| He | (Chinese) old Chinese name for the sheng |
| Head | a tight membrane, originally of animal skin but now of a plastic material, stretched across the end of a drum that is struck by a stick to create sounds. When made of natural materials, the tension of the head is sensitive to changes in humidity, for example, damp conditions may cause the pitch to fall which the heat generated by television lights may cause the head to 'dry out' and pitch to rise. Plastic heads can reduce these problems and many timpanists have switched to them |
| the carved elements at the top of the neck of a string instrument including the scroll and pegbox, which is where the tuning pegs are inserted |
| the tip of sticks used to strike drums with |
| point of a bow |
| abbreviation of 'notehead', that part of a note, black or white, that is placed on a line or space to denote its pitch |
| in jazz, the composed melody and changes of a tune |
| in jazz, a tune composed by a jazz musician based on the changes to a standard |
| in jazz, the first time through the melody of a tune, before the solos begin |
| Head arrangement | in jazz, when a band plays an arrangement, worked out during rehearsal but never written down, that is, from memory |
| Headbanging | a type of dance which involves violently shaking the head in time with music, most commonly heavy metal music |
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| Headliner | or 'headline act', the top act or performer on a vaudeville or revue bill |
| Head-motiv | see 'motto theme' |
| Head of bell | the top of the bell proper and the main node of its vibrations. In England, it is known as the crown |
| Headphones | also known as earphones, stereophones, headsets, or the slang term 'cans', a pair of transducers that receive an electrical signal from a media player or receiver and use speakers placed in close proximity to the ears (hence the name earphone) to convert the signal into audible sound waves |
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| Head register | see 'head voice' |
| Headroom | (electronics) the difference between the average operating power level of a circuit and the point at which distortion occurs |
| Head rhyme | another term for alliteration - especially alliteration of consonants at the beginning of words, rather than alliteration of internal consonants within the bodies of words. The name is something of a misnomer, since "head rhymes" usually involve no rhyme at all! |
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| Headstock | or 'peg head', on a guitar, that part of the neck where the tuning pegs or machine heads (called 'tuners') are attached |
| Head tone | see 'head voice' |
| Head voice | 'head tone' or 'head register', the highest register of the voice, producing light, flute-like tones, conducive to soft and high singing, so named because when sung the singer feels that the vibrations are being produced in the head |
| may also be referred to as 'light register' |
| see also 'chest voice' |
| the term is used as an alternative to falsetto |
| Hearing | or 'audition', one of the traditional five senses and refers to the ability to detect sound. In human beings, hearing is performed by the ears, which also perform the function of balance, a sense in itself but not one of the traditional list (due to Aristotle). This is in common with most mammals. Many other organisms also have some form of hearing, either by some sort of ear, or by other structures, or by a combination |
| see 'auditory apparatus' and 'auditory system' |
- Hearing from which this extract has been taken
|
| Hearing impairment | a hearing impairment is a decrease in one's ability to hear (i.e. perceive auditory information). It is important to note that the term "hearing-impaired" is considered offensive by many Deaf and hard-of-hearing people, who prefer the two latter terms |
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| Hearpere | (Anglo-Saxon, literally 'harper') a poet or storyteller who, we may imply from this word, used the instrument or the lyre from which it developed |
| Heartland rock | in the late 1970s and 1980s, one of the most popular forms of rock and roll was heartland rock. It was characterized by a straightforward musical style, a concern with the average American life, and a conviction that rock music had a social or communal purpose beyond just entertainment |
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| Heat-set drying | in printing, drying a web or sheet of paper or board by passing it through a drying unit which forms part of the machine. Special heat-setting inks have to be used |
