| G flat |  |
| sol bemolle (Italian), Ges (German), sol bémol (French), the flattened fifth degree of the scale of C major, which in 'fixed do' solfeggio is called se |
|
| G flat major |
 | the key of 'G flat major' |
|
 | | the scale of 'G flat major' |
|
| G flat minor | the key of 'G flat minor', enharmonically equivalent to the key of 'F sharp minor' |
| G gamut | the G that lies on the first (i.e. lowest) line of the bass clef |
| Ghaita | or rhaita, North-African double-reeded shawm |
|
| Ghangla | from Nepal, bells tied around the waist that sound in response to a dancer's movements (but not necessarily with the music's beat). They fulfill a major function in religious ceremonial dances |
- Ghangla from which this extract has been taken
|
| Ghani | village oil mill |
| Ghanti | hand-bells used by Hindu priests |
|
| Gharana | a concept peculiar to Hindustani classical music, gharana is comparable to a style or school of dance or music (vocal/ instrumental). The names of gharanas are almost always derived from the city, district or state that the founder lived in, for example Kirana, Gwalior, Agra, Rampur, Malhar, Jaipur, Patiala, Baroda, and so on. Various gharanas adopted their own particular approach to presentation, technique and repertoire |
| Gharana gayakee | authentic style of singing following a specific gharana |
| Gharenadar | a musician belonging to a traditional Hindustani school |
| Gharnati | an Algerian variety of Andalisian classical music that is popular also in Rabat and Oujda (Morocco). It is arranged in nuba like al-âla. There are sixteen nuba surviving, twelve complete and four incomplete. Gharnati orchestras consist of kvîtra, mandolin, banjo, oud and kamenjah |
| Gharry | (Hindi) an Indian carriage |
| Ghatam | South Indian clay pot drum |
| Ghab | Egyptian flute |
| Ghanaian hip hop | |
| Ghat | (Hindi) or ghaut, a mountain pass, a flight of steps leading to the water's edge |
| Ghatam | an ancient percussion instrument from Southern India, the ghatam is a mud pot with a narrow mouth. From this narrow mouth, it shapes itself outwards to form a ridge. Primarily made of clay fired with brass or copper filings with some small amount of iron filings, the ghatam's size varies according to pitch. In addition the pitch can be altered to a small degree by the application of plasticine, clay or water. The ghatam is placed on the lap of the performer, with the instrument's mouth facing the belly. The artiste uses his fingers (including thumbs), his palms, and occasionally, even the fingernails to produce various sounds. Sometimes, the ghatam is turned around so that the mouth faces the audience, and the player is able to play more readily on the neck of the instrument |
| Ghaval | an Azerbaijani frame drum with jingles |
| Ghawazee | female Egyptian gypsy dancer |
| Ghazal | a form of lyrical poetry, Persian in origin, that deals with themes of unrequited love and longing, this light classical Indian music form has been latterly associated with popular music of Muslim Northern India and the Urdu language |
|
| Ghee | clarified bitter |
| Ghetto (s.), Ghetti (pl.) | (Italian m.) a Jewish quarter (although now applied to any community restricted to a district, or to a mentality or state of mind that is thought to have been induced by living in such a district) |
| Ghetto house | also called 'booty house' or 'Juke house', a type of Chicago House which started being recognised in its own right from around 1992 onwards. It features minimal 808 and 909 drum machine-driven tracks, and sometimes sexually explicit lyrics |
|
| Ghettotech | a form of electronic dance music based in Detroit that combines Chicago's ghetto house, electro, hip-hop, techno, and grafts the perceived raunch of Miami Bass as the vocal stamp of the music. It is usually faster than average dance music at roughly 145 to 170 bpm |
|
| Ghichak | Afghan bowed string instrument |
| Ghijak | one of the most ancient Uzbeck stringed instrument whose round body covered with tight leather was traditionally made of coconut. The sound of the ghijak resembles that of a violin. It is played vertically on the knee and the sound is produced with the help of special bow-kamon |
| Ghijghe | archaic name for the fiddle |
| Ghiribizzo (s.), Ghiribizzi (pl.) | (Italian m.) caprice, fancy, humour, whim |
| in music, unexpected skip or fantastical passage |
| ghiribizzoso | (Italian) capricious, fantastical, humorous, whimsical |
| Ghironda | (Italian f.) hurdy gurdy, Drehleier (German), Radleier (German), Leier (German), vielle à roue (French) |
| Ghittern | archaic name for the cittern |
| Ghost | someone who 'covers' for another, thus, a 'ghost-writer' actually writes a book, play or article for another who actually receives credit for the result (for example, many 'so-called' celebrity autobiographies), a singer who provides the 'singing voice' for an actor in a film production (see, for example, Kathy Seldon in the film 'Singing in the Rain') |
| Ghost light | the safety light left on overnight when a stage is not in use |
| Ghost note | or 'dead note', a note is implied in a musical phrase although either not played or otherwise played only faintly for effect |
| the term ghost note can have various meanings and the term anti-accent is probably more specific. Moreover, there exists a set of anti-accent marks. Percussion music, in particular, makes use of anti-accent marks: |
| slightly softer than surrounding notes | u (breve) |
| significantly softer than surrounding notes | ( ) (note head in parentheses) |
| much softer than surrounding notes | [ ] (note head in brackets) |
|
|
| Ghungru | or ghungroo, ankle rattles from India and Sri Lanka, typically used in kathak, bharatanatyam and other classical dances |
| see cap |
|
|
| Gia | after Remo Giazotto, the cataloguer of music by Tomaso Albinoni (1671-1750) and Giovanni Battista Viotti (1755-1824) |
| giacoso | (Italian) play in a merry, lighthearted manner |
| Giallo | (Italian m.) yellow |
| (Italian) an Italian twentieth-century genre of literature and film. It is closely related to the French fantastique genre, crime fiction, horror fiction and eroticism. The term is also used to mean an example of the genre, in which case it can take the Italian plural gialli. The word giallo is a reference to the genre's origin in paperback novels with yellow covers |
- Giallo from which this extract has been taken
|
| Giallo antico | (Italian m.) a rich yellow marble found among Roman ruins in Italy |
| giambico | (Italian) iambisch (German), iambic, iambique (French), yámbico (Spanish) |
| Giambo | (Italian m.) iambus, Jambus (German m.), iambe (French m.), yambo (Spanish m.) |
| Giant steps | a term coined by jazz musician John Coltrane (1926-1967) for 'augmented 2nds' |
| gicheroso | (Italian) merry, playful |
| Gidayu | the most famous and perhaps most demanding of Japanese narrative styles, named after Takemoto Gidayu (1651-1714), who was involved in bunraku puppet-theatre in Osaka |
| Gidayu shamisen | the largest of the shamisen family, used for gidayu, whose tradition is but little notated in books (maruhon) except for the texts and the names of certain appropriate generic shamisen responses. The shamisen player must be fully conversant with the entire work in order to respond effectively to the interpretations of the text by the singer-narrator |
| Gie | after Franz Giegling, the cataloguer of music by Giuseppe Torelli (1658-1709) |
| gießen | (German) to cast, shape (molten metal, etc.) in a mould |
| Gießform | (German f.) a mould, a pattern, a casting mould |
| Gifted, Musically | the Kaufman Center provides an education for musically gifted children that combines a highly structured music curriculum with a standards-based academic program. The music curriculum at the Special Music School lays the foundation for the pursuit of a career in music without compromising academics. To the question "What do you look for when you seek children who are musically gifted?", they answer "We look for many things, including accurate pitch, good rhythm, musical memory and engagement in music." |
"After a brilliant performance, the audience gave the pianist, obviously a genius, a standing ovation. Critics called the performance brilliant .... The truly amazing thing was that the performer, although called a genius by the experts, was both blind and mentally retarded: unable to read a note of music, unable to read or write, even unable to feed himself properly."
