-\input texinfo @c -*-texinfo-*-
+ \input texinfo @c -*-texinfo-*-
@settitle Music Glossary
@setfilename music-glosssary.info
+@dircategory GNU music project
+@direntry
+* Glossary: (lilypond/music-glossary). Glossary of music terms.
+@end direntry
@ifhtml
This document is also available in @uref{music-glossary.ps.gz,gzipped
@ifnottex
@node Top
-@top
-@chapter Music Glossary
+@top Music Glossary
+@c HJJ: Info needs `@top', which is a synonym for `@unnumbered' in TeX.
@menu
@end menu
@end ifnottex
@ifnottex
-@table @code
+@table @samp
@item Adrian Mariano
Italian glossary,
@item Bjoern Jacke
@c @evenheading @thispage @| @|
@c @oddheading @| @| @thispage @|
-@macro ar{}
-@iftex
-@tex $\\Rightarrow$ @end tex@c
-@end iftex
-@ifhtml
-@html
-→
-@end html
-@end ifhtml
-@ifinfo
--->
-@end ifinfo
-@end macro
+@include macros.itexi
+
@ignore
We do not use refs for Info:
- @w{@ar{}\word\}@c vs:
- @w{@ar{}@pxref{\word\}}@c
+ @w{@arrow{}\word\}@c vs:
+ @w{@arrow{}@pxref{\word\}}@c
they look too intrusive (says Han-Wen).
@end ignore
@c arrowref
@macro aref{word}
@iftex
-@w{@ar{}@strong{\word\}}@c
+@w{@arrow{}@strong{\word\}}@c
@end iftex
@ifhtml
-@ar{}@ref{\word\, @strong{\word\}}@c
+@arrow{}@ref{\word\, @strong{\word\}}@c
@end ifhtml
@ifinfo
-@w{@ar{}\word\}@c
+@w{@arrow{}\word\}@c
@end ifinfo
@end macro
This is an example reference, that points you to the @aref{accent}
entry.
-
-@table @strong
+@c All `@table @strong' replaced by `@table @samp'
+@c @strong{note xxx} breaks for info with makeinfo CVS <= 2004-04-26
+@table @samp
@aitem{A}
ES: la,
C clef setting middle C on the middle line of the staff
@aref{C clef}.
-@aitem{ambitus}
+@aitem{ambit}
ES: ambitus,
I: ambitus,
F: ambitus,
S: ambitus,
FI: ambitus, @"a@"aniala, soitinala.
-The term ambitus denotes a range of pitches for a given voice in a part of music. It also may denote the pitch range that a musical instrument is capable of playing.
+The term ambit (from latin: ambitus, plural: ambitus) denotes a range
+of pitches for a given voice in a part of music. It may also denote
+the pitch range that a musical instrument is capable of playing.
@aitem{ancient minor scale}
I: scala minore naturale,
S: ren mollskala,
FI: luonnollinen molliasteikko.
+@aref{diatonic scale} (ancient minor).
+
@lilypond[notime]
\set Score.automaticBars = ##f
\notes\relative c'' {
FI: appoggiatura, etuhele.
Ornamental note, usually a second, that is melodically connected with the main
-note that follows it. In music before the 19th century a. were usually
+note following it. In music before the 19th century a. were usually
performed on the beat, after that mostly before the beat. While the short
a. is performed as a short note regardless of the duration of the main note
the duration of the long a. is proportional to that of the main note.
1. A manuscript in the composer's own hand.
2. Music prepared for photoreproduction by freehand drawing,
-with only the aid of a straightedge ruler and T-square,
+with the aid of a straightedge ruler and T-square only,
which attempts to emulate engraving.
This required more skill than did engraving.
equally tempered @aref{semitone}).
@aref{equal temperament}.
-@aitem{middle C}
+@aitem{central C}
@aref{middle C}.
@aitem{chord}
@aref{C clef}, @aref{F clef}, @aref{G clef}.
+@aitem{cluster}
+
+A @emph{cluster} is a range of simultaneously sounding pitches that
+may change over time. The set of available pitches to apply usually
+depends on the acoustic source. Thus, in piano music, a cluster
+typically consists of a continuous range of the semitones as provided
+by the piano's fixed set of a chromatic scale. In choral music, each
+singer of the choir typically may sing an arbitrary pitch within the
+cluster's range that is not bound to any diatonic, chromatic or other
+scale. In electronic music, a cluster (theoretically) may even cover
+a continuous range of pitches, thus resulting in colored noise, such
+as pink noise.
