, 57 38 antiphon aphonus a series of methodical rules which antispast (an'-tf-spast) Grk. n. secured correspondence between psalm anti spas to (an-te-spas-to) Spa. n. and antiphon by dividing the anti antispast us A metrical foot of four Lat. (an-tl-spas'-tiis) notesn. or phons according to key and subdividsyllables in which the first and last ing these groups according to the beare short and the second and third ginning of the antiphons. The antiphons were used to a certain extent as long, _ w. It is the equivalent independent compositions and in this of an iambus, ^ —, and a trochee, way instead of in connection with the psalms they pa ed into the English antistrophe prayer-book. As a general term the from the (an-tis'-tro-fe) Grk. Eng. n. word antiphon is applied to the alter- A turning in the opposite direction. nate chanting, singing or intoning by A term used for the movement from two choirs, as practised by the Greek, left to right in Greek dances, and also Roman, Anglican and Luther an for the lines of the choral song sung churches. during this movement. It stood in antiphon a ire (an-te-fo-nar') Fr. n. opposition to the strophe, which pre- Antiphonary; a book of antiphons ceded it, and was a movement from and responses. right to left. antiphonal antithesis The book of antiphons, responses Grk. (an-tith'-e-sis) Eng. n. from and other music used during the canon- Contrast: hence counter subject. ical hours in the Roman Catholic Applied to the answer in a fugue. Church. Originally the name was also antonen (an'-ta-nen) Ger. v. applied to the book containing the To begin to sound; to intone. music of the ma , but ceased to be antrommeln (an'-trom-meln) Ger. v. used in this connection when most of To begin to drum. the antiphons were omitted from the an trompe ten (an'-trom-pa-ten) Ger. v. ma , and Introit and Communion be- To proclaim by blowing. came the names of the two principal Antwort (ant'-vort) Ger. n. remaining antiphons, while the book The answer; reply to the subject of of music for the ma was called Cana canon or fugue. tatorium and afterwards became known as the Gradual. anwachsend (an'-vakh-zent) Ger. pres. antiphonarium (an - tif - 6 - na' - ri-um) Growing, increasing in volume. Lat. n. Equivalent to crescendo (It.). part. A book containing a compilation of Aolsharfe (a-61s-har-fe) Ger. n. responsive singing arrangements call-;Eolian harp. ed antiphons; an antiphonary. Aolsklavier antiphonary The same (a'ols-kla-fer) as Aolsklavier. Ger. n. 1. n. A book of antiphons, or a raper to (a-par'-to) It. adj. rangements of responsive choir sing- Open or broad: in piano music this ing introducing and closing the term directs that the pedal be used psalms, and used in the divine offices which raises the dampers and allows and canonical hours of the Catholic the strings now open or unstopped service. This book originally conto vibrate freely. tained all verses sung responsively but apert us (a-piir'-tus) Lat. adj. later the antiphons pertaining to the Applied to organ pipes, those which service of the ma were collected are open at the top. In bra instruinto one book called the Gradual. The ments those tones which are produced responsories, or versicles, recited by by the original tube without the use of the priest and answered by the choir, the valves additionally. which formed a separate volume, are Apfelregal (ap'-fel-rakh-al) Ger. n. included in the present antiphonary. Literally, apple register: the name of 2. adj. Related to responsive or alan obsolete reed stop in the organ, the ternate singing; antiphonal. pipes of which were small with a holantiphone (an-tif-6-na) Grk. n. pi. low, apple-shaped knob on top, from Antiphons; anthems. which the stop received its name, antiphony aphonie The alternate singing of two choirs Aphony;(a-fo-ne') Fr. n. or tone, lo of sound or of a divided choir; the response of aphonus one choir to another. Without sound or voice. 