[Bergman, J. & DePue, W. (1986) Musical idiot savants. Music Educators Journal, 72 (5), 37-40] |
| Winner, E. & Martino, G. (1993) Giftedness in the visual arts and music discusses early signs of musical giftedness: |
| interest in musical sounds |
| musical memory |
| perfect pitch |
| sight-reading |
| skill in performing on an instrument |
| musical generativity: ability to transpose, improvise, and compose |
| capacity for multiple representation of musical relations |
| capacity for sustained concentration |
| self-discipline and compliance |
| the musical prodigy's 'midlife crisis' |
| the role of family and teachers |
| correlations between musical ability and other abilities |
| procedures for identifying musically gifted children |
| high musical ability in average children as a function of instruction: the example of Suzuki |
| "savant" musicians |
| relation between early musical giftedness and adult musicianship |
|
- TalentEd from which the Bergman & Depue and Winner & Martino quotations were taken
- Gifted
|
| Gig | synonymous with 'jig' |
| (English, German m.) in jazz and popular music generally, a musical job whether at a club, record date, party or festival |
| Giga | (Italian f.) derived from the English jig but quicker than the French gigue, the Italian giga was most commonly written in 12/8 time, with the beats grouped in 3s in the ratio 2:1 (for example, in 12/8, crotchet, quaver, crotchet, quaver, crotchet, quaver, crotchet, quaver) |
| (Spanish f.) jig |
| Gigaku | (Japanese) also called kure-gaku, the dominant style of ancient Japanese music for the popular dances and pantomimes of southern China and northern Indochina that were imported into Japan |
|
| Gig bag | a soft, light and cheap padded bag used to carry brass, woodwind and stringed instruments, but particularly guitars
[corrected by Tom Hobbs] |
| Gigelira | (Italian f.) xylophone, Strohfiedel |
| Gigg | synonymous with 'jig' |
| Gigge | synonymous with 'jig' |
| Gighardo | (Italian) a sort of jig |
| Gigliera | the guitarist Mrs Sidney Pratten (born 1840) wrote an instruction book for this instrument. It is made of wood and straw |
| Gigolo | (French) a professional (male) dancing partner, a paid male escort |
| Gigue | (French f., German f.) imported into France during the seventeenth century, the English 'jig' developed into the French gigue, a moderate to quick, triple or compound duple meter dance that became one of the standard movements in the Baroque suite |
| a medieval instrument similar to the violin, related to the German geige |
| Gijak | Chinese fiddle made from walnut wood |
| Gilet | (French) in ballet, a bodice shaped like a man's waistcoat |
| Giligilipi | (India) small kettle drum connected to stick by a string which extends from the center of the drumhead, a paper attached to a piece of unglazed, bowl-shaped pottery. The player holds the stick and twirls the drum in the air. The friction produced by the stick and thread when twirled is transmitted to the drumhead and a squeaky sound is produced |
|
| Gillie | (Gaelic) a servent of a Highland chief (now a servant who accompanies a sportman in the Scottish Highlands) |
| Gilo stones | (Solomon Islands, Pacific) an instrument created by striking certain stones with bamboo sticks of varying lengths, producing sounds like running water |
| Gimbri | a large long-necked lute, like the ngoni, played by the mystic Gnawa (Gnaoua) Sufi brotherhood of Morocco |
| Gimel | see 'gymel' |
| Ginebra | see arrabel |
| Ginglarus | a small Egyptian flute |
| Ginocchio | (Italian m.) knee |
| Gintang | zither from India |
|
| giochevole | (Italian) playful, merry, jocose |
| giochevolment | (Italian) playfully, merrily |
| Gioco | (Italian m.) or giuoco, game, play, joke |
| Gioco d'azzardo | (Italian m.) game of chance, game of skill |
| giocolarmente | (Italian) playfully, joyously |
| giocondamente | (Italian) playfully, joyously |
| giocondo (m.), gioconda (f.) | (Italian) jocose, cheerful, merry |
| giocondoso | (Italian) jokingly, humorously, cheerfully, merrily |
| giocosamente | (Italian) joyfully, humorously, merrily |
| Gioco scherzo | (Italian m.) joke |
| giocoso (m.), giocosa (f.) | (Italian) humorous, merry, playful |
| Gioia | (Italian f.) joy, mirth |
| gioioso | (Italian) joyfully, mirthfully |
| Gioja | (Italian f.) joy, mirth, gladness |
| giojante | (Italian) blithe, joyful, mirthful |
| giojosamente | (Italian) joyfully, merrily, mirthfully |
| giojoso | (Italian) joyful, mirthful |
| Giong | giong are Vietnamese stamping tubes that are usually played in pairs. They are made of large bamboo pipes open on one end, which are struck on the ground or on a stone to produce a low percussive sound. The pitch is determined by the length and size of the pipe. They are native to the highland regions of Vietnam where, it is said, they were derived from sticks used for digging. Stamping tubes are found throughout South East Asia, Oceania, and in parts of Africa |
| gioviale | (Italian) jovial, pleasant, merry, cheerful |
| giovialità | (Italian) gaiety, joviality |
| Gipfel | (German m.) summit, top, peak (figurative) |
| Gipfelkonferenz | (German f.) summit conference |
| gipfeln | (German) culminate (in) |
| Gips | (German m.) plaster |
| Gipsabdruck | (German m.) plaster cast |
| Gipser | (German m.) plasterer |
| Gipsverband | (German m.) plaster cast (medical) |
| Giradischi | (Italian m.) record player |
| Giraffe | a term applied to varieties of upright spinet and piano |
|
| Giraffenflügel | (German m.) giraffe piano |
| Girandole | (French) a branched support for candles, or other lights, in the form of a wall bracket (although sometimes free-standing) |
| Giratondo | a children's game from Lucca, similar to the English Ring Around the Roses |
| Giri | Ghanaian xylophone |
| Girlande | (German f.) garland |
| Girl group | a musical group featuring a group consisting usually of young female singers, singing mostly pop and R & B songs. It is essentially the female equivalent of a boy band |
|
| Giro di parole | (Italian m.) circonlucozione (Italian f.) circumlocution, Weitschweifigkeit (German f.), Umschreibung (German f.), circonlocution (French f.), circunloquio (Spanish m.) |
| Gis, gis |  | | (German n., Dutch) the note 'G sharp' |
|
| Gischt | (German m./f.) spray |
| Gis-Dur | (German n.) the key of 'G sharp major', enharmonically equivalent to the key of 'A flat major' |
| Gisis, gisis |  | | (German n.) the note 'G double sharp' |
|
| gis-Moll |  | (German n.) the key of 'G sharp minor' |
|
| Git | abbreviation of Gitarre (German: guitar - guitare (French)) |
| Gita | the ‘Celestial Song’, a Hindu scriptural work in Sanskrit verse, composed some centuries before the Christian era, in which Sri Krishna sums up the essence of Hindu religion and philosophy |
| Gitarr | (Swedish, Dutch) guitar |
| Gitarre | (German f.) guitar |
| Gitarrist (m.), Gitarristin (f.) | (German) guitarist |
| Gitan (m.), Gitane (pl.) | (French) gipsy |
| Gitana | (Italian f., Spanish f.) a gipsy dance |
| Gitano (m.), Gitana (f.) | (Italian, Spanish) gipsy |
| Gitarre | (German f.) guitar, chitarra (Italian), guitare (French), guitarra (Spanish) |
| Gittarone | an acoustic bass guitar |
| Gitter | (German n.) bars, railings, grille, wire screen |
| hinter Gillern (German: behind bars) |
| Gitternetz | (German n.) grid |
| Gittern | an early form of guitar with four pairs of gut strings |
| we must be careful not to assume that before the sixteenth century the terms guitarra, chitarra, guiterne, gittern, etc., meant what they came to mean in later centuries, i.e. guitar, because this was not always the case. Laurence Wright, in his brilliant and highly original article The Medieval Gittern and Citole: A Case of Mistaken Identity, has shown that these terms (guitarra, chitarra, gittern, etc.), often meant not a guitar at all, but the tiny treble lute which, in the sixteenth century, became known as the mandora |
|
| Gittith | (Hebrew) it is mentioned in the titles of Psalms 8:1 81:1 84:1, and from the name, it is believed that David brought it from Gath. Others have concluded that it is a general name for a string instrument |
| giú | (Italian) down (as in down-bow) |
| giubbiloso | (Italian) jubilant, exulting |
| giubilante | (Italian) jubilant, joyful |
| Giubilazione | (Italian f.) rejoicing, jubilation |
| giubilio | (Italian) rejoicing, jubilation |
| giubilo | (Italian) rejoicing, jubilation |
| giubiloso | (Italian) jubilant, joyful |
| giucante | (Italian) giojante |
| giuchevole | (Italian) giojante |
| Giuditta | (Italian f.) Judith |
| giudiziale | (Italian) judicial |
| giudiziario | (Italian) judiciary, judicial |
| Giudizio | (Italian m.) judgment, opinion, trial, verdict, decision, sentence, prudence, good sense |
