The Effects of Social Media in Todays Society Annotated Bibliography

The Effects of Social Media in Todays Society - Annotated Bibliography Example The author refers to usability as how well a system supports the needs of users and the ability of the system to accomplish a task. Greiter acknowledges that, even though usability testing is a common practice, the software of usability of security requires more consideration. My team could use this article to examine why computer users often circumvent the security mechanisms in places or why common users of computer may lack confidence in the security system that they use. This book explores the events surrounding the scandal of WikiLeaks and the issues concerning security. Brenner examines the legal challenges that were presented by the incident. My team could use this source in our report on security issues associated with collaborative online tools. Some of the recommendations made in this paper may be used for our conclusion. This paper examines privacy as a key aspect of the experience of computer user when online as well as on computing devices by reviewing the perspective that the users of computers have on computer system in order to aid in improving privacy through Human-Computer Interaction (HCI). My team could use this source to explain privacy as a process through which computer users can control personal data effectively. This article reports a survey of 115 information technology companies that was conducted in India and the United States jointly by the US trade association ITAA and the Indian trade association NASSCOM. The paper reports that companies are more concerned with security than ever before. 75% of the companies showed that information security is a vital differentiator in the provided services. My team could use this paper to cite background information on security case that involved Geometric Software Solutions, which included virus and spam problems. This article addresses security risk concerns to clients from the vendor workers from who

Marketing Strategy of Procter and Gamble Term Paper - 1

Marketing Strategy of Procter and Gamble - Term Paper Example From this paper it is clear that other basic problems include but are not restricted to what appropriate marketing strategy to adopt—should Scope be positioned as a â€Å"better tasting pre-brushing dental rinse† against its previous recognitions as a â€Å"better tasting and breath freshener† manufacturing issue concerning how to produce product that will match the standardizations required by As the discussion stresses Canadian Health Protection Branch, The Canadian Dental Association and Saccharin/Cyclamate Sweeteners requirements; finding alternatives to funding the marketing of Scope since the product has so far received its highest finances in years, and that funding another line of product might be helpful to reduce cost competitively; recognizing the significance of spending more on advertising another line of product to shore up customers’ interest in Scope; and discovering the best approach as far as Procter and Gamble’s operations and purchasing are concerned. The cause of this important analysis of Procter and Gamble’s operations in Canada is based on the fact that other rivals in the same niche of health care product like Plax, Colgate, Listerine, Listermint and Cepacol which brandish their comparative quality of pre-brushing rinse has captured the market from Scope. This is because these other products offer consumers the opportunity to fi ght their plaque—â€Å"which is the soft, sticky film that coats teeth hours after brushing them†. The Canadian Mouthwash Market Shares below justifies the fact that Plax has made significant gain against Scope, having started with a mere 1% of the market share in 1988 to commanding an appreciable 10% of the same market in 1990.

AIRLINE BARGAINING PROCESS Essay Example | Topics and Well Written Essays - 2500 words

AIRLINE BARGAINING PROCESS - Essay Example The labor agreement includes various basic procedures which are truly essential to be followed by the unions. According to the report on Aviation sector it has been advised that the â€Å"unions must not agree to long-term concessions but rather to define measures on a short-term basis.† A tentative labor agreement calls for improved wages, job security and increased productivity and details a mutual commitment to labor partnerships and commitment towards employers. The election of the arbitrator should be done by both employer and union. The union and the employers have to go by the final decision taken by the arbitrator. The bargaining agent should be certified by the labor board as it represents all workers in the bargaining unit and negotiates a collective agreement with the employer. Once certified the union then has the legal right to represent all employees in the unit. The bargaining units determine the group of workers who are a part of the union, who are considered by the labor board as an appropriate group to bargain and those who are covered by the same collective agreement. The bargaining unit must pay union dues whether or not the members of the union. Collective bargaining is the negotiation between a union and the employer for a collective agreement. Breaching it leads to various unhealthy labor-management relations. But â€Å"currently there is no centralized bargaining forum in the Aviation industry†. The changed law of â€Å"privatization for workers has also led to various strikes† placing â€Å"excessive demands on the unions and fragmenting worker solidarity†. Such work rules are affecting labor-management relation to a lot.

Writing a commentary of your charity advert Essay Example for Free

Writing a commentary of your charity advert Essay My charity advert is for children addicted to computer games. At first I thought of sensible ideas like heart disease or cancer but then I thought why dont I do something wacky. Once I thought of the idea all these things started flowing through my brain.  The audience for my advert is parents and old people. This is because if you were a parent and you had children then you would think I dont want my child to turn out like that. So they would give money to the charity so that other parents can get help before it is too late. Then with the grandparents they would be thinking I dont want my grandchild to be brain washed by these computer games I would prefer for them to go out get some fresh air and play. Also they would be thinking how much money they would have to spend on the games. So they would like to help someone in need. The purpose of the advert is for people to donate money to help needy kids. I hope that the reader will see the picture of brain playing computer games first and think that it is funny. Then they would go on to read the advert to find out how serious the matter is and how they should donate. The brain makes the advert look interesting because it is eye catching. I hope that the reader will find it funny but I also hope they would understand why I have chosen that picture. I have written the heading IS THIS YOUR CHILD? WELL IT COULD BE in bold lettering so that readers would have a quick insight into what the advert is about. When you see the big bold heading you read on. This is because you want to find out not only what the advert is about but also how it can affect your children. I used big words which the average everyday person might not know. When they see these large words like rehabilitation they will think that they are professionals and that they have also be educated. I hope that the reader would find it shocking that this is happening right under their noses. They would start thinking what if it happened to the woman next doors child. She would want some support. They would also be thankful that it is not their child but they would still like to help.  When I showed the advert to my friends and family they thought the brain idea was good. They also liked the way I used big words. If it was a real advert I think that people would find the advert comic. Maybe they might think that it is a joke at first so that would make them read it. Then when they read on they would realise the seriousness of the advert and how we need help

Aesthetics and Sound of Japanese Horror Films 1990s-2000

Aesthetics and Sound of Japanese Horror Films 1990s-2000 Analyse the aesthetics and sound of Japanese horror films from late 1990s to early 2000s World Cinema is typically used to refer to films of non-English speaking countries and has a representation to take the least amount of dominance in popularity compared to the works of Hollywood cinema. However, since the evalutiton of cinema My critical analysis will be viewing the television programme as a representation of escapism from real life events by considering the ways in which media texts change our perspective on entertainment through the codes and conventions of narrative and genre.  Ãƒâ€šÃ‚   I will take the Waking Dead series and look at what drives the narrative forward in which the story, characters and sequence of events, is put together within the script. The effects of this will come in to play as I list the relative media theorists such as, Vladimir Propp and Barthes to gain a better understanding. The horror genre has been utilized especially in film as a way to startle viewers as its primary objective. Consistently, its most used ordered structure of a: beginning, middle and end can be argued as unsurprising. Over time, in order to bring in new audiences, the horror genre has been forced to adapt its context by perhaps a use of hybrids or a new type of subgenre to suit a particular need as well as continuing to scare and entertain. A case of this can been seen through an examination of the American horror film Scream (released in 1996) and Japanese Horror Ringu (1998) as noted, Hollywood horror films are generally overwhelmed by the slasher subgenre as it depends on gore and physical brutality while, the Japanese, utilized the mental or rather psychological subgenre that ordinarily include ghost, spirits and possession. As mainstream Ring seemed to be, it turned into the first western remake of a Japanese awfulness great, entitled: The Ring (2002), this made ready for some J-horror revamps that started a worldwide enthusiasm for the Japanese wide screen and culture now with the term J-horror turning into its very own category outside Japan.   