| Heavens | sometimes used synonymously with "the aloft" and "the above," the term refers more specifically to the canopy over the stage in open-air theatres to protect actors and their costumes from the elements |
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| Heavy, Heavily | pesante (Italian), schwer (German), gewichtig (German), lourd (French) |
| Heavy jig | a jig danced in an aggressive manner in heavy shoes, which produce a stamping sound. The heavy jig, Saint Patrick's Day, is the only dance all Irish dancing schools have in common. It is a traditional set dance, with eight people in jig time |
| Heavy metal | (English, Heavymetal (German n.)) genre developed from late-1960s blues progressions played by 'power trios' like Cream and the Jimi Hendrix Experience. According to Allmusic.com, "Of all rock & roll's myriad forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality. There are numerous stylistic variations on heavy metal's core sound, but they're all tied together by a reliance on loud, distorted guitars (usually playing repeated riffs) and simple, pounding rhythms." |
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| Heavy-stress rhyme | another term for a masculine ending in a rhyme |
| Heb. | abbreviation of 'Hebrew' |
| Hebdomadaire | (French m.) weekly |
| hebdomadaire | (French) weekly |
| Hebei bang zi | see 'clapper opera' |
| Heber, Reginald (1783-1826) | Bishop of Calcutta (1822-26), writer of hymns including From Greenland's icy Mountains, Brightest and Best and Holy, Holy, Holy, Lord God Almighty |
| hebr. | abbreviation of hebräisch (German - hébraïque (French)), Hebrew (English) |
| hebräisch | (German) Hebrew, hébraïque (French) |
| hebräische Sprache | (German f.) Hebrew (language) |
| hébraïque | (French) Hebrew, hebräisch (German) |
| Hebu mataro | (Warao, literally 'spirit calabash') the sacred rattle of the wisiratu, the shaman of the Warao of Venezuela, also called the hebu-arotu (the keeper of the hebu) |
| Hebung | (German f.) lifting, arsis |
| as a result of a misunderstanding of the context of the original Greek writings on this subject, Roman and medieval writers reversed the original meaning of arsis and thesis so that for a considerably time Hebung was taken to be the strong beat and Senkung to be the weak beat |
| hecho un basiliscos | (Spanish) furious |
| Heckelfon | (German n.) Heckelphone |
| Heckelklarina | (German f.) or Klarina (German f.), alternative name for Heckel's clarina (see 'clarina') |
| Heckelphon | (Italian m. from German n.) Heckelphone |
| Heckelphone | (English, French m.) Heckelphon (Italian m., from German n.) |
| (English, French m.) a double-reed woodwind instrument with the fingering of an oboe, pitched an octave lower (it is about 4 feet long), descending to the bottom of the bass clef (low A). It is similar to a bass oboe (also called 'baritone oboe' or 'baryton oboe'), but has a wider bore. The "general rule" for increasing the bore width when making a bass version of an instrument is to double the cross-sectional area of the bore for each octave down. The Heckelphone has a bore twice the diameter of an oboe bore. The instruments were created after composer Richard Wagner visited the Heckel factory in the 1880s and asked for an instrument that was in the range of a bass oboe and that had some of the qualities of an alphorn. By the time the instrument had been completed Wagner was dead. Fortunately, Richard Strauss 'fell under it's spell' and used it in his operas Salome and Elektra, as well as in his Alpine Symphony. Paul Hindemith wrote a trio for Heckelphone, Viola and Piano |
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| Heel | the end of the violin bow at which it is held |
| on a guitar, that part of the neck where it curves or is reduced to join the body |
| Heerdenglocken | (German f. pl.) cow bells |
| Heer-horn | (German) a military trumpet |
| Heer-pauke | (German) kettle-drum, tymbal |
| Heer-pauker | (German m.) kettle-drum player, military drummer |
| Heft | (German n.) an issue, a number, a part (a single number of a volume issued in parts) |
| (German n.) a book, a booklet, a pamphlet, a fascicle, an exercise book |
| Hefte | (Danish, Norwegian) part |
| heftig | (German, Dutch) violent, impetuous, passionate, boisterous, fervent, vehement |
| heftig drängend | (German) violently pressing forward |
| heftige Kritik (an) | (German f.) diatribe (on) |
| heftiger | (German) violent, more passionate |
| Heftigkeit | (German f.) intensity, impetuosity, vehemence |
| Heftzwecke | (German f.) drawing-pin |
| Hegedü | Hungarian violin |