58 39 aphony appa ionatamente aphony the lowest being twenty-four feet long Lo of tone of the voice resulting with an opening of twenty-three in thickne of speech, caused by in inches and pitched at G G G and the flamm at i on or other disorder of the highest sounding A in alti imo. Of larynx; so called from its derivation the forty-five stops some gave excel from the Greek, meaning speechle . lent imitation of orchestral instruaplomb (a-plon) Fr. n. ments, as flute, oboe, horn and trom- A plumb or perpendicular line: bone. A pair of kettledrums within hence steadine ; coolne ; firmne ; the organ case were struck by cunexactne of time. ningly contrived mechanism. There a poll i no were five manuals, the middle one hav- A mechanism combining the qualiing a scale of five octaves, the others ties and powers of several instrueach having a scale of two octaves; ments and capable of playing them these manuals were detached from the separately or all together. It was in body of the organ and the performers vented and constructed by one Mr. sat facing the audience. The mechan- Plimpton and exhibited about 1820 in ical part consisted of three barrels, two Boston and New York. It contained a feet in diameter, eight feet long, and great number of different instruments: each acting on a separate division of twenty-five flageolets, twenty-five imithe organ. In their revolution they tations of birds, twenty-five trumpets, admitted wind to the pipes and regutwenty-five clarinets, four bugles, lated and worked the stops through eight French horns, ten serpents, complex but instantaneous acting matwelve ba oons, twenty-eight flutes, chinery. In order to perform very twenty-eight fifes, thirty-seven strings long pieces mechanically, spiral barrels on violins and violoncellos, thirty were introduced in which the pins seven strings on harps, cymbals, ba that acted on the rest of the me chan drum, bagpipes, harmonicas, and ism to_ produce the sounds were dis twenty-five music gla es, all in one posed cles. in spiral Additional lines instead were barrels of in cir added mechanism. It combined the music of a full organ, a bra band, an or at times, which played other pieces. chestra and an JEolian harp. The appollonicon was exhibited in Apolla lyra the rooms of Flight and Robson in St. An improvement on the psalm- Martins Lane and daily concerts were rnelodicon, a wood-wind instrument, given on it for many vears. Purkis, with twenty-five keys and eight finger an organist, played on the keyboard holes and capable of imitating several on Saturday afternoons. It was taken orchestral instruments. It was in down about 1840 and its parts used in vented by We in rich of Heiligenstadt constructing other organs. in 1828 and in 1832 it was improved by a poll on i on Leo Schmidt, who called it apollo An instrument invented by J. H. lyra. This instrument was shaped like Vollner of Angers bach in 1800. It a lyre, having an enlarged ba and consisted of a piano having a double two sets of free reeds acted upon by keyboard, combined with organ pipes two rows of touches. The lower row of two, four and eight feet pitch, that acts on one set of reeds, and the upper is, of the compa of from c to b on can be made to act on all the reeds the treble clef, and on the ba clef, by means of a coupling mechanism. and from C two lines below the ba Wind is supplied to the reeds by a clef to B on its second line. It had bellows filled by means of a sliding also an automatic performer. piston, worked by the left hand of the player. apotome (a-pot'-o-me) The Greeks Grk.interval divided their n. of a poll on a whole tone into two unequal parts, A large lute or theorbo, having the greater of which was called the twenty single strings, invented in 1678 apotome. The difference between the by a Persian musician named Prompt. two parts was very minute and was appollonicon the outcome of the extremely intri- A very large organ and orchestrion, cate musical theory in which the or mechanical organ, invented in 1812 Greeks delighted. by Flight and Robson of London and manufactured by them from 1812 to appa io men-te) It. eadj.(ap-pas-si-6-na'-tan at ament 1817. It had nineteen hundred pipes, Pa ionately: with intense feeling. 59 40 app a i on at a men to Its value is appoggiatura usually indicated in the app a i on at a men to (ap-pas'-si-6-na-ta- em men-to) It. n. grace note, but this is not always the Pa ion, great emotion, case, e. g.: Written M m