In the past decade, few countries have received more attention from Hollywood than Japan. Indeed, its folkloric legends and eerie aesthetics have in many ways revolutionised the horror genre. This essay will look at the relationship between American and Japanese cinema and explore how the two countries overcame cultural differences in order to develop a successful horror film cycle. The first section will describe how American and Japanese cinema have influenced each other over the years. In the second part, the phenomenon of J-horror will be analysed in order to demonstrate how remakes have contributed to the Western understanding of Japanese horror films. Ultimately, the final section will look at the implications of this interrelationship in terms of the accessibility of Japanese films in Western culture, and the growing importance of transnational cinema. Although the recent embrace of J-horror by American filmmakers and audiences has received a great deal of media and critical attention, Hollywoods affinity for Japanese cinema is in no way a new phenomenon. In fact, both countries have influenced each other for many decades. This led to the 1917 version of his own film The Loyal Forty-Seven Ronin (Japan 1912). Incidentally, after many adaptations this film is now being remade for the American public as 47 Ronin (Carl Rinsch, USA 2012). Similarly, after the Second World War, some Japanese films began to attract the attention of the American audiences, particularly Gojira (Godzilla, Ishiro Honda, Japan 1954) which mirrored the apocalyptic cultural fears of the 1950s American science-fiction films, and Shichinin no Samurai (Seven Samurai, Akira Kurosawa, Japan 1954), a film that influenced a number of Hollywood adaptations. Interestingly, it was around this time, in the late 1990s and early 2000s, that anime became extremely popular in the Western culture (Napier 2005: 22). Writing about the global success of anime, Susan J. Napier points out that: Anime is indeed exotic to the West in that it is made in Japan, but the world of anime itself occupies its own space that is not necessarily coincident with that of Japan. [à ¢Ã¢â€š ¬Ã‚ ¦] It is thus a particularly apt candidate for participation in a transnational, stateless culture (2005: 24). The popularity and critical attention that anime has received introduced many Western viewers to Japanese cinema. It can then be suggested that this trend has opened a Japanese niche market in America, indirectly contributing to the introduction of what has come to be known as J-horror. This Hollywood take up of Japanese films which were strongly inspired by the American horror genre, constitutes an unprecedented example of the cross-fertilisation between Hollywood and Japanese cinema. At the turn of the century, as Steffen Hantke explains in his study of Japanese horror, America was in need of a new horror film cycle (2005: 54). Franchises like Halloween (John Carpenter, USA 1978) and Friday the 13th (Sean S. Cunningham, USA 1980) had countless remakes, and the industry would only produce horror films like Scream (Wes Craven, USA 1996) that were so filled with self-referential humour that the genre had lost its terrifying appeal. In 1998, the horror film Ringu (Hideo Nakata, Japan 1998) was extremely successful in Japan. Hollywood producers saw an opportunity for a return to a more gothic form of horror with an exotic twist. Gary G. Xu explains the appeal of the Japanese horror genre to Hollywood: There is a certain aura in Japanese ghost fiction and films, often filled with womens grudges against men who deserted or injured them. Unlike most ghost stories in the West that seek moments of shock and harmless thrills, the Japanese ghost stories tend to allow the aura to linger, to permeate, or to literally haunt the audience (2008: 192). In order to adapt the film successfully, the Japanese specificities of Ringu, such as the slow atmospheric pace and the compassion with wronged spirits were adapted for a more Western audience: more closure was added and the ghost became a manifestation of evil. The remake that followed, The Ring (Gore Verbinski, USA 2002) grossed $250 million worldwide (Xu 2008: 192), encouraging a franchise and numerous subsequent remakes of Japanese horror films. This enthusiasm has encouraged many Western horror fans to watch the original movies and to seek out more Japanese films. Consequently, scholars have questioned this new-found popularity, including the ways these films could translate to the common Western spectator. Indeed, the Japanese culture is known to be extremely rich and different from the Western one. Although Japan is a highly modernised country, traditional values remain that might not be understood by every Western viewer. One of these scholars, Ruth Goldberg, discusses two ways for audiences to read foreign films: in terms of cultural specificity or as acts of translation to foreign audiences (2004: 371). Similarly, Hantke quotes Masao Miyoshi who speaks in terms of domestication and neutralization (2005:62): To restore the accustomed equilibrium, Miyoshi writes, the reader either domesticates or neutralizes the exoticism of the text. The strategy for domestication is to exaggerate the familiar aspects of the text and thereby disperse its discreteness in the hegemonic sphere of first world literature, [à ¢Ã¢â€š ¬Ã‚ ¦] the plan for neutralization [à ¢Ã¢â€š ¬Ã‚ ¦] operates by distancing the menacing source, defusing its otherness with [s]uch pseudocomments as delicate, lyrical, or suggestive, if not illogical, impenetrable, or incoherent (Miyoshi quoted in Hantke 2005: 62). Simply put, the films cultural specificity can be either recognised by the viewer, dismissed as exotic, or they can be replaced altogether by a universal reading which makes the text more accessible when it does not lead to misinterpretations. For example, Ringu is culturally specific in the sense that is part of the Japanese kaidan (ghost story) genre which derives from the traditional plays of the Noh and Kabuki theatre (McRoy 2008: 6). As the writer of Ringu, Koji Suzuki explains, this folklore has a different perspective on ghosts than the Western tradition: In America and Europe most horror movies tell the story of the extermination of evil spirits. Japanese horror movies end with a suggestion that the spirit still remains at large. Thats because the Japanese dont regard spirits only as enemies, but as beings that co-exist with this world of ours (Suzuki quoted in Branston and Stafford 2006: 98). Furthermore, Ringu reveals national fears related to the increase of divorces and the new gender roles: nowadays, Japanese women often have careers and are no longer full time mothers. As Goldberg puts it, Ringu reflect[s] in microcosm the anxious tension between tradition and modernity that looms large in the nations sensibility (2004: 371). On the other hand, using Myoshis expression, the film can easily be domesticated by Western audiences: Nakata has named The Exorcist (William Friedkin, USA 1973) and Poltergeist (Tobe Hooper, USA 1982) amonghis influences (Branston and Stafford 2006: 98). Moreover, Ringu refers to the teen culture that is so common to the American horror film, comprises the typical final girl and the themes of technophobia and broken families that have populated cinema for the past two decades. In this way, it has been suggested that Nakata manages to strike a genuinely alarming balance between the cultural depths of Japanese folklore, and the surface sheen of l atter day teen culture (Kermode 2000). In adapting the film for Western viewers, Gore Verbinski ignored the Japanese cultural specificities and focused on fully domesticating the film. However, as the following will demonstrate, he preserved some memorable and eerie images from the original production which would become the markers of J-horror. Drawing its inspiration from A Nightmare on Elm Street (Wes Craven, USA 1984) and Friday the 13th(see McRoy 2005: 176),   Ju-On (Takashi Simizu, Japan 2002) is a similar hybrid between American horror classics and the kaidan tradition. When Simizu remade the film as The Grudge (Takashi Simizu, USA 2004) for an American audience, he filmed the ghost of Kayako in the same way as Sayakos in The Ring: a faceless head covered by long black hair that reveal only one eye. In imitating this successful film, it can be suggested that Simizu was constructing a deliberate relationship between the two films and, as such, conforming to Western expectations about a vengeful ghost in the Japanese horror film (Balmain 2008: 189). This new symbol of horror began to appear repeatedly not only in Japanese films like Honogurai Mizu no Soko Kara (Dark Water, Hideo Nakata, Japan 2002) but also in other East-Asian films like Janghwa, Hongryeon (A Tale of Two Sisters, Jee-woon Kim, Korea 2003). When p ut in its original linguistic and cultural context, the characteristic appearance of this spirit is understandable. Indeed, in Japanese, the term kurokami is a homonym meaning both black hair and black spirit. In addition, Jay McRoy describes the cultural significance of the hair and single eye: These physiological details carried a substantial cultural and aesthetic weight, as long black hair is often aligned in the Japanese popular imaginary with conceptualisations of feminine beauty and sensuality, and the image of the gazing female eye (or eyes) is frequently associated with vaginal imagery (2008: 6-7) Consequently, it only makes sense that a ghost with bad intentions, especially a beautiful woman that has been wronged and seeks revenge, would be represented with long black hair. By repeating this image across films, it was slowly converted