| giudizioso | (Italian) judicious, sensible, wise |
| Giuggiolone | (Italian m.) great fool, dolt |
| Giugno | (Italian m.) June (month) |
| giugulare | (Italian) jugular |
| giulebbare | (Italian) to sweeten (a drink), to candy (fruit) |
| giulebbarsi | (Italian) to cherish |
| giulebbato | (Italian) candied |
| Giulia | (Italian f.) Julia |
| Giuliano | (Italian m.) Julian |
| Giuli Alpi | (Italian f. pl.) Julian Alps |
| Giulietta | (Italian f.) Juliet (for example, Romeo and Juliet) |
| Giulio | (Italian m.) Julius |
| Giulio Cesare (Italian: Julius Caesar) |
| giulivamente | (Italian) joyfully, lively |
| giulivissimo | (Italian) very joyful, very lively |
| giulivo | (Italian) joyful, joyous, cheerful, merry |
| Giullare | (Italian m.) jester, buffoon, strolling-singer |
| Giumella | (Italian f.) double handful |
| Giumenta | (Italian f.) mare (female horse) |
| Giumento | (Italian m.) beast of burden |
| Giunca | (Italian) junk (Chinese boat) |
| Giuncata | (Italian f.) junket |
| Giuncheto (m.), Guincaia (f.) | (Italian) bed of roses, reed-bed |
| Giuchiglia | (Italian f.) jonquil |
| Giunco (s.), Giunche (pl.) | (Italian m.) rush, reed |
| giungere | (Italian) to arrive, to join, to combine, to clasp (hands) |
| giungere a | (Italian) to reach, to overtake |
| Giungla | (Italian f.) jungle |
| Giunone | (Italian f.) Juno (mythology) |
| Giunta | (Italian f.) addition, increase, surplus, overweight, appendix, start, junta, committee, council, examination-board |
| giuntare | (Italian) to join, to sew together, to overreach (figurative), to cheat, to swindle |
| Giunteria | (Italian f.) fraud, cheating, swindling |
| Giuntina | (Italian f.) edition of the Giunti press (Florence) |
| Giunto | (Italian m.) joint, coupling, clutch (car) |
| giunto | (Italian) added, joined, clasped, arrived |
| Giuntura | (Italian f.) joint, juncture |
| Giunzione | (Italian f.) joint, junction |
| giuocante | (Italian) playful |
| giuochevole | (Italian) playful |
| Giuoco | (Italian m.) action, clearance (space between two objects), play (in a mechanism), sport, pastime, set (or articles for a game), gaming, gambling, speculation, trick, joke |
| Giuoco d'azzardo | (Italian m.) game of chance, game of skill |
| Giuoco di mano | (Italian m.) sleight of hand |
| Giuoco di parole | (Italian m.) play on words, a pun |
| Giuoco leale | (Italian m.) fair play |
| Giuoco sleale | (Italian m.) foul play |
| giuocoso | giocoso |
| giusta | (Italian) perfect, when applied to an interval (unison, fourth, fifth or octave) |
| see giusto |
| giustamente | (Italian) strictly, exactly, precisely, steady speed and rhythm, with precision |
| Giustezza | (Italian f.) exact, strict, suitable, precision |
| Giustiniana | (Italian) fifteenth-century songs to texts by or thought to be by the Venetian poet-composer, Leonardo Giustiniani (1383?-1466). In the sixteenth century, the term was applied to villanella or canzone napolitana, both forms sometimes incorrectly labelled as madrigals |
| according to Thomas Morley, A Plain and Easie Introduction to Practicall Music (1597), the giustiniana (or justiniana) is a rather vulgar song with amorous lyrics: "There is likewise a kind of song (which I had almost forgotten) called Giustianas and are all written in the Bergamasca language; a wanton and rude kind of music is this, and like enough to carry the name of some notable courtesan of the city of Bergamo, for no man will deny that Justiniana is the name of a woman." |
| giusto (m), giusta (f.) | (Italian) exact, strict, suitable, precision, just, appropriate, moderate |
| a tempo giusto (Italian: at a moderate tempo) |
| Giwong | the jaw harp of the Kalinga people of northern Luzon in the Philippines |
|
| gjennomsett | (Norwegian) revised |
| Gk. | abbreviation of 'Greek' |
| G-klav |  | (Swedish) a clef sign that shows the position of G on the staff, for example, the treble clef |
|
| Gl | abbreviation of Gocken (German: bells), Gloria (Latin) |
| glacé | (French) leather or fabric that has a highly polished or lustrous surface |
| (French) (fruit, etc.) coated with sugar |
| glacial | (French f.) icy |
| Glagolitic church singing | (Glagolitic or Glagolitsa; from the Slavonic glagol, a word; glagolati, to speak) Glagolitic is an ancient alphabet of the Slavic languages, also called in Russian bukvitsa. The use of the Glagolitic alphabet was reserved exclusively for the service books of the Roman Rite, just as the Cyrillic was used for the Greek Rite |
|
|
|
the earliest mention of Glagolitic singing in Croatia is from the year 1177, when Pope Alexander III visited the town of Zadar in Croatia, known for its ancient and rich Glagolitic tradition. In the 1368 Missal of Duke Novak (held in the National Library in Vienna) there are symbols above the Glagolitic text which seem to denote the way of singing. The same holds for the Hrvoje Missal, written in about 1404 by scribe Butko, probably in Zadar, and kept in the library of the Turkish Sultans in Constantinople in Turkey. Glagolitic singing has three basic components - Gregorian choral, Croatian folklore and Byzantine church music. This type of church singing is still preserved to this day on some Croatian islands |
|
| Glam. | abbreviation of 'Glamorgan' |
| Glam metal | a subgenre of 'heavy metal' music, that arose in the late 1970s in the United States. It was a strong force in popular music throughout the 1980s |
|
| Glam rock | less commonly, and mostly in the US known as 'glitter rock', was a style of rock music popularised in the early 1970s. It was mostly an English phenomenon between the years of 1971 and 1973 |
|
| Glanz | (German m.) shine, gloss (paper, paint), sheen, polish, brilliance (figurative), splendour |
| glänzen | (German) to shine |
| glänzend | (German) shining, bright, sparkling, glossy (paper, hair), brilliant (figurative), brilliantly (figurative) |
| glanzlos | (German) dull |
| Glanzstück | (German n.) masterpiece, show-piece |
| glanzvoll | (German) brilliant (figurative), brilliantly (figurative), splendid, splendidly |
| Glanzzeit | (German f.) heyday |
| glapissant (m.), glapissante (f.) | (French) shrill, squeaking |
Glareanus (Heinrich Glarean)
(1488-1563) | a Swiss music theorist, poet and humanist. Glarean's first publication on music, a modest volume entitled Isogoge in musicen, was in 1516. In it he discusses the basic elements of music; probably it was used for teaching. But his most famous book, and one of the most famous and influential works on music theory written during the Renaissance, was the Dodecachordon, which he published in Basle in 1547. This massive work includes writings on philosophy and biography in addition to music theory, and includes no less than 120 complete compositions by composers of the preceding generation (including Josquin, Ockeghem, Obrecht, Isaac and many others). In three parts, it begins with a study of Boethius, who wrote extensively on music in the sixth century; it traces the use of the musical modes in plainsong (e.g. Gregorian chant) and monophony; and it closes with an extended study of the use of modes in polyphony. The most significant feature of the Dodecachordon (literally, "12-stringed instrument") is Glarean's proposal that there are actually twelve modes, not eight, as had long been assumed, for instance in the works of the contemporary theorist Pietro Aron. The additional modes included the Ionian and the Aeolian - the modes which we today call the major and minor scales. Glarean went so far as to say that the Ionian mode was the one most frequently used by composers in his day |
- Glareanus from which this extract has been taken
|
| Glas | (Slovenian) voice |
| Glas | (French m.) knell |
| Glasfaserrute | (German f.) glass fibre rod |
| Glasharfe | (German f.) musical glass, played using the technique used first in 1743 when an Irishman, Richard Puckeridge, had the bright idea of rubbing with wet fingers glasses standing on a table |
| Glasharmonica | (German f.) or Glasharmonika, glass armonica |
| Glass armonica | also called 'glass harp', 'musical glasses' and 'glass harmonica'; an instrument invented by Benjamin Franklin (1706-1790) on the principal of vibrating wine glasses (idiophone). Franklin's instrument consisted of a number (36-54) of nested glass bowls without stems, attached to a metal rod and lying in a tray of water, which are rotated using a foot-pedal. The performer gently touched the rims of the revolving glass bowls thus setting them to vibrate. The pitch varied according to the size of the bowl. Wolfgang Amadeus Mozart, among others, wrote several compositions for the Glass Armonica |
|
|
| Glasschord | or 'glasscord', a crystallophone that resembles the celesta but uses keyboard-driven hammers to strike glass bars instead of metal bars |