+
+Clusters can be denoted in the context of ordinary staff notation by
+engraving simple geometrical shapes that replace ordinary notation of
+notes. Ordinary notes as musical events specify starting time and
+duration of pitches; however, the duration of a note is expressed by
+the shape of the note head rather than by the horizontal graphical
+extent of the note symbol. In contrast, the shape of a cluster
+geometrically describes the development of a range of pitches
+(vertical extent) over time (horizontal extent). Still, the
+geometrical shape of a cluster covers the area in which any single
+pitch contained in the cluster would be notated as an ordinary note.
+
+@lilypond[relative=2,verbatim]
+ \apply #notes-to-clusters { <c e > <b f'> <b g'> <c g> <f e> }
+@end lilypond
+
+
@aitem{comma}
I: comma,
F: comma,
S: stegvis r@"orelse,
FI: asteittainen liike.
-Melody moving in the narrow steps of the scale.
+Progressing melodically by intervals of a second. Opposite of @aref{disjunct movement}.
+
@lilypond
\key g \major \time 4/4
music of the baroque era, has been one of the most popular polyphonic
composition methods.
-@lilypond[staffsize=11,noquote]
-\override Score.TimeSignature #'style =\turnOff
+@lilypond[staffsize=11]
+\set Score.TimeSignature =\turnOff
\notes\context PianoStaff <<
\context Staff = SA \relative c' {
\key bes \major
@lilypond
\score {
\notes {
- \override Staff.Custos #'neutral-position = #4
- \override Staff.Custos #'neutral-direction = #-1
- \override Staff.Custos #'adjust-if-on-staffline = ##t
+% \override Staff.Custos #'neutral-position = #4
+ \override Staff.Custos #'neutral-direction = #-1
- \override Staff.Custos #'style = #'hufnagel
+ \override Staff.Custos #'style = #'hufnagel
c'1
\break < d' a' f''>1
}
\paper {
- \translator {
- \StaffContext
+ \context {
+ \Staff
\consists Custos_engraver
}
raggedright = ##t
NL: dal segno,
DK: dal segno,
S: dal segno,
-FI: dal segno, merkkiin asti.
+FI: dal segno, lähtien merkistä.
Abbreviated ``d.s.''. Repetition, not from the beginning, but from
another place frequently near the beginning marked by a sign:
%\override TextScript #'font-style = #'large
\override TextScript #'font-shape = #'italic
\key g \major \time 4/4
-\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_"d.s." \bar "|." }
+\notes\relative c'' { d1 | g,4^\segno a b c | b a g2_\markup{ \line < "d.s. " \small \raise #1 \musicglyph #"scripts-segno" > } \bar "|." }
@end lilypond
@aitem{decrescendo}
2@w{ }@aref{semitone}s (S). Scales played on the white keys
of a piano keybord are diatonic.
-The church modes are used in gregorial chant and pre baroque early music but
+The church modes are used in gregorial chant and in pre baroque early music but
also to some extent in newer jazz music.
@lilypond[notime,linewidth=110\mm]
S: hoppande r@"orelse,
FI: melodian hyppiv@"a liike.
-Melody moving in steps greater than those of the
-scale. Opposite of @aref{conjunct movement}.
+Progressing melodically by intervals larger than a major second.
+Opposite of @aref{conjunct movement}.
@lilypond
\key a \major
The methodical use of fingers in the playing of instruments.
-@aitem{flag,pennant}
+@aitemii{flag,pennant}
ES: corchete,
I: coda (uncinata), bandiera,
F: crochet,
Letting the pitch slide fluently from one note to the other.
@aitem{grace notes}
-SP: ?,
+ES: ?,
I: abbellimenti,
F: fioriture,
D: Verzierungen, Vorschl@"age, Vorschlagsnoten,
@aref{note value}.
@aitem{half rest}
-SP: ?,
+ES: ?,
I: pausa di minima,
F: demi-pause,
UK: minim rest,
< g c >^"perfect" s
< g cis >^"augm" s
< g d' >^"perfect" s
- < g des' > ^"dim" s
+ < g des' > ^"dimin" s
< gis es' >^"dimin" s
< g! es' >^"minor" s
< g e'! >^"major" s
S: legato,
FI: legato, sitoen.
-To be performed (a) without any perceptible interruption between the notes
-unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato} and
+To be performed (a) without any perceptible interruption between the notes,
+unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
(d) @aref{staccato}.
@lilypond[notime]
A pond with lilies floating in it, also the name of a music typesetter.