into Western culture from a culturally specific symbol to an immediately recognisable piece of horror iconography. This image could very well have participated in making J-horror a cult phenomenon. On the other hand, this repetition was quickly starting to remind audiences of the overly repeated American horror franchises and raised criticisms, such as Grady Hendrixs, who has seen enough of the long-haired-dead-wet-chick (quoted in McRoy 2008: 173). The never-ending American remakes have also exasperated Japanese filmmakers like Ju-On director Simizu. In response, he released the short film Blonde Kaidan (Takashi Simizu, Japan 2004) which portrays a Japanese filmmaker haunted by a blonde spirit, parodying the obsession of American producers for interchangeable blonde heroines. The upside of this recurring visual trope is that it has helped popularise the Japanese horror film and positioned the genre into the mainstream. In fact, studying the American horror fans reception of J-horror, Matt Hills points out that: The remakes success is viewed positively, as providing a platform for the cult texts wider availability [à ¢Ã¢â€š ¬Ã‚ ¦]. Hollywood remakes are thus positioned as relatively inauthentic/inferior texts that nevertheless allow the cult original to move beyond its initial underground status, a shift that is embraced, as if culturally validating the fans love of Ringu et al (2005:164). With Japanese horror becoming a bigger part of popular culture, Western audiences encouraged the distribution of more violent and original Japanese horror films that often offer more thrills and depth than the popular likes of Saw (James Wan, USA 2004-2010) and Hostel (Eli Roth, USA 2005-2007). Indeed, as Jay McRoy puts it, these disturbing films offer visceral visions interlaced with a degree of stinging social satire rarely seen in works of Western horror directors (McRoy 2008: 10). For example, new cult films include the shocking social satire Batoru Rowaiaru (Battle Royale, Kinji Fukasaku, Japan 2000) and the disturbing and genre-bending Odishon (Audition, Takashi Miike, Japan 1999). As a result, it can be argued that the multiplicity and repetition of American remakes have familiarised their viewers with elements that used to be typically Japanese. Their cultural specificity has become more transparent, and in this way, they have come to transcend their original folkloric refere nces. The fact that genre films from distant cultures have nowadays become so accessible to popular understanding is a sign of the increased transnationalism of film culture. As Elizabeth Ezra and Terry Rowden explain: Without succumbing to the exoticizing representational practices of mainstream Hollywood films, transnational cinema which by definition has its own globalizing imperatives transcends the national as autonomous cultural particularity while respecting it as a powerful symbolic force. The category of the transnational allows us to recognize the hybridity of much new Hollywood cinema (2006: 2). This transnationalism is therefore characterised not only by the American remakes or re-interpretation of foreign films, but also by the ability of foreign films to represent universal issues and thereby transcend their cultural specificity. Ruth Goldberg, who is quoted above as saying that the Japanese horror film can be read as culturally specific or as an act of translations to foreign audiences, ultimately adds that a third possibility can be to use elements of both approaches (2004: 382). This more balanced mode of spectatorship could be referred to as the transnational reading. As suggested earlier, the cycle of Japanese remakes in America is very likely to have educated audiences to this broader reading of Japanese films. This worked to strengthen the foreign film market in the United States, a country that has been long renowned for its aversion to subtitles. In fact, not only did Hollywood never hide that their new cycle of horror films were remakes of Japanese movies, but t he viewings of the original versions were encouraged through cross promotion. For example, while discussing the special features on the DVD of the Hollywood remake The Ring, Chuck Tryon observes that the selection Look Here invites viewers to watch a trailer for the Japanese original, which was distributed in conjunction with the DVD version of the American remake (2009: 24). The remake, in this way, acted as a transition between American and Japanese horror. Interestingly, the advent of the DVD format proved to be fundamental not only to the popularity of Japanese horror, but to its transnational reading. Indeed, the availability of subtitles on DVDs makes it easier for people to acquire movies that are not available in their country or language. If the original Japanese versions are distributed in Western countries, the films are usually complemented with special features to allow a better understanding and reading of the cultural specificities. For instance, the 2 Disc Special Collectors Edition DVD of Ju-On offers a large number of special features including: interviews and commentaries with the director and a selection of actors, a Ju-On True Stories Featurettes and an Exclusive Feature-Length Audio Commentary with Asian Cinema Expert, Bey Logan. These features are included to educate the viewers in their transnational reading of the film, giving them a clearer understanding of the Japanese culture in order to approach the cultural s pecificities of the movie with an informed mind. In addition to the remakes and the transnational format that is the DVD, many Japanese films owe their success to the Internet. Indeed, this medium provides endless possibilities for film discoveries and international communication. One can, for instance, mention the emergence of the online grassroots participatory culture, which Henry Jenkins describes as a bottom-up consumer-driven process (2006: 18): consumers can now actively influence the production and distribution of films by highlighting the existence of niche markets. Other benefits of the Internet in terms of promoting transnational cinema are the unlimited availability of short films from all over the world, and the forums where international users are given the opportunity to discuss their opinions on films and share their interpretations. In this way, they encourage transnational readings of films along with the expansion of the foreign film market in America. Japanese films have inspired the American movie industry for decades. However, their films were always adapted for the Western culture and stripped of their deeper cultural meanings.   Apart from a handful of productions that became international classics like Godzilla and Seven Samourai, Japanese film culture remained quite obscure until the success of Japanese horror. A series of American remakes called attention to the existence of this genre that portrayed terrifying horror filled with deep significance: either specific to the Japanese culture or universal. Some factors such as DVD distribution, the Internet and active fan culture led to the increased distribution of these films in America, and strengthened viewers involvement in transnational film culture. Thus, through its multitude of adaptations and hiring of international filmmakers, Hollywood has become central to the crossover of cultural boundaries at a time of rapid globalisation.

An Evaluation Of Nullsoft Winamp :: essays research papers

Nullsoft Winamp is a fast, flexible, high fidelity music player for Windows 95/98/NT. Winamp supports MP3, MP2, CD, MOD, WAV and other audio formats. Winamp also supports custom interfaces called skins, audio visualization and audio effect plug-ins. Nullsoft also provides a high quality website at http://www.winamp.com. The Winamp homepage provides support, information, software downloads, and music downloads for Nullsoft’s music products. Winamp is a high quality music player for your personal computer. The first thing to look for when considering a program to play music on your computer is sound quality. Nullsoft Winamp has the ability to play CD quality sound from MP3, MP2, CD, MOD, WAV and other audio formats. Winamp has a ten band graphic equalizer and built-in pre-amplifier that allows the user greater control over sound quality even before the music passes through a sound card or speakers. If you are not comfortable with changing the equalizer settings yourself, Winamp has hundreds of preset settings which are categorized by music type. Examples of this include Jazz, Rock, Reggae, and many more. Winamp users even have the ability to create and save song-specific pre-amplifier and equalizer settings. Another important factor in choosing a music program for your computer is customizable features. Winamp meets this criterion well. The ability to customize your music player makes the program easier to use. The user has the ability to make a â€Å"Play list† from the music files that are stored on the hard drive of the user’s computer. Play lists are easy to load and are not difficult to create. The Nullsoft Winamp website has a Plugin and Skin collection available for downloads to further customize your copy of Winamp. There are hundreds of different plugins and skins to choose from. Plugins for Winamp range from audio visualization oscilloscopes to audio effects like distortion and surround sound. Skin categories range from different colors to cartoons and artwork. Technically advanced users can even create their own skins. Customer service and technical support services are important with any product, especially when a user is unfamiliar with the product. The Winamp program can be difficult to learn and use without some instruction. However, Nullsoft Winamp provides a stable and easy to navigate website that includes many helpful services. Customer service and technical support are available through chat and via email from the Winamp homepage. Customers have the ability to read step-by-step instructions on how to use Winamp and all of its custom features by clicking on easy to see links.