| Glass flutes | in 1806, the Parisian woodwind instrument maker Claude Laurent obtained French patent number 382, nouvelle fabrication des flûtes en cristal ("a new [method of] making flutes from crystal"). His innovation did not claim any special qualities of sonority, but rather a greater ability than wood or ivory to resist problems caused by changes in humidity and temperature. Laurent's new design was also the first to employ all-metal sockets and a novel mechanical means of applying keywork. With bodies of cut crystal glass and joints and keys in Gold vermeil, Laurent's instruments are truly dazzling; and because they are more resistant than a wooden flute to humidity and moisture from the player's breath, glass and crystal flutes are also practical |
|
| Glass harmonia | see 'glass armonica' |
| Glass harp | glass armonica |
| Glass marimba | a 'crystallophone' that is similar to the marimba, but has bars of glass instead of wood. The bars, which the performer strikes with padded mallets, are perched on a glass box to provide the necessary resonance |
| Glass organ | glass armonica |
| Glasspiel | (German n.) musical glasses |
| glatt | (German) smooth, even |
| Glätte | (German f.) smoothness, evenness |
| Glaw-ng khaek | (Thailand) a long-bodied drum made of hardwood, about 58 cm. in length. The two drumheads are of unequal size, the larger being 20 cm. and the smaller 18 cm. in diameter. The two heads are made of calf- or goatskin. Although the two heads were originally fixed with cane or rattan, today leather thongs serve the same purpose. The drums are used in pairs. The higher-sounding drum is referred to as tua-phu (male) and the lower-sounding drum, as tua-mia (female) |
| Glaw-ng yao | (Thailand) a drum with a single head with a body made from hardwood. The diameter ranges from 20-30 cm and the length varies from 75-110 cm. The centre of the drumhead, usually made of calfskin, is treated with a mixture of cooked rice and ashes to give it the desired tone and pitch. The body is usually decorated with a piece of plain or patterned cloth which is fastened around the upper part of the body. Another strip of cloth, 5-8 cm long, hangs down loosely from the edge of the drumhead and is attached to the long body. This strip which is placed over the shoulder of the player provides the means of carrying the drum. This drum is played mainly with the hands, but skilled drummers show great dexterity often striking it with the knees or the heels of their feet |
| Glee | (from the Anglo-Saxon gleó, gleow, gliw, meaning 'mirth', 'joy', 'music') short part-song, for male voices, popular in Britain between the mid 17th- and mid 19th-centuries |
|
| Glee club | (English, Glee-Club (German m), Glee-Klub (German m.)) a chorus, historically of men but also of just women or mixed voices, which traditionally specializes in singing short songs. Glee clubs originated in England, but are no longer common in Britain; modern glee clubs are primarily found in North American colleges and universities. Glee in this context does not refer to the mood of the music or its singers, but to a specific form of English seventeenth- and eighteenth-century part-song, the glee. Most American Glee Clubs are choruses in the standard sense and no longer perform glees |
| Gleek | archaic word meaning 'music' or 'musician' |
| Gleekman | see 'gleeman' |
| Gleeman | (from gleek, literally a joke, a jeer, a scoff) also gleekman or gligman: in some of the notes on this word it has been supposed to be connected with the card-game of gleek, but it was not recollected that the Saxon language supplied the term glig, ludibrium, and a corresponding verb. Thus, 'glee' signifies mirth and jocularity, and 'gleeman' or 'gligman' a minstrel or joculator. Gleek was therefore used to express a stronger sort of joke, a scoffing. It does not appear that the phrase, 'to give the gleek', was ever introduced in the above game, which was borrowed by us from the French, and derived from an original of very different import from the word in question.... 'To give the minstrel' is no more than a punning phrase for 'giving the gleek'. Minstrels and jesters were anciently called gleekmen or gligmen
[from Rev. Alexander Dyce's Glossary to the Works of Shakespeare (1902)] |
| Viking professional musician who, if skilled, might be appointed a court musician. It was usual after a feast to pass round the hall a harp or lyre so that each person could take their turn entertaining the assembly. In the story of Caedmon the eponymous hero was ashamed of the fact that he had no skill at music: 'And therefore at the merrymaking, when for the sake of mirth it was ordered that they all in turn should sing to the harp, when he saw the harp coming near him he arose for shame from the table and went home to his house.'
|
- Jester from which the first extract has been taken
- Regia Angelorum from which the second extract has been taken
|
| gleich | (German) like, equal, consonant, similar |
| gleich abdämpgen | (German) immediately damped |
| Gleichberechtigung | (German f.) equality of status |
| gleiche Bewegung | (German f.) similar motion |
| gleicher Contrapunkt | (German m.) equal counterpoint, i.e. note against note |
| gleiche Stimmen | (German pl.) equal voices |
| Gleichgewicht | (German n.) balance |
| Gleichgültigkeit | (German f.) indifference |
| Gleichklang | (German) consonance, conformity of sound |
| gleichmässig | (German) equal, symmetrical |
| gleichsam | (German) as if, as it were |
| Gleichschaltung | (German f.) the elimination of one's political opponents |
| gleichschwebend | (German) equal-tempered |
| gleichschwebende Stimmung | (German f.) equal temperament |
| Bach did not at any time advocate the use of equal temperament. He wrote two sets of pieces called Das Wohltemperierte Klavier ('The Well-tempered Keyboard'), avoiding the German term for equal temperament. These 48 pieces are designed to exhibit the full range of key-colour available from a circulating temperament, and careful examination of the texts shows that Bach varied his compositional technique according to the key he was writing in |
|
| gleichschwebende Temperatur | (German f.) equal temperament |
| gleichschwebend temperiert | (German) equally tempered |
| gleichsetzen mit | (German) place on a par with |
| gleichstark | (German) of equal strength |
| gleichstellen | (German) place on a par (with) |
| gleichstimmig | (German) harmonious, accordant |
| Gleichstrom | (German m.) direct current |
| gleichstufig | (German) equal-tempered |
| Gleichung | (German f.) equation |
| gleichviel | (German) no matter |
| gleichviel ob | (German) no matter whether |
| gleichviel wer | (German) no matter who |
| gleichwertig | (German) of equal value |
| gleichzeitig | (German) simultaneous, simultaneously |
| Gleis | (German n.) track, platform (station) |
| gleiten | (German) to slide or glide the finger |
| gleitend | (German) gliding, sliding, glissando |
| gleitende Arbeitszeit | (German f.) flexitime |
| Gleitzeit | (German f.) flexitime |
| gli, glie | (Italian) the |
| gli antichi | (Italian m. pl.) the ancients |
| Glide | portamento |
| Glied | (German n.) limb, part, link (chain), member, rank (military) |
| (German n.) a term used to express a chord, for example, Einglied (German: one chord, as in a sequence), Zweiglied (German: two chords, as in a sequence) |
| gleidern | (German) arrange, divide |
| Gleidmaßen | (German f. pl.) limbs |
| gli acuti | (Italian) the sharps, the high notes |
| Gliding | moving smoothly and continuously, glissando (Italian), gleitend (German), glissant (French) |
| Gliding (vocal) | singing in a smooth and systained style, portamento (Italian), portando (Italian), portare la voce (Italian), gleitend (German), port de voix (French), porter la voix (French) |
| Gligman | see 'gleeman' |
| glijdend | (Dutch) gliding, sliding |
| glimmen | (German) glimmer |
| glimpflich | (German) lenient |
| glimpflich davonkommen | (German) get of lightly |
| Gling-bu | Tibetan duct flute |
|
| gli ottoni | (Italian m. pl.) the brass instruments |
| Glissade | (French f.) the acton of sliding down a slope of snow or ice |
| (French f., literally 'glide') in dance, a traveling step executed by gliding the working foot from the fifth position in the required direction, the other foot closing to it. Glissade is a terre à terre step and is used to link other steps. After a demi-plié in the fifth position the working foot glides along the floor to a strong point a few inches from the floor. The other foot then pushes away from the floor so that both knees are straight and both feet strongly pointed for a moment; then the weight is shifted to the working foot with a fondu. The other foot, which is pointed a few inches from the floor,slides into the fifth position in demi-plié. When a glissade is used as an auxiliary step for small or big jumps, it is done with a quick movement on the upbeat. Glissades are done with or without change of feet, and all begin and end with a demi-plié. There are six glissades: devant, derrière, dessous, dessus, en avant, en arrière, the difference between them depending on the starting and finishing positions as well as the direction. Glissade may also be done sur les pointes |
