A SHORT GLOSSARY OF MUSICAL TERMS.

New Zealand Mail, Issue 1201, 8 March 1895, Page 16

A SHORT GLOSSARY OF MUSICAL TERMS.

(UP TO DATE.)

A much discontented '(evidently) musician has written at considerable length in the Musical Times of January 1895, a “ Short Glossary of Musical Terms,” which, while amusing and of general interest tc musicians, contains the essence of much truth. Here are a few (abridged) : v: - : Music,—A succession of more or less discordant sounds; the more discordant the Sound the better the m\isic. Melody.—An obsolete term. Harmony.—That sentiment, that exists between two prime donne in the same* theatre. ..

Common Chord.—This chord has obtained the reputation 1 of being so common that composers usually avoid it, except on rare occasions to finish a piece of music.

Consecutive Fifths.-^-An artifice used by composers to show their indifference to the rules of grammar; ahd>fo annpy critics and Mus. Drs, • Counterpoint'—-Two or more themes forcibly made to go together whether they desire it or not. Two barrel-organs playing different tunes in the same street are a good, example of counterpoint. Time. —The division of a pieces into bars containing a more or less equal number of, minims, crotchets,, or quavers, as the case may be. This divivion is not an arbitrary one. N.B.—Singers and other musicians occasionally take advantage of this fact. Rhythm.—A number of accents (the strop ger the better) on the unaccented parts of a bar, so 1 that no one knows where the bar begins or ends. Tremolo.—An orchestral device. It is capable of expressing almost all natural and supernatural ideas, such as angels, lovers, villains, etc. When used by the human voice it is generally expressive of fear—or inability to sing differently. Composer.—Any one of any nationality (except British) who composes. Pianist. —Any one who plays the pianoforte and comes to England from a foreign, country. Conductor. —A figure, with a short stick in its right-hand, which is placed in the centre of the orchestra, with its back to the audience, and facing a desk on which the music rests. By a mechanical contrivance contained in the body, the. figure, as soon as the'orchestra begins to play, raises both arms

and waves them about periodically, continuing this action until the orchestra ceases, when, or soon after it lowers its arms, and stops. By means of a further contrivance it can be made to spread out the fingers of the left hand, turn over the pages in front of it at intervals, keep time with its head to the music being played, and, at the conclusion, to revolve on one foot, bend the upper part of the body twice, and quickly reassume its original quiescent position. Interval.—The most enjoyable of any musical entertainment.