Excerpt from Elson's Music Dictionary: Containing the Definition and Pronunciation of Such Terms and Signs as Are Used in Modern Music
As the average teacher is Often timid in the matter of pronouncing foreign words, an English phonetic spelling has been added in almost every instance. Yet it will be best for the student to familiarize him self with the rules for pronouncing each language (which are also given) since it is sometimes impossible to reproduce the exact sound of a foreign word in any English spelling. An attempt has also been made to give the pronunciation of the names of the Chief composers, singers, pianists, conductors, etc.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Excerpt from Elson's Music Dictionary: Containing the Definition and Pronunciation of Such Terms and Signs as Are Used in Modern Music
As the average teacher is Often timid in the matter of pronouncing foreign words, an English phonetic spelling has been added in almost every instance. Yet it will be best for the student to familiarize him self with the rules for pronouncing each language (which are also given) since it is sometimes impossible to reproduce the exact sound of a foreign word in any English spelling. An attempt has also been made to give the pronunciation of the names of the Chief composers, singers, pianists, conductors, etc.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from Elson's Music Dictionary: Containing the Definition and Pronunciation of Such Terms and Signs as Are Used in Modern Music
The method adopted in this work is to give to each word, or musical term, the pronunciation peculiar to the language to which it belongs. It is admitted that it is not unfrequently impossible to express with precision the native pronunciation of foreign languages with English letters, but even in such cases much will be gained by an approximation to the true sound. For the sake of brevity the English terms are, for the most part, only defined, without adding the pronunciation.
One of the most difficult as well as important of the points to be made is that of placing the accent upon the proper syllable. But it is to be borne in mind that in most of the European languages the stress of voice is not thrown so exclusively upon a single syllable as it is in English; and, as a natural consequence, the unaccented syllables are almost invariably pronounced more distinctly than by us. This is specially true in the Italian; French and Spanish languages. In important cases accent is indicated in the word, as pronounced, by placing the accented syllable in Italics.
In the Latin and Greek languages it has been deemed advisable to follow what is known as the Continental pronunciation, in preference to the English pronunciation which is adopted in some of our principal Colleges; since it is only by this means that we can conform at all to the usual pronunciation of the same terms by the principal European nations. In this connection it is proper to add, that the Latin words employed in the Catholic church service, as in the Mass, etc., are frequently made to conform to the Italian mode of pronunciation. Thus: Dominus, Dom-e-noos; pacem, pä-tshèm; etc.; but as this system has not been universally adopted by the church choirs of this country, it has seemed best to preserve a uniformity in the pronunciation of all Latin or Greek words, and accordingly no such distinction has been made.
In the preparation of this work, the aim has been rather to practical utility than to great fullness and extent, and no hesitation was felt in discarding over two thousand (so called) musical terms which have appeared in recent publications, as being both useless and illegitimate.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Librería: Forgotten Books, London, Reino Unido
Paperback. Condición: New. Print on Demand. This book offers a comprehensive analysis of the musical term 'dictionary' from an etymological viewpoint, tracing its evolution through different languages and eras. It explores how the term has been understood and defined throughout history, shedding light on the diverse ways music has been categorized and described. Through a comparative approach, the author examines the vocabulary and frameworks used to understand music, revealing the cultural and intellectual influences that have shaped its interpretation. The book delves into the nuances and complexities of musical terminology, providing insights into how language constructs our perception and appreciation of music. This examination contributes to the rich scholarly discourse on the history of musical thought, making it an invaluable resource for musicologists, theorists, and musicians seeking a deeper understanding of the foundations of their field. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. Nº de ref. del artículo: 9781330868751_0
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Librería: PBShop.store US, Wood Dale, IL, Estados Unidos de America
PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000. Nº de ref. del artículo: LW-9781330868751
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Librería: PBShop.store UK, Fairford, GLOS, Reino Unido
PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000. Nº de ref. del artículo: LW-9781330868751
Cantidad disponible: 15 disponibles
Librería: Buchpark, Trebbin, Alemania
Condición: Hervorragend. Zustand: Hervorragend | Seiten: 324 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar. Nº de ref. del artículo: 25738013/1
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