| Hegira | (Latin, from the Arabic) or Hijra (the withdrawal), is the emigration of Muhammad and his followers to the city of Medina in 622. Alternate spellings of this Arabic word in the Latin alphabet is Hijrah |
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| Heightened neumes | neumes displaced vertically in order to give some indication of relative pitch |
| heimlich | (German) secret, furtive, stealthy, gioioso, secretly, mysteriously |
| Heimweh | (German n.) homesickness |
| Heinichen's circle of fifths | see 'circle of fifths' |
| Heirarchy | an arrangement of objects, people, elements, values, grades, orders, classes, etc., in a ranked or graduated series/td> |
| Heirarchy of scale | in art, an artistic convention in which greater size indicates greater importance |
| Heiratsabsichten | (German f.) intentions (relating to courtship and marriage) |
| Heiratsantrag | (German m.) suit (of marriage), proposal (of marriage) |
| Heiratsanzeige | (German f.) marriage announcement |
| heiratsfähig | (German) eligible, marriageable, nubile |
| heiratslustig | (German) marrying |
| Heiratsurkunde | (German f.) marriage certificate |
| Heiratsvermittler | (German m.) matchmaker |
| Heiratsversprechen | (German n.) promise of marriage |
| Heirmologion | a codex containing heirmoi (sing. heirmos) |
| Heirmos | the leading stanza of a kontakion |
| heiser | (German) hoarse |
| Heiserkeit | (German f.) hoarseness |
| heiß | (German) hot, ardent |
| heiss | (German) hot, ardent |
| heiter | (German) calm, serene, cheerful, clear, bright |
| Hejjuj | Arabic word for Gnawan lute, the sintir |
| Hekt | 1/13000 part of a pure twelfth. The Hekt was defined by Heinz Bohlen as the hundredth part of a step of the equal tempered version of the Bohlen-Pierce scale: the 13th root of 3/1. Hekt are therefore the BP analogon to cents. See H. Bohlen, 13-Tonstufen in der Duodezime, Acustica vol. 39, 1978. There are 820.2086796 Hekt to the octave |
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| hektisch | (German) hasty |
| Hel |  | (Swedish, Danish) whole note, semibreve |
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| Held | tenuto (Italian), ausgehalten (German), tenu (French) |
| Held back | ritenuto (Italian), zurückgehalten (German), retenu (French) |
| Heldenbariton | (German m.) or Hoherbass, dramatic or heroic baritone |
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| heldenhaft | (German) heroic |
| Heldenlied | (German) heroic song |
| Heldentenor (s.), Heldentenöre (pl.) | (German m.) or Tenorbariton, full dramatic tenor |
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| Hele | (Finnish) (musical) ornament |
| Hele noot | | (Dutch) whole note, semibreve |
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| Hele rust |  | (Dutch) a semibreve rest, a whole rest |
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| Hele toon | (Dutch) whole tone, the interval of a major second |
| Hele toonsafstand | (Dutch) whole step, tone |
| Hele-toons toonladder | (Dutch) whole note scale |
| Helicon | elicon (Italian m.), Helikon (German n.), hélicon (French m.), helicón (Spanish m.), a type of tuba, invented in Vienna in 1845, that coils around the players body, the precursor of the sousaphone |
| a mountain in central Greece, on which was situated a spring and a sanctuary sacred to the Muses |
| (ancient Greek) or Helikon, an ancient instrument or construction invented by Ptolemy, for demonstrating, or measuring, consonances, or sounds |
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| Helicón | (Spanish m.) helicon, elicon (Italian m.), Helikon (German n.), hélicon (French m.) |
| Hélicon | (French m.) helicon, elicon (Italian m.), Helikon (German n.), helicón (Spanish m.) |
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| Helikon | (German n.) helicon, elicon (Italian m.), hélicon (French m.), helicón (Spanish m.) |
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| (ancient Greek) or Helicon, an ancient instrument or construction invented by Ptolemy, for demonstrating, or measuring, consonances, or sounds |
| Heliogabalus | or Elagabalus, a Syro-Roman sun god |
| Heliograph | or heliogravure, a process invented by Nicephore Niepce in which a metal plate is coated with photosensitive bitumen and exposed to light, either through a positive transparency, or directly by placing the plate in a camera. Light makes bitumen insoluble so the image areas can be washed out with solvent that exposes the plate. The plate can now be etched and printed in the intaglio method resulting in a gravure-like continuous toned print. The process was mostly used for commercial printing between 1870 and 1914, though it is occasionally still used today |