Glossary of Musical Terminology

Glossary of musical terminology From Wikipedia, the free encyclopedia Jump to: navigation, search This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian (see also Italian musical terms used in English), in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by â€Å"(Fr)† and â€Å"(Ger)†, respectively.Others are from languages such as Latin and Spanish. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms here. For a list of terms used in jazz, country, rock, and o ther popular music genres, see the Glossary of jazz and popular musical terms. Contents| A B C D E F G H I J K L M N O P Q R S T U V W Z References  Ã‚   External links| A a, a (Fr): at, to, by, for, in, in the style of†¦ * a 2: see a due in this list * a battuta: return to normal tempo after a deviation; same as ‘a tempo' * abbandonatamente, con abbandono: free, relaxed * aber (Ger): but * a bene placito: up to the performer * a cappella: in the manner of singing in a chapel; i. e. , without instrumental accompaniment * accarezzevole: expressive and caressing * accelerando, accel. : accelerating; gradually increasing the tempo * accent: emphasize, make a particular part more important * accentato/accentuato: accented; with emphasis acceso: ignited, on fire * acciaccato: broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top. * acciaccatura: crushing; i. e. , a very fast grace note that is â€Å"crushed† agains t the note that follows and takes up no value in the measure * accompagnato: accompanied; i. e. , with the accompaniment following the soloist, who may speed up or slow down at will * adagietto: rather slow * adagio: at ease; i. e. , play slowly * adagissimo: very, very slow ad libitum (commonly ad lib; Latin): at liberty; i. e. , the speed and manner of execution are left to the performer * a due: intended as a duet; for two voices or instruments; together; two instruments are to play in unison after a solo passage for one of the instruments * affannato, affannoso: anguished * affettuoso, affettuosamente, or affectueusement (Fr): with affect (that is, with emotion); see also con affetto * affrettando: hurrying, pressing onwards * agile: swiftly * agitato: agitated al, alla: to the, in the manner of (al before masculine nouns, alla before feminine) * alla breve: in cut-time; two beats per measure or the equivalent thereof * alla marcia: in the style of a march * allargando: broadeni ng, becoming a little slower each time * allegretto: a little lively, moderately fast * allegretto vivace: a moderately quick tempo * allegrezza: cheerfulness, joyfulness * allegro: cheerful or brisk; but commonly interpreted as lively, fast * allegrissimo: very fast, though slower than presto all' ottava: â€Å"at the octave†, see ottava * als (Ger): than * alt (English) (also alt dom or altered dominant): a jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with altered upper extensions (e. g. , sharp 11th, flat 13th, etc. ). * altissimo: very high * alto: high; often refers to a particular range of voice, higher than a tenor but lower than a soprano * alzate sordini: lift or raise the mutes; i. e. , remove mutes * am Steg (Ger): at the bridge; i. . , playing a bowed string instrument near its bridge, which produces a heavier, stronger tone (see sul ponticello in this list) * amabile: amiable, pleasant * amoroso: loving * anacrusis: a note or notes that precede the first full bar; a pickup * andamento: used to refer to a fugue subject of above-average length * andante: at a walking pace; i. e. , at a moderate tempo * andantino: slightly faster than andante (but earlier it is sometimes used to mean slightly slower than andante) * angstlich (Ger. ): anxiously a niente: to nothing; an indication to make a diminuendo which fades to pppp * a nessuna cosa: to nothing; an indication to hold a fermata until it dies away (this only works with instruments which cannot sustain a note) * anima: feeling * animandosi: animated, lively * animato: animated, lively * antiphon: a liturgical or other composition consisting of choral responses, sometimes between two choirs; a passage of this nature forming part of another composition; a repeated passage in a psalm or other liturgical piece, similar to a refrain. 1] * apaise (Fr): calmed * a piacere: at pleasure; i. e. , the performer need not follow the rhythm strictly, for example in a cadenza * appassionato: passionately * appoggiatura also called a â€Å"leaning note†: one or more grace notes that take up some note value of the next full note. * a prima vista: Sight-read (lit. â€Å"at first sight†); i. e. , (to be) played or sung from written notation but without prior review of the written material * arco: the bow used for playing some string instrument; i. e. played with the bow, as opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction * arietta: a short aria * arioso: airy, or like an air (a melody); i. e. , in the manner of an aria; melodious * armonioso: harmoniously * arpeggio: like a harp; i. e. , the notes of the chords are to be played quickly one after another (usually ascending) instead of simultaneously. In music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise. Arpeggios are frequ ently used as an accompaniment.See also broken chord in this list. * arpeggiato: a way of playing a chord: starting with the lowest note, and with successively higher notes rapidly joining in. Sometimes the effect is reversed, so that the highest note is played first. * assai: very * assez (Fr): enough, sufficiently * a tempo: in time; i. e. , the performer should return to the main tempo of the piece (after an accelerando or ritardando, etc. ); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) * attacca: attack or attach; go straight on; i. e. at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause * Ausdruck (Ger): expression * ausdrucksvoll/mit Ausdruck(Ger): expressively, with expression * avec (Fr): with or with another B * B: German for B flat (also in Swedish, Finnish, Icelandic, Danish and Croatian); H in German is B natural * barbar o: barbarous (notably used in Allegro barbaro by Bela Bartok) * Bartok pizzicato: a term which instructs string performers to play a pizzicato note to pull the string away from the fingerboard so that it snaps back percussively on the fingerboard. bass: the lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony; in an orchestral context, the term usually refers to the double bass. * basso continuo: continuous bass; i. e. , a bass part played continuously throughout a piece to give harmonic structure, used especially in the Baroque period * battement (Fr. ): used in the 17th-century to refer to ornaments consisting of two adjacent notes, uch as trills or mordents * beat: (1) the pronounced rhythm of music; (2) one single stroke of a rhythmic accent * bellicoso: warlike, aggressive * ben or bene: well; in ben marcato (â€Å"well marked†) for example * bend: jazz term referring either to establishing a pitch, sliding down half a step and returning to the original pitch or sliding up half a step from the original note. * beschleunigte (Ger): accelerated, as in mit beschleunigter Geschwindigkeit, at an accelerated tempo * bewegt (Ger): moved, with speed binary: a musical form in two sections: AB * bird's eye: a slang term for fermata, which instructs the performer to hold a note or chord as long as they wish * bis (Lat): twice; i. e. , repeat the relevant action or passage * bisbigliando: whispering; i. e. , a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume * bocca chiusa: with closed mouth * bravura: boldness; as in con bravura, boldly * breit (Ger): broad * bridge: Transitional passage connecting two sections of a composition, also transition.Also the part of a stringed instrument that holds the strings in place and transmits their vibrations to the resonant body of the instrument. * brillant e: brilliantly, with sparkle * brio: vigour; usually in con brio * brioso: vigorously (same as con brio) * broken chord: A chord in which the notes are not all played at once, but in some more or less consistent sequence. They may follow singly one after the other, or two notes may be immediately followed by another two, for example. See also arpeggio in this list, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass. bruscamente: brusquely C * cadenza: a solo section, usually in a concerto or similar work, that is used to display the performer's technique, sometimes at considerable length * calando: falling away, or lowering; i. e. , getting slower and quieter; ritardando along with diminuendo * calore: warmth; so con calore, warmly * cambiare: to change; i. e. , any change, such as to a new instrument * canto:chorus; choral; chant * canon or kanon (Ger): a theme that is repeated and imitated and built upon by other instruments with a time delay , creating a layered effect; see Pachelbel's Canon. cantabile or cantando: in a singing style * capo: 1. Capo: a key-changing device for guitars and banjos; 2. head; i. e. the beginning (of a movement, normally). * capriccioso: capriciously, unpredictable, volatile * cedez (Fr): yield, give way * cesura or caesura (Latin form): break, stop; i. e. , a complete break in sound (sometimes nicknamed â€Å"railroad tracks† in reference to their appearance) * chiuso: closed; i. e. , muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) * coda: a tail; i. e. a closing section appended to a movement * codetta: a small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement * col, colla: with the (col before a masculine noun, colla before a feminine noun); (see next for example) * colla parte: with the soloist; as an instruction in an orchestral score or part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo performer (usually for a short passage) * colla voce: with the voice; as an instruction in a choral music/opera score or orchestral part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo singer (usually for a short passage) * col legno: with the wood; i. e. , the strings (for example, of a violin) are to be struck with the wood of the bow, making a percussive sound; also battuta col legno: beaten with the wood * coloratura: coloration; i. e. , elaborate ornamentation of a vocal line, or (especially) a soprano voice that is well-suited to such elaboration * colossale: tremendously col pugno: with the fist; i. e. , bang the piano with the fist * come prima: like the first (time); i. e. , as before, typically referring to an earlier tempo * come sopra: as above; i. e. , like the previous tempo (usually) * common time: the time signature 4/4: four beats per measure, each beat a quarter note (a crotchet) in length. 4/4 is often written on the musical staff as . The symbol is not a C as an abbreviation for common time, but a broken circle; the full circle at one time stood for triple time, 3/4. * comodo (or, commonly but less correctly, commodo): comfortable; i. e. , at moderate speed; also, allegro comodo, tempo comodo, etc. con: with; used in very many musical directions, for example con allegrezza (with liveliness), con amore (with tenderness); (see also col, colla, above) * con affetto: with affect (that is, with emotion) * con amore, or (in Spanish and sometimes in Italian) con amor: with love, tenderly * con anima: with feeling * con brio: with spirit, with vigour * con dolore: with sadness * con forza: with force * con (gran, molta) espressione: with (great, much) expression * con fuoco: with fire, in a fiery manner * con larghezza: with broadness; broadly * con moto: with motion * con somma passione: with great passion * con slancio: with enth usiasm * con spirito: with spirit; with feeling con sordina, or con sordine (plural): with a mute, or with mutes; several orchestral instruments can have their tone muted with wood, rubber, metal, or plastic devices (for string instruments, mutes are clipped to the bridge, and for brass instruments, mutes are inserted in the bell); compare senza sordina in this list (which instructs the musicians to remove their mutes); see also Sordino. Note: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music. * con sordino, or con sordini (plural) (incorrect Italian): see con sordina, above * con variazioni: with variations/changes conjunct: an adjective applied to a melodic line that moves by step (intervals of a 2nd) rather in disjunct motion (by leap). * contralto: * contrapuntalism: see counterpoint * coperti (plural of coperto, which may also be seen): covered; i. e. , on a drum, muted with a cloth * crescendo: growing; i. e. , progressively louder (contrast diminuendo) * cuivre: brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivre automatically[1] * cut time: Same as the meter 2/2: two half-note (minim) beats per measure. Notated and executed like common time (4/4), except with the beat lengths doubled. Indicated by . This comes from a literal cut of the symbol of common time.Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve. D * da capo: from the head; i. e. , from the beginning (see capo in this list) * D. S. : Dal Segno, from the sign () * D. S. al fine or dal segno al fine: from the sign to the end; i. e. , return to a place in the music designated by the sign and continue to the end of the piece * D. S. S. al coda or dal segno al coda: same as D. S. al coda, but with a double segno * D. S. S. al fine or dal segno al fi ne: from the double sign to the end; i. e. , return to place in the music designated by the double sign (see D. S. al coda) and continue to the end of the piece * deciso: decisively decelerando: slowing down; decelerating; opposite of accelerando (same as ritardando or rallentando) * decrescendo or decresc. : same as diminuendo or dim. (see below) * deest: from the Latin deesse meaning absent; placed after a catalogue abbreviation to indicate that this particular work does not appear in it. [2] The plural,desunt is used when referring to several works. * delicatamente or delicato: delicately * detache: act of playing notes separately * devoto: religiously * diminuendo, dim. : dwindling; i. e. , with gradually decreasing volume (same as decrescendo) * disjunct: an adjective applied to a melodic line which moves by leap (intervals of more than a 2nd) as opposed to conjunct motion (by step) * dissonante: dissonant divisi or div. : divided; i. e. , in a part in which several musicians n ormally play exactly the same notes they are instead to split the playing of the written simultaneous notes among themselves. It is most often used for string instruments, since with them another means of execution is often possible. (The return from divisi is marked unisono: see in this list. ) * doit: jazz term referring to a note that slides to an indefinite pitch chromatically upwards. * dolce: sweetly * dolcissimo: very sweetly * dolente: sorrowfully, plaintively * dolore: pain, distress, sorow, grief * doloroso: sorrowfully, plaintively * doppio movimento: twice as fast double stop: the act of playing two notes simultaneously on a melodic percussion instrument or string instrument * downtempo: a slow, moody, or decreased tempo or played or done in such a tempo. It also refers to a genre of electronic music based on this (downtempo). * drammatico: dramatically * drop: jazz term referring to a note that slides to an indefinite pitch chromatically downwards. * Dur (Ger): major; u sed in key signatures as, for example, A-Dur (A major), B-Dur (B? major), or H-Dur (B major). (See also Moll (minor) in this list. ) * duolo: (Ital) grief * dumpf (Ger): dull * dynamics: the relative volume in the execution of a piece of music E * e (Ital), or ed (Ital – used before vowels): and eco: the Italian word for â€Å"echo†; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect * ein wenig (Ger): a little * Empfindung (Ger): feeling * encore (Fr): again; i. e. , perform the relevant passage once more * en dehors (Fr): prominently * energico: energetic, strong * enfatico: emphatically * en pressant (Fr): hurrying forward * en retenant (Fr): slowing * eroico: heroically * espansivo: effusive; excessive in emotional expression; gushy. * espirando: expiring; i. e. , dying away * espressione: expressively * espressivo or espr. : expressively * estinto: extinct, extinguished; i. e. , as soft as possible, lifeless, barely audible * etwas (Ger): somewhat F facile: easily, without fuss * fall: jazz term describing a note of definite pitch sliding downwards to another note of definite pitch. * falsetto: vocal register above the normal voice * fermata: finished, closed; i. e. , a rest or note is to be held for a duration that is at the discretion of the performer or conductor (sometimes called bird's eye); a fermata at the end of a first or intermediate movement or section is usually moderately prolonged, but the final fermata of a symphony may be prolonged for twice its printed length or more for dramatic effect. * feroce: ferociously * feurig (Ger): fiery * festivamente: cheerfully, celebratory * fieramente: proudly fill (English): a jazz or rock term which instructs performers to improvise a scalar passage or riff to â€Å"fill in† the brief time between lyrical phrases, the lines of melody, or between two sections * fine: the end, often in phrases like al fine (t o the end) * flat: a symbol (? ) that lowers the pitch of a note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too low. * flautando (may also appear as flautendo): flutelike; used especially for string instruments to indicate a light, rapid bowing over the fingerboard * flebile: mournfully * focoso or fuocoso: fiery; i. e. , passionately * forte or f (usually): strong; i. e. , to be played or sung loudly * fortepiano or fp (usually): strong-gentle; i. e. , 1. loud, then immediately soft (see dynamics), or 2. n early pianoforte * fortissimo or ff: very loud (see note at pianissimo in this list) * fortississimo or fff: as loud as possible * forza  : musical force * forzando or fz: see sforzando in this list * freddo: cold(ly); hence depressive, unemotional * fresco: freshly * frohlich: lively, joyfully * fugue (Fr), fuga (Latin and Italia n): literally