- Glissade from which this information has been taken
|
| glissandieren | (German) to perform a glissando |
| Glissando (s.), Glissandi (Italian pl.), Glissandos (English, German) | (English, German n.) also glissato, glissicando or glissicato, a continuous slide in pitch. On the violin, the left hand finger is placed on the string and then, as the note is played, the finger slides up or down the finger board. The beginning and end note of the glissando are written and connected by either a straight or a wavy line. Usually the word gliss. or glissando will be written above. This is what some writers call 'a true glissando' |
| on the piano, to run the nail or a finger or the back of the thumb along the keyboard over many notes, see glissant, glisser. This is what some writers call 'an effective glissando', in that the change in pitch is by discrete steps rather than through a continuous and steady shift |
| on the timpani, using taps or pedals, the pitch of the note is changed while it sounds. This is another example of 'a true glissando' |
| words with Italian terminations, although none was originally an genuine Italian word. All are derived from the French words glissé, glissant and glisser |
|
| Glissando avec un clou | (French) glissando with a nail |
| Glissando con il chiodo | (Italian) glissando with a nail |
| Glissando illusion | the glissando illusion was first reported and demonstrated by Diana Deutsch in Musical Illusions and Paradoxes, 1995. An auditory illusion, it is created when a sound with a fixed pitch, such as a synthsized oboe tone, is played together with a sine wave gliding up and down in pitch, and they are both switched back and forth between stereo loudspeakers. The effect is that the oboe is heard as switching between loudspeakers while the sine wave is heard as joined together seamlessly, and as moving around in space in accordance with its pitch motion. Righthanders often hear the glissando as traveling from left to right as its pitch glides from low to high, and then back from right to left as its pitch glides from high to low. Lefthanders often obtain different illusions |
|
| Glissant | (French) see glissando |
| (French) same as portamento, fluid and flowing |
| (French) to run the nail or a finger or the back of the thumb along the keyboard over many notes. This is specifically mentioned in Christophe Moyreau's Les Cyclopes from Book 1 of his Pièces de Clavecin (Paris, 1753) with the direction 'de la main droit [gauche] du 2d doigt sur l'ongle' (with the second finger of the right [left] hand, using the fingernail). Domenico Scarlatti marks a glissando in his sonata K 379 in F major, 'con dedo solo' (using only the thumb) |
| (French) to move the slide of a trombone smoothly between notes |
| (French) the upward slide of the clarinet in the opening of Gershwin's Rhapsody in Blue |
| glissato | see glissando |
| glissé | (French) slide |
| (French) on the harp, a glissando |
| glissement | (French) slurred, smooth, in a gliding manner |
| glisser | (French) to slide, to glide, to skid (for example, to glide lightly along the keyboard) |
| glisser avec le pouce | (French) a thumb roll |
| glissicando | see glissando |
| glissicato | see glissando |
| gli stromenti | (Italian) the instruments |
| Glitch (music) | see 'clicks and cuts' |
| glitschen | (German) to glide the finger |
| glitschig | (German) slippery |
| Glitter rock | the term used in the US for what, elsewhere, was called 'glam rock' |
| Globe oculaire | (French m.) eyeball |
| glock | abbreviation of glockenspiel (German) |
| Glöckchen | (German n.) a little bell, a small bell |
| Glöckchenspiel | (German n.) little bells, sistro |
| Glocke | (German f.) bell |
| glockenförmig | (German) bell-shaped |
| Glockengamba | (German f.) bell gamba
[entry provided by Michael Zapf] |
| Glockengeläut | (German n.) the ring (of a bell) |
| Glockenist | (German m.) a player on the chimes |
| Glockenklang | (German m.) or ganz klar, the sound of bells |
| glockenklar | (German) as clear as a bell |
| Glockenklöppel | (German) the clapper of a bell |
| Glockenläuter | (German) bell ringer |
| Glockenschlag | (German m.) strike of the bell |
| Glockenspiel | (German n.) carillon, chime |
| an organ stop that has bells instead of pipes |
| (German n., English, French m.) (percussion instrument) jeu de timbres (French), Lyra (German), juego de timbres or armónica de metal (Spanish), metallofono or campanelli (Italian) |
| also known as 'orchestral bells' or 'lira' ('chimes' in the US), the 'glock' or 'glockenspiel' consists of tuned metal bars, laid out on a tray or in a frame. The framed versions often have pedals. It is played with soft beaters and its normal written range is from G3-C6 (sounding two octaves higher), but models vary. The terms Lyra, lira, 'bell lyre', 'bell lira' and liro are usually reserved for the portable marching glockenspiel |
|
| Glockenspiel à clavier | (French m.) keyed glockenspiel |
| Glockenstuhl | (German m.) bell cage
[entry provided by Michael Zapf] |
| Glockenturm | (German m.) bell-tower, belfry |
| Glockenwagen | see 'bell carriage' |
| Glöckner | (German m.) bellringer, sexton |
| Gloire | (French) glory, honour, fame |
| Glong khaek | (Central Thailand) a drum that plays in the Mahori, Phiphat and Krung Sai ensembles. It is played with two hands and comes originally from Java |
| Glöcklein-ton | (German) an organ stop of very small scale, and wide measure |
| Glong song na | (Central Thailand) a drum always associated with the Phiphat ensemble |
| Gloria | (English, German n., Latin, literally 'Glory') second item of the ordinary of the Mass, properly Gloria in excelsis Deo (Latin: Glory to God in the highest) |
| Gloria Patri | (Latin) Glory to the Father |
| glorifier | (French) glorify |
| glorifizieren | (German) glorify |
| glorreich | (German) glorious |
| Glosa | (Spanish f.) gloss, notes (on a topic), commentary |
| (Spanish f.) in the sixteenth century, a term used to describe an ornamented variation. When the variations were based on a religious theme, glosas are usually simpler than diferencias. Diego Ortiz (1525-1570) published his Trattado de Glosas, music for solo viol with accompaniment, in 1553, which discusses contemporary performance practice |
| the musicologist John Ward, in his article The Use of Borrowed Material in Sixteenth-Century Instrumental Music Journal of the American Musicological Society 5 (Summer 1952)) associates glosa with the intabulation of motets, madrigals, and chansons. He distinguishes three different procedures: |
| strict intabulation | which may include some ornamentation, especially at the beginning |
| the glosa | a transformation "by means of continuous diminution" |
| the parody or "parody by means of paraphrase" | although parody implies a mixture of faithfully borrowed and original sections (Mudarra), "parody by means of paraphrase" indicates paraphrase of the themes while preserving the voice structure (Cabezón) |
|
| Glosadas | (Spanish f. pl.) chanson and madrigals arranged for keyboard |
| glosar | (Spanish) to gloss (explain), to interpret, to comment upon, to speak about |
| Glosario | (Spanish m.) glossary |
| Gloss | a commentary on, or sometimes a translation of, a manuscript work written between the lines or around the margins of the main text |
| Glossaire | (French m.) glossary |
| Glossar | (German n.) glossary |
| Glossary | a list of terms with the definitions for those terms. Traditionally, a glossary appears at the end a book and includes terms within that book which are either newly introduced or at least uncommon |
- Glossary from which this extract has been taken
|
| Glosse (s.), Glossen (pl.) | (German f.) comment |
| Glotis | (Spanish f.) glottis |
| Glottal attack | see coup de glotte |
| Glotte | (French f.) glottis |
| Glottis | or 'larynx', the aperture between the vocal chords (also called vocal cords or vocal folds) when they are drawn together in singing |
|
| Glottisschlag | (German m.) glottal attack |
| glotzen | (German) stare |
| glousser | (French) chuckle |
| Glowsticking | the art of dancing with glowsticks or other glowstick-like instruments that share the same kind of qualities: durable, consistency in light, safe to toss around, and often made up of a soft and pliant plastic |
|
| Glsp. | abbreviation of Glockenspiel (German: chime-bells - carillon (French)) |