+@aitem{ligature}
+
+A ligature is a coherent graphical symbol that represents at least two
+distinct notes. Ligatures originally appeared in the manuscripts of
+Gregorian chant notation roughly since the 9th century to denote
+ascending or descending sequences of notes. In early notation,
+ligatures were used for monophonic tunes (Gregorian chant) and very
+soon denoted also the way of performance in the sense of articulation.
+With the invention of the metric system of the white mensural
+notation, the need for ligatures to denote such patterns disappeared.
+
+
+
@aitem{line}
ES: l@'{@dotless{i}}nea,
I: linea,
NL: liedtekst,
DK: .,
S: .,
-FI, sanoitus,
+FI, sanoitus.
@aitem{major interval}
ES: intervalo mayor,
@aref{temperament} only a limited set of keys are playable.
Used for tuning keyboard instruments for performance of pre-1650 music.
-@aitem{measure, bar}
+@aitemii{measure,bar}
ES: comp@'as,
I: misura, battuta,
F: mesure,
@aitem{melodic cadence}
@aref{cadenza}.
-@aitem{meter, time}
+@aitemii{meter,time}
ES: comp@'as,
I: tempo, metro,
F: indication de m@'esure,
subject.
@lilypond
-\override Score.TimeSignature #'style = \turnOff
-%\override Score.TextScript #'font-style = #'large
+\set Score.TimeSignature = \turnOff
+%\override Score.TextScript #'font-style = #'large
\notes\relative c'' {
\time 4/4
\key g \major
>>
@end lilypond
-Other frequently used ornaments are the @emph{turn}, the @emph{mordent} and the
+Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and the
@emph{prall} (inverted mordent).
@lilypond
NL: piano,
DK: piano,
S: piano,
-FI, piano, hiljaa,
+FI, piano, hiljaa.
@emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
@emph{mezzopiano} (@b{mp}) medium soft.
S: presto,
FI: presto, hyvin nopeasti.
-Very quick, i.e. quicker than @aref{allegro}. @emph{prestissimo}
+Very quick, i.e. quicker than @aref{allegro}; @emph{prestissimo}
denotes the highest possible degree of speed.
@aitem{Pythagorean comma}
A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
but this@w{ }C, obtained by adding 12@w{ }fifths, is
-24@c{ }@aref{cent}s higher than the@w{ }C obtained by adding
+24 @aref{cent}s higher than the@w{ }C obtained by adding
7@w{ }octaves. The difference between those two pitches is called the
Pythagorean comma.
NL: rallentando,
DK: rallentando,
S: rallentando,
-FI. rallerdando, hidastuen,
+FI. rallerdando, hidastuen.
Abbreviation "rall.". @aref{ritardando}.
S: partitur,
FI: partituuri.
-A copy of orchestral, choral or chamber music showing what each instrument is
+A copy of orchestral, choral, or chamber music showing what each instrument is
to play, each voice to sing, having each part arranged one underneath the
other on different staves @aref{staff}.
}
@end lilypond
-@aitem{staff}
+@aitemii{staff,pl. staves}
ES: pentagrama,
I: pentagramma, rigo (musicale),
F: port@'ee,
S: notsystem,
FI: nuottiviivasto.
-pl. staves. A series of (normally@w{ }5) horizontal lines upon and between
+A series of (normally@w{ }5) horizontal lines upon and between
which the musical notes are written, thus indicating (in connection
with a @aref{clef}) their pitch. Staves for
@aref{percussion} instruments may have fewer lines.
NL: syntonische komma,
DK: syntonisk komma,
S: syntoniskt komma,
-FI: syntoninen komma, terssin taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
+FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa viritysj@"arjestelm@"ass@"a.
Difference between the natural third and the third obtained by Pythagorean
tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
S: dubbelslag,
FI: korukuvio.
-???
+@aref{ornament}.
@aitem{unison}
ES: un@'{@dotless{i}}sono,
@page
-@table @strong
+@table @samp
@item DURATION NAMES, NOTES AND RESTS
@end table
@page
-@table @strong
+@table @samp
@item PITCH NAMES
@end table
@
-@table @strong
+@table @samp
@item ---------------------
Polyglottes W@"orterbuch der musikalischen Terminologie, Kassel 1980
Oxford Advanced Learner's Dictionary of Current English, Third Edition 1974.
+Webster's Revised Unabridged Dictionary, Springfield 1913.
+
@end table
@bye
projects / lilypond.git / blobdiff