â€Å"flight†; hence a complex and highly regimented contrapuntal form in music. A short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses. * funebre: funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo. * fuoco: fire; con fuoco means with fire * furia: fury * furioso: furiously G * G. P. Grand Pause, General Pause; indicates to the performers that the entire ensemble has a rest of indeterminate length, often as a dramatic effect during a loud section * gaudioso: with joy * gemendo: groaningly * gentile: gently * geschwind (Ger): quickly * geteilt (Ger): See divisi * getragen (Ger): sustained * giocoso or gioioso: gaily * giusto: strictly, exactly, e. g. tempo giusto in strict time * glissando (simulated Italian[citation needed]): a continuous sliding from one pitch to another (a true glissando), or an incidental scale ex ecuted while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento in this list. * grandioso: grandly * grave: slowly and seriously * grazioso: gracefully gustoso: with happy emphasis and forcefulness H * H: German for B natural; B in German means B flat * Hauptstimme (Ger): main voice, chief part; i. e. , the contrapuntal line of primary importance, in opposition to Nebenstimme * hemiola (English, from Greek): the imposition of a pattern of rhythm or articulation other than that implied by the time signature; specifically, in triple time (for example in 3/4) the imposition of a duple pattern (as if the time signature were, for example, 2/4). See Syncopation. * hervortretend (Ger): prominent, pronounced * Homophony: A musical texture with one voice (or melody line) accompanied by chords; also used as an adjective (homophonic).Compare with polyphony, in which several voices or melody lines are performed at the same time. I * immer (Ger): always * imperioso: imperiously * impetuoso: impetuously * improvvisando: with improvisation * improvvisato: improvised, or as if improvised * in altissimo: in the highest; i. e. , play or sing an octave higher * incalzando: getting faster and louder * innig: intimately, heartfelt * insistendo: insistently, deliberate * in modo di: in the art of, in the style of * intimo: intimately * intro: opening section * irato: angrily * -issimo: a suffix meaning ‘extremely', e. g. fortissimo or prestissimo * -issimamente: a suffix meaning ‘as†¦ as can be', e. g. leggerissimamente, meaning ‘as light as can be' J Jazz standard (or simply â€Å"standard†): a well-known composition from the jazz repertoire which is widely played and recorded. K * keyboardist (Eng)  : a musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or pop ular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. * kraftig (Ger): strongly * Klangfarbenmelodie (Ger): â€Å"tone-color-melody†, distribution of pitch or melody among instruments, varying timbre L * lacrimoso: tearfully; i. e. , sadly * laissez vibrer, l. v. Fr): allow the sound to continue, do not damp; used frequently in harp music, occasionally in piano or percussion. For percussion ; electric guitar, â€Å"let ring† is more common. [1] * lamentando: lamenting, mournfully * lamentoso: lamenting, mournfully * langsam (Ger): slowly * largamente: broadly; i. e. , slowly (same as largo) * larghetto: somewhat slowly; not as slow as largo * larghissimo: very slowly; slower than largo * largo: broadly; i. e. , slowly * leap (skip): a melodic interval greater than a major 2nd, as opposed to a step. Melodies which move by a leap are called â€Å"disjunct†. Octave leaps are not uncommon in flori d vocal music. * lebhaft (Ger): briskly, lively * legato: joined; i. e. smoothly, in a connected manner (see also articulation) * leggiero, leggiermente or leggiadro: lightly, delicately (The different forms of this word, including leggierezza, â€Å"lightness†, are properly spelled in Italian as legger- without the i. ) * leggierissimo: very lightly and delicately * lent (Fr): slowly * lentando: gradual slowing and softer * lentissimo: very slowly * lento: slowly * liberamente: freely * libero: free, freely * lilt: a jaunty rhythm * l'istesso: see lo stesso, below * loco: [in] place; i. e. , perform the notes at the pitch written, generally used to cancel an 8va or 8vb direction. In string music, also used to indicate return to normal playing position (see Playing the violin). 1] * long accent Hit hard and keep full value of note (>) * lontano: from a distance; distantly * lo stesso (or commonly, but ungrammatically, l'istesso): the same; applied to the manner of articulatio n, tempo, etc. * lo stesso tempo (or l'istesso tempo): the same tempo, despite changes of time signature * lugubre: lugubrious, mournful * luminoso: luminously * lunga: long (often applied to a fermata) * lusingando: coaxingly M * ma: but * ma non troppo: but not too much * maestoso: majestically, in a stately fashion * magico: magically * maggiore: the major key * magnifico: magnificent * main droite (French): [played with the] right hand (abbreviation: MD or m. d. * main gauche (French): [played with the] left hand (abbreviation: MG or m. g. ) * malinconico: melancholic * mancando: dying away * mano destra: [played with the] right hand (abbreviation: MD or m. d. ) * mano sinistra: [played with the] left hand (abbreviation: MS or m. s. ) * marcatissimo: with much accentuation * marcato, marc. : marked; i. e. , with accentuation, execute every note as if it were to be accented * marcia: a march; alla marcia means in the manner of a march * martellato: hammered out * marziale: martia l, solemn and fierce * massig (German): moderately (also: ma? ig) * MD: see mano destra and main droite * melancolico: melancholic melisma: the technique of changing the note (pitch) of a syllable of text while it is being sung * measure (US): also â€Å"bar† the period of a musical piece that encompasses a complete cycle of the time signature, e. g. , in 4/4 time, a measure has four quarter note beats * medesimo tempo: same tempo, despite changes of time signature * medley: piece composed from parts of existing pieces, usually three, played one after another, sometimes overlapping. * meno: less; see meno mosso, for example, less mosso * messa di voce: in singing, a controlled swell, i. e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period[1] * mesto: mournful, sad meter (or metre): the pattern of a music piece's rhythm of strong and weak beats * mezza voce: half voice; i. e. , with subdued or moderated volume * mezzo: half ; used in combinations like mezzo forte (mf), meaning moderately loud * mezzo forte: half loudly; i. e. , moderately loudly. See dynamics. * mezzo piano: half softly; i. e. , moderately softly. See dynamics. * mezzo-soprano: a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker vocal tone than sopranos, and their vocal range is between that of a soprano and that of an contralto. * MG: see main gauche * misterioso: mysteriously * mobile: flexible, changeable moderato: moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato * modere (Fr): moderately * modesto: modest * modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. * Moll (German): minor; used in key signatures as, for example, a-Moll (A minor), b-Moll (B? minor), or h-Moll (B minor) (see also Dur (major) in this list) * molto: very * morendo: dying; i. e. , dying away in dynamics, and perhaps also in tempo * mosso: moved, moving; used with a preceding piu or meno (see in this list), for faster or slower respectively * MS: see mano sinistra moto: motion; usually seen as con moto, meaning with motion or quickly * movement: a section of a musical composition (such as a sonata or concerto) * munter (German): lively * Mussete (Fr) a dance or tune of a drone-bass character, originally played by a musette * muta [in†¦ ]: Change: either a change of instrument, e. g. flute to piccolo, horn in F to horn in Bb; or a change of tuning, e. g. guitar muta 6 in D. Note: does not mean â€Å"mute†, for which con sordina or con sordino is used. [1] Muta comes from the Italian verb mutare (to change into something). N * narrante: narratingly * natural: a symbol (? ) that cancels the effect of a sharp or a flat (see in this list) * naturale or nat. : natural; i. e. discontinue a special effect, such as col legno, sul tasto, sul ponticello, or playing in harmonics * N. C. : no chord, written in the chord row of music notation to show there is no chord being played, and no implied harmony * Nebenstimme (Ger): secondary part; i. e. , a secondary contrapuntal part, always occurring simultaneously with, and subsidiary to, the Hauptstimme * nicht (Ger): not * niente: â€Å"nothing†, barely audible, dying away * nobile or nobilmente: in a noble fashion * nocturne (Fr): a piece written for the night * notes inegales (Fr): unequal notes; a principally Baroque performance practice of applying long-short rhythms to pairs of notes written as equal; see also swung note * notturno: same as nocturne (see above) number opera: an opera consisting of â€Å"numbers,† e. g. arias, intermixed with recitative O * obbligato: required, indispensable * octave: interval between one musical pitch and another with half or double its frequency. 