| Glück | (German n.) (good) luck, happiness |
| glückbringend | (German) lucky |
| glücken | (German) succeed |
| gluckern | (German) gurgle |
| Gluckistes | see Ramistes |
| glücklich | (German) lucky, fortunate, happily, safely, finally (in the end) |
| glücklicherweise | (German) luckily, fortunately |
| Gluckloch | (German n.) peep-hole |
| glückselig | (German) blissfully happy |
| Glückseligkeit | (German f.) bliss |
| glühend | (German) glowing |
| Glühwein | (German m.) mulled wine |
| g/m2 | in printing, a means of indicating the substance of paper or board (whatever the size of the paper/board or number of sheets in the package) on the basis of weight expressed in grams per square metre |
| G major |
 | the key of 'G major' |
|
 |
| the scale of 'G major' |
|
| GmbH | abbreviation of Gesellschaft mit Beschränkter Haftung (German: limited-liability company) |
| G minor |  | the key of 'G minor' |
|
| g-Moll | | (German n.) the key of 'G minor' |
|
| Gnaccare | see naccare |
| Gnama-gnama | (Ivory Coast) a dance popularized in the i980s |
| Gnaoua | or gnawa, Moroccan music performed by people descended from the slaves brought from West Africa, played on the sintir bass lute (also called guimbri or gimbri), the karkabas, metal castanets (also called qarqabou), with unison singing and hand clapping, most often at healing ceremonies |
| Gnawa | see gnaoua |
| G-nøgle | | (Danish) a clef sign that shows the position of G on the staff, for example, the treble clef |
|
| Gnome (s.), Gnomae (pl.) | (Greek) a maxim, an aphorism, a proverb |
| Gnomenreigen | (German) dance of the gnomes, for example Etude de Concert S 145 No. 2 Gnomenreigen for piano by Franz Liszt (1811-1886) |
| Gnomon | (Greek) the rod or plate that casts the shadow on a sun-dial |
| Gnosis | (Greek) a special knowledge or understanding of spiritual mysteries |
| GNU Solfege | a computer program written to help people do ear training. It is free software, as defined by the GNU project. It contains exercises to train chords, intervals, scales, rhythms and harmonic progressions. The program is designed to be easily extended by adding "lesson files" describing new exercises. Adding a exercise to train those special jazz chords can be done by editing a plain text file in a text editor |
|
| G.O. | abbreviated form of 'great organ', Grande-orgue (French: great organ) or grandes ondes (French: long wave) |
| Goa | see 'Goa trance' |
| Goal notes | synonymous with 'guide tones' |
| Goa trance | born in the state of Goa, India, 'Goa trance' is relaxing, easy-listening 'beach music' |
|
| Goat Skin Woo-Woo dance | (Montserrat) Jumbie dance |
| Goat's trill | also chevrotement (French), Bockstriller or Geisstriller (German), a poor executed vocal trill |
| Goblet drum | a single headed drum in the shape of a goblet. It has a narrow waisted body and can be made out of wood, metal or pottery. It is also known as hourglass-shaped drum |
| Goce | (Spanish m.) pleasure, enjoyment |
| Gock | one of the two standard types of rim shots in marching percussion, which is produced by putting the bead of the drum stick close to the centre, the rim making contact closer to the hand than in a 'ping shot', thus making a lower sound |
| see 'ping shot' |
| Godet | (French) a gore, a triangular piece of cloth inserted into a skirt or other garment to make it flare |
| Godie | (Niger) a one-stringed fiddle |
| Godo (m.), Goda (f.) | (Spanish) Goth, Spaniard (Latin America) |
| godo (m.), goda (f.) | (Spanish) Gothic |
| Gods | see 'gallery' |
| Gogbohoun | (Benin) rhythm of the Ouida region |
| Gogo | a late twentieth-century African American urban style developed in Washington D.C, that combines live funk, soul and blues |
| Gnawan lute, better known as sintir that derives from the West African word for fiddle |
|
| Goita | (Cape Verde) a diatonic accordion played in funana |
| Goje | Nigerian spike fiddle |
| a one string fiddle from northern Ghana in which a snakeskin covers a gourd bowl, horsehair is suspended on the bridge and it is played with a bow string |
| Gol | (Irish) a funeral lamentation |
| Gola | (Italian f.) throat, a gutteral voice |
| Goldberg Variationen | in the Goldberg Variations, Johann Sebastian Bach (1685-1750) summarized the characteristic species of Baroque keyboard music, the theme and variations. The Aria with (thirty) Different Variations, published (probably) in 1742 as Part IV of the Clavier-Übung and known as the Goldberg Variations, is organized in the complete fashion of many of the compositions from the latter part of Bach's life. The theme is a sarabande in two balanced sections, the bass and harmonic structure of which are preserved in all thirty variations. The form of the whole is that of a chaconne or passacaglia. The variations are grouped by threes, the last of each group being a canon, with the canons at successive intervals from the unison to the ninth. The thirtieth and last variation, however, is a quodlibet, a mixture of two popular song melodies combined in counterpoint above the fundamental bass; and after this the theme is repeated da capo. The noncanonic variations are of many different types, including inventions, fughettas, a French ouverture, ornamental slow arias, and, at regular intervals, bravura pieces for two keyboards. The diverse moods and styles in these variations are unified by means of the recurring bass and harmonies and also by the symmetrical order in which the movements are arranged; the entirety is a perfectly organized structure of great proportions |
|
| Gold brass | gold brass has a higher copper content than standard (yellow) brass and is used for making brass instruments |
| Golden Age | the term Golden age stems from Greek mythology. It refers to the highest age in the Greek spectrum of Iron, Bronze, Silver and Golden ages, or to a time in the beginnings of Humanity which was perceived as an ideal state, or utopia, when mankind was pure and immortal. In literary works, the Golden Age usually ends with a devastating event, which brings about the Fall of Man (see Ages of Man). An analogous idea can be found in the religious and philosophical traditions of the Far East. For example, the Vedic or ancient Hindu culture saw history as cyclical composed of yugas with alternating Dark and Golden ages. The Kali yuga (Iron Age), Dwapara yuga (Bronze Age), Treta yuga (Silver age) and Satya yuga (Golden age) correspond to the four Greek ages. Similar beliefs can be found in the ancient Middle East and throughout the ancient world |
- Golden age from which the second entry has been taken
|
| goldene Hochzeit | (German f.) golden wedding |
| goldener Schnitt | (German m.) golden ratio, golden mean, golden section, golden number |
| goldene Zahl | (German f.) golden ratio, golden mean, golden section, golden number |
| goldene Schallplatte | (German f.) golden record |
| Golden section | a mathematical proportion, related to the Fibonnaci series, where the ratio between a small section and a larger section is equal to the ratio between the larger section and both sections put together, used by many twentieth-century composers, especially Béla Bartók (1881-1945), to determine the point of climax for a given work |
| Gold leaf | gold beaten out into microscopically thin sheets, which was applied to manuscript letters and illustrations |
| Goldring | (German m.) a gold ring |
| Golfo mistico | (Italian m.) also buca dell'orchestra or fossa dell'orchestra, orchestra pit |
| Goliard song | Medieval Latin-texted secular song, often with corrupt or lewd lyrics, associated with wandering scholars, where, because they are notated with staffless neumes, the melodic content is highly speculative |
| Golpe | (Spanish m.) stroke, blow, knock, bump, bang, collision (car), blow, misfortune, witticism, sally, shock, punch, hold-up, robbery |
| Golpe | tap on the guitar soundboard in flamenco music |
| in flamenco dance the term refers to footwork: the full sole of the foot striking or stamping upon the floor
|
| the term is also used in flamenco to refer to rhythmic acceleration
|
| golpeado | (Portuguese) or batido (Portuguese), battu (French) |
| Golpeador | flamenco guitar tap plate |
| golpear | (Spanish) to hit, to knock, to beat, to thump (a person), to hit (a person), to punch (a person), to bang (door, head) |
| Golpe bajo | (Spanish m.) to punch below the belt (figurative and in boxing) |
| Golpe de arco | (Spanish m.) bow-stoke, bowing, coup d'archet (French) |
| Golpe de efecto | (Spanish m.) coup de théatre |
| Golpe de estado | (Spanish m.) coup d'état |
| Golpe de fortuna | (Spanish m.) stroke of good fortune |
| Golpe de glotis | (Spanish m.) or 'glottal attack, a singing method, now considered rather exaggerated, that utilises the two membranes above the natural vocal chords, coup de glotte (French) |