| Heliotype | a variant of the collotype process developed by the London photographer Ernest Edwards in 1869 (patented 1870) |
| Helium voice | WARNING - Breathing helium can be very dangerous |
| many people, on hearing the voice of someone who has breathed helium, believe wrongly that the person's speech pitch has increased |
|
a cavity will have certain resonant frequencies. These frequencies depend on the shape and size of the cavity and on the velocity of sound within the cavity. Human vocal cords vibrate non-sinusoidally in the vocal tract, giving rise to a range of frequencies above the fundamental. The vocal tract mainly enhances lower frequency components imparting the recognizable voice spectrum |
| the velocity of sound in helium is much greater than in air, so breathing helium will raise the vocal tract's resonant frequencies. Although the vocal cords' vibrational frequencies are little affected by helium, the effect of higher cavity resonances is to alter substantially the relative amplitudes of the voice spectrum components thus leading to apparent pitch change
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| Helix (s.), Helices (pl.) | (Latin from Greek) anything have the shape of the thread of a screw |
| hell | (German) clear, bright |
| Helladic | a modern archaeological term meant to identify a sequence of periods characterising the culture of mainland ancient Greece during the Bronze Age |
| Hellenic | in linguistics, the branch of Indo-European including classical and modern Greek |
| helle Stimme | (German f.) clear voice |
| hellhörig | (German) poorly soundproofed |
| Hell mouth | when medieval theatre developed, it was common to paint the entry onto a stage so the entry would resemble a gaping demon's mouth. This "hell mouth" would either be located on one side of the stage or it would be a trap-door in the floor. During morality plays and mystery plays, actors playing demons would enter through the hell mouth in order to dramatically grab sinners and drag them off to hell. By the time of the Renaissance, the term 'hell mouth' was used to refer to any trap-door in the bottom of the stage. At Shakespeare's Globe Theatre, for instance, the cellerage, or the entire area under the stage was referred to as "hell," and the area above the stage, where musicians played, was often referred to as "the heavens" |
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| Helmholtz pitch notation | |
| Helmholtz resonators | resonance in acoustics occurs when some mass-spring combination is supplied with energy. Many musical instruments rely on air resonance to improve their sonority. If you blow across the mouth of a bottle you can often get a note. The bottle behaves as a Helmholtz resonator. The main volume of air inside the bottle is analogous to a spring, whilst the "plug" of air in the neck acts as an attached mass |
| the resonant frequency of a Helmholtz resonator is roughly given by |
f = { c √ (S/LV) } / 2π
|
c is velocity of sound
S is the surface area of the neck opening
V is bottle volume
L is the effective length of the neck, i.e. the actual length plus end correction
End correction ~ 1.5 times radius of neck opening
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Example: A 75 cl (7.5E-4 m3) wine bottle with neck diameter 19 mm, bottle neck length 8 cm, air temp = 20 deg C |
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calculated resonance = 109 Hz (actual resonance was 105 Hz)
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Helmholtz resonators are sometimes employed as a means of passive noise control in air conditioning ducts. They may also be hidden in the wall design of auditoria and offices in order to improve the acoustics
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| Helmholtz temperament | see 'schismatic temperament' |
| Helnode | | (Danish) whole note, semibreve |
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| Helnodespause | | (Danish) a semibreve rest, a whole rest |
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| Helnot | | (Swedish) whole note, semibreve |
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| Helpaus | | (Swedish) a semibreve rest, a whole rest |
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| Helper accidentals | on an accordion, buttons with assigned notes which fall outside the diatonic system, notes often needed by players but which either do not appear in the diatonic system, or appear only in one bellows direction |