12 sem itones equals an octave, so does the first and eighth (hence â€Å"oct†ave) note in a major or minor scale. * omaggio: homage, celebration * one-voice-per-part, or OVPP: the practice of using solo voices on each musical line or part in choral music. * ordinario, or ord. (It. ): in bowed string music, an indication to discontinue extended techniques such as sul ponticello, sul tasto or col legno, and return to normal playing. The same as â€Å"naturale†. organ trio: in jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often an electric guitar player and a drummer. * ossia or oppure: or instead; i. e. , according to some specified alternative way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff * ostinato: obstinate, persistent; i. e. , a short musical pattern that is repeated throughout an entire composition or portion of a composition * ottava: octave; e. g. ottava bassa: an octave lower P * parlando or parlante: like speech, enunciated * Partitur (Ger): full orchestral score * passionato: passionately pastorale: in a pastoral style, peaceful and simple * pausa: rest * pedale or ped: In piano scores, this instructs the player to press the damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells the organist that a section is to be performed on the bass pedalboard with the feet. * penseroso: thoughtfully, meditatively * perdendosi: dying away; decrease in dynamics, perhaps also in tempo * pesante: heavy, ponderous * peu a peu (Fr): little by little * pezzo: a composition * pianissimo or pp : very gently; i. e. , perform very softly, even softer than piano.This convention can be extended; the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo) would be softer than pp. Dynamics in a piece should be interpreted relative to the other dynamics in the same piece. For example, pp should be executed as softly as possible, but if ppp is found later in the piece, pp should be markedly louder than ppp. More than three ps (ppp) or three fs (fff) are uncommon. * piano or p (usually): gently; i. e. , played or sung softly (see dynamics) * piano-vocal score: the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar * piacevole: pleasant, agreeable * piangevole: plaintive * pietoso: pitiful, piteous * piu: more; see mosso for an example piuttosto: rather, somewhat; e. g. allegro piuttosto presto * pizzicato: pinched, plucked; i. e. , in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco (in this list), which is inserted to cancel a pizzicato instruction * pochettino or poch. : very little * poco: a little, as in poco piu allegro (a little faster) * poco a poco: little by litt le * poetico: poetic discourse * poi: then, indicating a subsequent instruction in a sequence; diminuendo poi subito fortissimo, for example: getting softer then suddenly very loud * pomposo: pompous, ceremonious * portamento: carrying; i. e. , 1. enerally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato, in this list * portato or loure: carried; i. e. , non-legato, but not as detached as staccato (same as portamento [2], in this list) * posato: settled * potpourri or pot-pourri (Fr): potpourri (as used in other senses in English); i. e. , a kind of musical form structured as ABCDEF†¦ etc. ; the same as medley or, sometimes, fantasia * precipitato: precipitately prelude or prelude (Fr): a musical introduction to subsequent movements during the Baroque era (1600's /17th century). It can also be a movement in its own right, which was more common in the Romantic era (mid 1700s/18th century) * prestissimo: extremely quickly, as fast as possible * presto: very quickly * prima volta: the first time; for example prima volta senza accompagnamento (the first time without accompaniment) * primo or prima (the feminine form): first Q * quarter tone: Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures. quasi (Latin and Italian): as if, almost, e. g. quasi recitativo like a recitative in an opera, or quasi una fantasia like a fantasia R * rallentando or rall. : Broadening of the tempo (often not discernible from ritardando); progressively slower * rapido: fast * rapide (Fr): fast * rasch (Ger): fast * ravvivando: quicken pace * recitativo: recita tively; one voice without accompaniment * religioso: religiously * repente: suddenly * restez (Fr): stay; i. e. , remain on a note or string * retenu (Fr): hold back; same as the Italian ritenuto (see below) * ridicolosamente: humorously, inaccurate, and loosely * rinforzando (rf, or rinf. ): reinforced; i. e. emphasized; sometimes like a sudden crescendo, but often applied to a single note * risoluto: resolutely * rit. : an abbreviation for ritardando;[3] also an abbreviation for ritenuto[4] * ritardando, ritard. , rit. : slowing down; decelerating; opposite of accelerando * ritenuto, riten. , rit. : suddenly slower, held back (usually more so but more temporarily than a ritardando, and it may, unlike ritardando, apply to a single note) * ritmico: rhythmical * ritmo: rhythm, e. g. ritmo di # battute meaning a rhythm of # measures * ritornello  : a recurring passage for orchestra in the first or final movement of a solo concerto or aria (also in works for chorus). * rolled chord: see arpeggiato in this list roulade (Fr): a rolling; i. e. , a florid vocal phrase * rondo: a musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA * rubato: robbed; i. e. , flexible in tempo, applied to notes within a musical phrase for expressive effect * ruhig (Ger): peaceful * run: a rapid series of ascending or descending musical notes which are closely spaced in pitch forming a scale * ruvido: roughly S * saltando: bouncing the bow as in a staccato arpeggio, literally means â€Å"jumping† * sanft (Ger): gently * scatenato: unchained, wildly[5] * scherzando, scherzoso: playfully scherzo: a light, â€Å"joking† or playful musical form, originally and usually in fast triple metre, often replacing the minuet in the later Classical period and the Romantic period, in symphonies, sonatas, string quartets and the like; in the 19th century some scherzi were independent movements for piano, etc . * schleppen (Ger): to drag; usually nicht schleppen (â€Å"don't drag†), paired with nicht eilen (â€Å"don't hurry†) in Gustav Mahler's scores * schnell (Ger): fast * schneller (Ger): faster * schwungvoll (Ger): lively, swinging, bold, spirited * schwer (Ger): heavy * scordatura: out of tune; i. e. , an alternative tuning used for the strings of a string instrument * scorrendo, scorrevole: gliding from note to note secco, or sec (Fr): dry * segno: sign, usually Dal Segno (see above) â€Å"from the sign†, indicating a return to the point marked by * segue: carry on to the next section without a pause * sehr (Ger): very * semitone: the smallest pitch difference between notes (in most Western music) (e. g. , F–F#) * semplice: simply * sempre: always * senza: without * senza misura: without measure * senza sordina, or senza sordine (plural): without the mute; compare con sordina in this list; see also Sordino. Note: sordina, with plural sordine, is strictl y correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music.In piano music (notably in Beethoven's Moonlight Sonata), senza sordini or senza sordina (or some variant) is sometimes used to mean keep the sustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely. * serioso: seriously * sforzando or sfz: made loud; i. e. , a sudden strong accent * shake: a jazz term describing a trill between one note and its minor third; or, with brass instruments, between a note and its next overblown harmonic. * sharp: a symbol (? ) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too high in pitch. * short accent: Hit the note hard and short . (^) si (Fr): seventh note of the series ut, re, mi, f a, sol, la, si, in fixed-doh solmization. * siciliana: a Sicilian dance in 12/8 or 6/8 meter[6] * sign: see segno * silenzio: silence; i. e. , without reverberations * simile: similarly; i. e. , continue applying the preceding directive, whatever it was, to the following passage * sipario: curtain (stage) * slargando or slentando: becoming broader or slower (that is, becoming more largo or more lento) * smorzando or smorz. : extinguishing or dampening; usually interpreted as a drop in dynamics, and very often in tempo as well * soave: smoothly, gently * sopra: above * sognando: dreamily solo break: a jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as â€Å"break†), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo. * solenne: s olemn * solo, plural soli: alone; i. e. , executed by a single instrument or voice. The instruction soli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony. * sonata: a piece played as opposed to sung. * sonatina: a little sonata sonatine: a little sonata, used in some countries instead of sonatina * sonore: sonorous * sonoro: ringing * soprano: the highest of the standard four voice ranges (bass, tenor, alto, soprano) * sordina, sordine (plural): a mute, or a damper in the case of the piano. Note: sordina, with