| Golpe de gracia | (Spanish m.) coup de grâce |
| Golpe de vista | (Spanish m.) a quick glance |
| Golpes, dos | (Spanish m. pl.) see dos golpes |
| Golpes por segundo | (Spanish m. pl.) cycles per second |
| Golpes, tres | (Spanish m. pl.) see tres golpes |
| golpetear | (Spanish) to bang |
| Golpeteo | (Spanish m.) banging, hammering |
| Goltrai | see sean nos |
| Golubez | a Russian dance |
| Goma | (Spanish f.) rubber, gum, rubber band |
| Goma arábiga | (Spanish f.) gum arabic |
| Goma de borrar | (Spanish f.) rubber, eraser |
| Goma de mascar | (Spanish f.) chewing gum |
| Goma de pegar | (Spanish f.) glue, gum |
| Gomaespuma | (Spanish f.) foam-rubber |
| Gombeen | (Irish) usury (the lending of money) |
| Gome | (Ghana) rectangular frame drum played by the hands and feet. While the drummer is sitting on the gome and playing the drum with his hands, he is changing the pitch by varying the position of his heels |
| one of the oldest musical types performed by the coastal Ga of Ghana, which was introduced by Accra fishermen from the Fernando Po Islands in the early eighteenth century. Originally, gome was performed exclusively by fishermen after their expeditions to celebrate their catch. Other occupational groups, especially artisans, also eventually adopted this music and dance as a form of entertainment. Presently, gome is performed by all categories of people - young and old, male and female, on all social occasions |
|
| Gomito | (Italian m.) elbow |
| Gomme | (French f.) rubber, gum, eraser (in the U.S.) |
| gommer | (French) to rub out, to erase |
| Gomina | (Spanish f.) haircream |
| Gondellied | (German n.) gondola song, barcarole |
| Gondola | (Italian) a light Venetian boat rising sharply to a point at each end, usually propelled by a single oar at the stern |
| the gondola is now mostly used for tourists, or for weddings, funerals, or other ceremonies. Most Venetians now travel by motorised waterbuses (vaporetti) which ply regular routes along the major canals and between the city's islands. The city also has many private boats. The only gondolas still in common use by Venetians are the traghetti, foot passenger ferries crossing the Grand Canal at certain points without bridges |
- Venice from which this comment has been taken
|
| Góndola | (Spanish f.) gondola |
| Gondoler | (French) warp, to laugh (enough to split one's sides) |
| Gondoliera | (Italian f.) gondola song, barcarole |
| gonfler | (French) to inflate (as in 'to exaggerate') |
| Gong | (Chinese) bow, for example that used to play the erhu |
| Gong | (Italian m., English, German m., French m.) a percussion instrument, sometimes of indefinite pitch (in which case it should be called a tam-tam), a round metal plate of bronze or brass with turned drumlike edge, with or without a raised centre (boss) and struck with a knobbed wooden mallet. The gong may be suspended either vertically or horizontally, and its side can range from a shallow lip to one of several inches, resembling an inverted cauldron. Its resonance is greatest at the centre and least at the lip |
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| Gong | (Javanese) in gamelan the two tunings, slendro and pelog, had their own set of three gongs, two big gongs called gong ageng and one gong suwukan about 90 cm. in diameter, made from bronze, with a raised section in their centre, called the 'boss', and suspended on a wooden frame |
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| Gongang | in Javanese gamelan, the length of the piece delimited by strokes of the gong. This can vary from a few seconds to several minutes, depending on the tempo, irama, and length of the structure (bentuk). It is the longest time-span in the colotomic structure of gamelan |
| Gong ageng | the term used in Java and Bali for the suspended gong used in gamelan |
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| Gongche notation | or gongchepu, a traditional musical notation method, once popular in ancient China. It uses Chinese characters to represent musical notes. Many people mistakenly call it gongchi notation or gongchipu. Sheet music written in this notation is still seen for traditional Chinese musical instruments and Chinese operas. However the notation is becoming less popular, replaced by mostly jianpu (numbered musical notation) and sometimes the standard western notation |
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| Gong chime | an instrument where a set of wide-flanged gongs or 'gong-kettles' are arranged on a low horizontal frame or bed, with each gong resting boss upwards on crossed cords. The gongs are struck on the 'boss' with a mallet |
| Gong cinesi | (Italian m. pl.) tuned gong-carillon |
| Gong gan | (Chinese) bow stick, as for example, of the bow of the erhu |
| Gongguluur | Tuvan term for 'gonging' or clashing hand bells together for percussive effect |
| Gong-kettle | wide-flanged, bossed gong, individually tuned and used in sets, that forms the sounding part of a gong-chime |
| Gong ma | (Chinese) bridge of the erhu |
| Gong mao | (Chinese) bow hair, as for example, on the bow of the erhu |
| Gongo | Ghanaian bells |
| Gongon | Ghanaian cowbell |
| Gongspiel (chromatisch) | (German n.) tuned gong-carillon |
| Gong suwukan | in Javanese gamelan, the smaller gong in the set used for smaller phrases. It is generally pitched higher, and at different pitches for pélog and sléndro |
| Gonguê | a metal cowbell that features in maracatu nação (also known as maracatu de baque virado) an Afro-Brazilian performance genre |
| Gong wong ya | Thai gong chime, in which 16 gongs, seated in a frame, circle the performer who strikes them with mallets |
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| Gonje | see goonji |
| Gonkogu | (Ghana) bells |
| Good ear | see 'ear, good' |
| Goofus | see 'shim sham' |
| Goombay | a type of drum |
| a percussion music made famous by Alphonso 'Blind Blake' Higgs, who played to tourists arriving at Nassau International Airport for several years |
| Go on at once | attacca (Italian), attacca subito (Italian), sofort fortsetzen (German), attaquez (French) |
| Goonda | a rowdy or hooligan |
| Goondaism | rowdyism |
| Goong | (Sunda, Indonesia) a large hanging gong, part of the instrumentation of a gamelan degung orchestra |
| Goong Renteng | (Sunda, Indonesia) or Renteng, a rural ritual gamelan still found in some villages in the Sunda and Cirebon (north coast of Java) areas, used to primarily to celebrate the rice harvest |
| Goonji | (Ghana) a one-stringed fiddle with a calabash resonator covered with skin. It is bowed with a curved bow, strung with horsehair, or in some cases the artificial hair used in weaving women's hairstyles. It is played by many tribes throughout West Africa with similar playing styles, the only variation usually being the construction of the instrument |
| Goose | the harsh break or squeak in the sound of an ill-controlled clarinet, oboe or bassoon |
| Go out | in jazz, to take the final chorus or end of a piece |
| Gopak | also called hopak, a lively 2-in-a-bar Russian and Ukrainian folk dance |
| Gopal | cowherd, a name of Sri Krishna |
| Gopichand | also known as gopicand, ektar, gopiyantra or khamak, this popular folk instrument in Bengal. It is an instrument that is much used by the wandering minstrels known as the baul. There are several variations in construction. The length may be as small as one foot or as long as three feet, however 2-3 feet is the norm. It consists of a length of bamboo that is split through most of the length. The two ends are pried apart and attached to a resonator. This resonator may be a coconut, gourd, metal container or a hollowed out cylindrical section of wood. The open end of the resonator is covered with taught skin and a string penetrates the centre. This string is attached to a reinforced section in the centre. This string then passes through the hollow of the resonator and attaches to a tuning peg located in the bamboo. The sound of the gopichand is most distinctive. There is a peculiar bending of the pitch as the two legs of the bamboo are squeezed together by the left hand while the right hand plucks the string. This is a rhythmic instrument rather than a melodic instrument and it is used to accompany instruments such as kartal, dotar or khol |
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| Goqing | the goqing once sounded to announce the arrival and rank of a guest or to denote the length of a pause following the completion of a musical piece. The great importance of sonorous substances, such as wood and stones, among the percussion instruments of the Far East stems from the religious belief that nature itself speaks to the human ear through this vibrating matter |