| Helper row | on an accordion, the row closest to the bellows on the 'Club System' instrument, the helper row contains only helper accidentals |
| Helton | (Swedish) whole tone, the interval of a major second |
| Heltone | (Danish) whole tone, the interval of a major second |
| Helvetia Figures | one of the big circle figures danced by all couples in one large circle facing the centre which are traditionally associated with square dancing |
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| Hembra | the larger of any two paired percussive instruments (e.g. bongos, clave, timbales) generally considered to be the 'female' element |
| Hemidemisemiquaver |  | a sixty-fourth note, a note one sixty-fourth the time value of a whole note or semibreve, Vierundsechzigstelnote (German), quadruple croche (French f.) |
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| Hemidemisemiquaver rest |  | a sixty-fourth rest, a rest one sixty-fourth the time value of a whole note rest or semibreve rest, Vierundsechzigstelpause (German), seizième de soupir (French) |
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| Hemidiapente | (Greek) an imperfect or diminished fifth |
| Hemiditone | a minor third |
| Hemiditonos | (Greek) a lesser, or minor, third |
| Hemiola | (Greek hemiolios, literally 'the whole and a half') also called 'cross-rhythm', a rhythmic pattern where two notes are played in the time allotted to three or where three notes are played in the time allotted to two (the latter is also called a 'triplet') |
| an interval of a fifth, so called because expressed in string-lengths the interval represents two sounding strings of identical gauge and under identical tension the ratio of whose lengths is 3:2 |
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| Hemiole | (German f.) hemiola |
| Hemiolia | (English) hemiola |
| Hemiope | (Greek) a small ancient fife or flute with three holes |
| Hemitone | a semitone (half-step) |
| Hemitonic scale | a term describing a scale that includes, between successive notes, one or more intervals of a semitone (half step) |
| Hemitonium | a semitone, a half-step |
| Henan opera | commonly called Henan bangzi, the name 'Henan Opera' began to be used after the founding of the People's Republic of China in 1949. Henan Opera is popular among the provinces or regions of Henan, Hebei, Shandong, Shanxi, Hubei, Ningxia, Xinjing, and so on, making it one of the most influential operas in China |
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| Hendiadys | (Latin from Greek) in linguistics, a figure of speech in which a concept normally expressed by adjective and noun is expressed by two nouns joined by 'and' |
- Hendiadys from which this extract has been taken
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| Hendrix chord | 
in music, the dominant 7#9 chord, now known among guitarists as the Hendrix chord, or the Purple Haze chord, is an extended dominant chord using the sharpened or augmented ninth, named for guitarist Jimi Hendrix. The notes of the chord are G B D F A# |
- Hendrix chord from which this information and image have been taken
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| Hengchui | (Chinese, literally 'blowing horizontally') the name given to flutes during the the reign of the second emperor of the Han Dynasty, first century BC |
| Hengitysmerkki | (Finnish) breath mark |
| Henotheist | the worship of one god without denying the existence of other gods or spiritual powers, as opposed to monotheism (the belief in and worship of one god), dualism (the belief that one good and one evil deity of equal power exists, often with one associated with the spiritual world and the other associated with the material world), or polytheism (the belief in and worship of multiple gods) |
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| Heortologarion | in the Orthodox rite, a codex containing all the chants to be sung on the Great Feasts of the Church |
| Heptachord | the interval of a seventh, a collection of seven diatonic notes, an instrument having seven strings |
| Heptachordon | (Greek) the major seventh |
| Heptacorde | (French m.) heptachord |
| Heptacordo | (Spanish m.) heptachord |
| Heptaméride | or eptaméride, 1/301 part of an octave. Both spellings are used by Sauveur (see méride and savart). Sauveur's rule to find the number of heptamérides of intervals smaller than 7/6 is as follows: multiply the difference of numerator and denominator with 875 and divide by the sum of numerator and denominator and round the result to the nearest integer. This is known as the bimodular method of approximating logarithms and can be used for other measures as well |