plural sordine, is strictly correct Italian, but the forms sordino and sordini are much more commonly used as terms in music. See also con sordina, senza sordina, in this list. * sordino: see sordina, above * sortita: a principal singer's first entrance in an opera * sospirando: sighing * sostenuto: sustained, lengthened * sotto voce: in an undertone i. e. quietly * spianato: smooth, even * spiccato: distinct, sepa rated; i. e. a way of playing the violin and other bowed instruments by bouncing the bow on the string, giving a characteristic staccato effect * spinto: literally â€Å"pushed† * spiritoso: spiritedly * staccato: making each note brief and detached; the opposite of legato. In musical notation, a small dot under or over the head of the note indicates that it is to be articulated as staccato. * stanza: a verse of a song * stornello originally truly ‘improvised' now taken as ‘appearing to be improvised,' an Italian ‘folk' song, the style of which used for example by Puccini in certain of his operas. * strascinando or strascicante: indicating a passage should be played in a heavily slurred manner * strepitoso: noisy, forceful * stretto: tight, narrow; i. e. faster or hastening ahead; also, a passage in a fugue in which the contrapuntal texture is denser, with close overlapping entries of the subject in different voices; by extension, similar closely imitative p assages in other compositions * stringendo: gradually getting faster (literally, tightening, narrowing); i. e. , with a pressing forward or acceleration of the tempo (that is, becoming stretto, see preceding entry) * subito: suddenly (e. g. , subito pp, which instructs the player to suddenly drop to pianissimo as an effect) * sul E: â€Å"on E†, indicating a passage is to be played on the E string of a violin. Also seen: sul A, sul D, sul G, sul C, indicating a passage to be played on one of the other strings of a string instrument. * sul ponticello: on the bridge; i. e. in string playing, an indication to bow (or sometimes to pluck) very near to the bridge, producing a characteristic glassy sound, which emphasizes the higher harmonics at the expense of the fundamental; the opposite of sul tasto * sul tasto: on the fingerboard; i. e. , in string playing, an indication to bow (or sometimes to pluck) over the fingerboard; the opposite of sul ponticello. Playing over the fingerb oard produces a warmer, gentler tone. * sur la touche (Fr): sul tasto * syncopation: a disturbance or interruption of the regular flow of downbeat rhythm with emphasis on the sub-division or up-beat, e. g. in Ragtime music. T * tacet: silent; do not play tasto solo: ‘single key'; used on a continuo part to indicate that the notes should be played without harmony * tempo: time; i. e. , the overall speed of a piece of music * tempo di marcia: march tempo * tempo di sturb de neighbors[7] seen in Fats Waller's arrangement of Stardust * tempo di valse: waltz tempo * tempo giusto: in strict time * tempo primo, tempo uno, or tempo I (sometimes also written as tempo I ° or tempo 1ero): resume the original speed * tempo rubato, means â€Å"robbed time†; an expressive way of performing a rhythm; see rubato * teneramente: tenderly * tenerezza: tenderness * tenor: the second lowest of the standard four voice ranges (bass, tenor, alto, soprano) * tenuto: held; i. e. , touch on a n ote slightly longer than sual, but without generally altering the note's value * ternary: having three parts. In particular, referring to a three-part musical form with the parts represented by letters: ABA * tessitura: the ‘best' or most comfortable pitch range, generally used to identify the most prominent / common vocal range within a piece of music * Tierce de Picardie: see Picardy third * timbre: the quality of a musical tone that distinguishes voices and instruments * time: in a jazz or rock score, after a rubato or rallentendo section, the term â€Å"time† indicates that performers should return to tempo (this is equivalent to the term â€Å"a tempo†) * tosto: rapidly * tranquillo: calmly, peacefully * tremolo: shaking; i. e. a rapid repetition of the same note, or an alternation between two or more notes (often an octave on the piano). String players perform tremolo with the bow by rapidly moving the bow while the arm is tense. It can also be intended (in accurately) to refer to vibrato, which is a slight undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes). * tre corde or tc (or sometimes inaccurately tre corda): three strings; i. e. , release the soft pedal of the piano (see una corda) * triplet (shown with a horizontal bracket and a ‘3'): Three notes in the place of two, used to subdivide a beat. * tronco, tronca: broken off, truncated troppo: too much; usually seen as non troppo, meaning moderately or, when combined with other terms, not too much, such as allegro [ma] non troppo (fast but not too fast) * tutti: all; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutt i. See also: ripieno. U * un, uno, or una: one, as for example in the following entries * una corda: one string; i. e. , in piano music, depress the soft pedal, altering, and reducing the volume of, the sound. In some pianos, this literally results in the hammer striking one string rather than two or three. For most notes on modern instruments, in fact it results in striking two rather than three strings. ) Its counterpart, tre corde (three strings; see in this list), is the opposite: the soft pedal is to be released. * un poco: a little * unisono or unis (Fr): in unison; i. e. , several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves. Often used to mark the return from divisi (see in this list). * uptempo: a fast, lively, or increased tempo or played or done in such a tempo. [8] It is also used as an umbrella term for a quick-paced electronic music style. * ut (Fr): first note of the series ut, re, mi, fa, sol, la, si, in fixed-doh solmization. V vagans: the fifth part in a motet, named so most probably because it had no specific range * vamp till cue: a jazz, fusion, and musical theatre term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or â€Å"groove† until the band leader or conductor instructs them to move onto the next section * veloce: with velocity * velocissimo: as quickly as possible; usually applied to a cadenza-like passage or run * vibrato: vibrating; i. e. , a more or less rapidly repeated slight alteration in the pitch of a note, used to give a richer sound and as a means of expression. Often confused with tremolo, which refers either to a similar variation in the volume of a note, or to rapid repetition of a single note. via: away, out, off; as in via sordina or sordina via: ‘mute off' * vif (Fr): quickly, lively * vite (Fr): fast * vittorioso: victoriously * virtuoso: (noun or adjective) perform ing with exceptional ability, technique, or artistry * vivo: lively * vivace: very lively, up-tempo * vivacissimo: very lively * vocal score or piano-vocal score: a music score of an opera, or a vocal or choral composition with orchestra (like oratorio or cantata) where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano * vivamente: quickly and lively * voce: voice * volante: flying * V. S. (volti subito): turn suddenly; i. e. , turn the page quickly.While this indication is sometimes added by printers, it is more commonly indicated by orchestral members in pencil as a reminder to quickly turn to the next page. W * wenig (Ger): a little, not much * wolno (Polish): loose, slowly; found as a directive in The Elephant from The Carnival of the Animals by Saint-Saens Z * Zahlzeit (Ger): beat * zart (Ger): tender * Zartheit (Ger): tenderness * zartlich (Ger): tenderly * Zeichen (Ger): sign * Zeitma? , also spelled Zeitma ss (Ger): time-measure, i. e. , tempo * zelo, zeloso, zelosamente: zeal, zealous, zealously * ziehen (Ger): to draw out * ziemlich (Ger): fairly, quite, pretty, or rather * zitternd (Ger): trembling; i. e. , tremolando * zogernd (Ger): doubtful, delaying; i. e. rallentando * zuruckhalten (Ger): hold back See also | Music portal| References 1. ^ a b c d e f Collins Music Encyclopedia, 1959. 2. ^ About the word deest 3. ^ musicdictionary; Merriam-Webster Online Dictionary; American Heritage Dictionary, 4th edition; Gardner Read, Music Notation, 2nd edition, p. 282. 4. ^ Dolmetsch Online, â€Å"Tempo†; Oxford American Dictionary; Collins English Dictionary. 5. ^ Carl Orff, Carmina Burana 6. ^ Definition of Siciliano at Dictionary. com 7. ^ Scivales, Riccardo (2005). Jazz Piano: The Left Hand. Ekay Music, Inc.. ISBN  1-929009-54-2. Retrieved 2011 April 16. 8. ^ â€Å"uptempo† at Oxford Dictionaries Online External links Interpretations of Jazz Band Literature, musical te rms used in jazz * Virginia Tech Multimedia Music Dictionary (contains audio samples) * Choral Conducting Terms * Classical musical terms * Musical Terms Dictionary Definitions [show] * v * t * eMusic| | Help improve this page What's this? ————————————————- Top of Form Did you find what you were looking for? 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