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| Góralski | one of the two basic dances of the Skalne Podhale region (Rocky Foothills of the Tatra Mountains in southern Poland). The góralski and zbójnicki do not occur in the neighboring mountains of Pieniny and Beskidy, and the districts of Orawa and Spisz. The góralski is a general name of the solo dance of one couple who perform a series of dances (3-8). In each segment of the dance, the male dancer sings a selected tune (nuta) in a freely structured rhythm |
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| Gordon | Romanian term for acoustic bass |
| Gorecore | similar to 'goregrind' but stripped of its 'grindcore' nature blastbeats & having more emphasis on sloppy or abject punk style |
| G.Org. | abbreviated form of 'great organ' or Grande-orgue (French: great organ) |
| Gorge | (French f.) throat |
| Gorgée | (French f.) sip, gulp |
| Gorgheggi | see gorgheggio |
| gorgheggiamento | (Italian) trilling, quavering |
| gorgheggiare | (Italian, literally 'to trill') to perform florid passages, trills, etc. |
| Gorgheggio (s.), Gorgheggi (pl.) | (Italian m., literally 'warbling') a florid vocal passage in which many notes cover a single vowel sound, often used as a exercise for the voice, to acquire facility |
| Gorgia | (Italian f.) the art of vocal ornamentation in use during the early seventeenth century for the performance of madrigals, motets, etc. |
| see ribattuta di gorgia |
| Gorgigala | Central American rattle necklace |
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| Gorgio | a non-Romany (a Romany is what many people call a 'gypsy' although many Romany consider the word 'gypsy' insulting) |
| Gorodo | (Madagascar) accordion |
| Gorong | (Senegal, Wolof) A long Wolof drum |
| Gorong talmbat | (Senegal, Wolof) small tenor accompanying drum in a sabar drum set |
| Gorong yeguel | (Senegal, Wolof) small tight drum used in a sabar drum set |
| Gorsedd | (Welsh, literally 'throne') a meeting of Welsh bards and druids (often as a preliminary to an eisteddfod) |
| Gosan | early central Asia poet-musician |
| Goshu ondo | (Japanese) a traditional dancing song that has its origin in Shintoist festive recitation of the Heian or Nara Period (eighth to twelfth century) and may feature in Obon events |
| Gosier | (French m.) throat |
| Goslari | (Croatia) fiddle instruments |
| Gospel | (English, German m.) book containing the first four books of the New Testament; Matthew, Mark, Luke and John; detailing the life, death and resurrection of Christ |
| see 'gospel music' |
| Gospel beat | see 'Jesus music' |
| Gospel Go-Go | or 3G, a genre of music that originated from Go-Go music. It is religious in nature, hence gospel. It is most popular around the Washington, D.C. Metropolitan Area and first appeared in about 1995 |
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| Gospel music | an African-American sacred music style that includes gospel song, particularly evangelical (Protestant) Christian, and which came into being in the 1920s, when Thomas A. Dorsey recorded his first religious song, If You See My Savior. Gospel music became popularized during the 1940s and 50s |
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| Gospel song/Devotional lyric | a religious lyric expressing an aspect of personal faith, although the distinction between these categories is mainly a matter of musical taste. Examples of this form include Amazing Grace (John Newton), It Is Well with My Soul (Horatio G. Spafford), Blessed Assurance, Jesus Is Mine (Fanny Crosby), Wonderful Words of Life (Philip P. Bliss) and How Great Thou Art (Carl G. Boberg) |
| Gossoon | (Irish, corruption of French garçon) a young countryman, a boy, a hobbledehoy |
| Gosto | (Portuguese) taste |
| Gothcore | a fusion of hardcore punk and Gothic music |
| Gothic | (English, German m.) Gothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style |
| Gothic metal | a genre of heavy metal music that originated in the early 1990s in Europe as an outgrowth of doom-death, a subgenre of doom metal |
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| Gothic music | see 'goth music' |
| Gothic period | the late middle ages (1100-1450) |
| Gothic rock | a popular music style that evolved out of 'post-punk' during the late 1970s |
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| gothique | (French) Gothic |
| Goth music | a relatively confusing term, in that its usage varies from country to country with the usage of the words goth and gothic. This often makes it necessary to distinguish it as used to mean goth music and semi-related term gothic music in some countries, while in others the two terms are used in a co-opted fashion that often lends to its own confusions and arguments. The term goth music is probably most widely used to mean a selection of genres encompassing mainly gothic rock, darkwave, Industrial, EBM, synth pop and deathrock while gothic music is a distinct term referring to music that fits within the classic meaning of the word gothic, rather than holding any connection to the modern day goth subculture
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| gotische Stil | (German m.) Gothic style (architecture |
| Gotta | (Benin) a drum made of a gourd covered with a skin, used in tchinkounmey, a rhythm for funerals |
| Gottan | (Japan) an instrument styled after the shamisen, traditionally played by farmers, but also used by mendicant village musicians |
- Gottan from which this extract has been taken
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| Gotterdämmerung | (German f.) the twilight of the gods, the end of the world in Scandinavian mythology (the last part of Wagner's opera The Ring |
| Gottesdienst | (German m.) the Church, a chapel |
| (German m.) (divine) service, workship |
| am Gottesdienst teilnehmen (German: to workship) |
| den Gottesdienst abhalten (German: to officiate) |
| im Gottesdienst (German: at church) |
| gottesdienstlich | (German) congregational |
| Gottesdienstordnung | (German f.) the tirual, the ordinary |
| Gottron | after the catalogue of music by Roman Hoffstetter (1742-1815) prepared by Adam Gottron, Alan Tyson and Hubert Unvericht |
| Gottschalk | the hymn Mercy (1880), which is also known as Gottschalk, is derived from Louis Moreau Gottschalk's famous piano work The Last Hope (1854), was set in 1866 by the Gottschalk-enthusiast Hubert Platt Main. Alternately titled Gottschalk or Mercy, the hymn is often credited to Edwin Pond Parker and mistakenly dated to 1880. Main's use of The Last Hope, a Gottschalk signature-piece, as a hymn may have been motivated by an infamous incident in 1866 involving Gottschalk and the honour of two young women in San Francisco |
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| Gottuvadhyam | also known as the chitravina, the gottuvadhyam (sometimes written gettuvadhyam) is an instrument played in Southern India, usually as a solo instrument in Carnatic sangeet. It resembles the saraswati vina in its general form, having six main playing strings which pass over the very top of the instrument, three thallam (drone) strings at the side, and a series of sympathetic strings which pass under the main strings. It is played with a slide in a manner somewhat like a Hawaiian guitar. The gottuvadyam does not appear to be very old, probably not much more than 100 years old |
| Gouache | (French) (a method of painting) using opaque water-colour, a painting executed in this medium |
| Goulash | (Magyar) a high-season stew of steak and vegetables |
| in colloquial English 'to make a goulash' means 'to make a mess of something' |
| Goulot | (French m.) neck |
| Goumbe | (Guinea-Bissau) a modernized version of the goumbe rhythm of the lambats (local griots) |
| Gourd | the dried hollowed-out shell of the fruit of a vine from the cucurbita family, which includes the squash, melon, pumpkin, cucumber |
| gourer (se) | (French) make a mistake |
| Gourmand (m.), Gourmande (f.) | (French) (one who is) over-fond of the pleasures of the table |
| Gourmandise | (French) gluttony, self-indulgence at table |
| Gourmet | (French m.) one who makes a study of the pleasures of the table, an epicure |
| Gousli | see gusli |
| Goût | (French m.) taste, savour, discernment (figurative), finess in one's judgment, sensitivity, particular charatcer of a work (art, building, statue, etc.) |
| goûter | (French) taste, enjoy |
| Goutte | (French f.) drop |
| Goutte-à-goutte | (French m.) drip |
| Gouttelette | (French f.) droplet |
| goutter | (French) drip |
| Gouvernante | (French f.) a governess, a chaperon |
| Governing note | the key note |
| Governing tone | the key note |
| Goy (s.), Goyim (pl.) | (Hebrew) gentile, a Christian |
| Gozos | (Sardinia, Italy) sacred songs heard during religious celebrations |