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| Heptameter | also called 'septenary', a line consisting of seven metrical feet |
| Heptanesian cantatha | (Greek) or Eptanissian song', an urban popular song usually sung by three male voices in chorus, it is characterized by simple harmonic improvisations and accompanied by guitar, mandolin or other similar instruments. Although Italian music greatly influenced this serenading type of music with its sweet, nostalgic melody and romantic words based primarily on love, it originated in Kephalonia. at the beginning of the nineteenth century. Due to its popularity, it spread rapidly to other Ionian islands, especially Zakynthos and Kerkyra before eventually reaching the mainland of Greece |
| Heptarchy | the seven territories or kingdoms making up Anglo-Saxon England, namely, Northumbria, Mercia, East Anglia, Kent, Essex, Sussex, and Wessex |
| Heptatonia seconda | ascending melodic minor scale |
| Heptatonic scale | a scale of seven notes |
| Heptatonik | (German f.) heptatonic |
| heptatonisch | (German) heptatonic |
| herabstrich | (German) down-bow on a violin or viola |
| Heraldic composition | in art, a composition that is symmetrical on either side of a central figure |
| Heraldry | the study of coats-of-arms and aristocratic insignia, or the creation of such items according to medieval custom |
| heraufgehen | (German) to ascend |
| heraufstrich | (German) up-bow on a violin or viola |
| heraufziehen | (German) to pull up
[entry provided by Michael Zapf] |
| herausgeben | (German) to edit, to publish |
| (German) to hand over |
| Herausgeber | (German) editor, publisher
[corrected by Brian A. Jefferies] |
| see Redakteur |
| herausgegeben | (German) edited, published, published by
[corrected by Brian A. Jefferies] |
| see publiziert |
| herausgegeben von ... | (German) edited by .... |
| herausklatschen | (German) curtain call |
| herausnehmen | (German) to take out, to gut (fish), to draw (chicken, etc.), to fleece (familiar)
[clarified by Michael Zapf] |
| herausplatzen | (German) to burst out laughing |
| herauswachsen | (German) to outgrow |
| Herbarium (s.), Herbaria (pl.) | (Latin) a collection of dried plants systematically arranged |
| Herb salt | a salt flavoured with herbs |
| Herbst | (German m.) autumn |
| Herbstlied | (German n.) autumn song |
| hercio (s.), hercios (pl.) | (Spanish m.) hertz, Hz (unit of frequency = 1 cycle per second) |
| Herdringen manuscripts 9820/9821 | copied by a German speaker probably in the 1540s, the Herdringen manuscripts 9820 and 9821 contain some sixty works presented in score. The selection of pieces is rather different from that of most other retrospective collections of these years, such as those of the Glareanus circle or the printers in Nuremberg and Frankfurt. The works of Josquin chosen include otherwise unknown or obscure chansons and the motet Misericordias Domini as well as his four-voice En l'ombre d'ung buissonet ascribed to Ockeghem. And they appear alongside a surprising group of works by Agricola, Brumel, Antoine de Févin and others, including many apparently unknown pieces. The books represent what is, in the context of other known collections, a fresh and original view of the years around 1500. In addition, the copyist plainly looked at the works with an analytical intent. Marks on the scores draw attention to parallel movement, difficult suspensions, odd simultaneities, and so on |
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| Herdruk | (Dutch) reprint |
| Heredity | the process by which characteristics are transmitted from parent to child by genes |
| Heresy | (from Greek, 'choice') the formal denial or doubt of any defined doctrine of the church |
| Heretic | person who has expressed formal denial or doubt of any defined doctrine of the church |
| Herhaal | (Dutch) repeat |
| Herhaling | (Dutch) repetition, reprise |
| Heriot | (Anglo-Saxon here + geatwe, "army-gear") Heriot has two different meanings, depending upon whether we speak of the early Anglo-Saxon period or the later part of the medieval period. In its earliest sense, heriot was the gift of arms and armour an Anglo-Saxon chieftain or hlaford would give to his thegn, a warrior who vowed to serve him, to fight for him, and to avenge his master's death. Upon the thegn's death, the heriot would return to the hlaford. This gift of weaponry was a essential part of Anglo-Saxon warrior culture. In later historical periods, when the custom of direct military service became less vital, heriot degenerated into a tribute or service given to a lord on the death of his tenant, in which the eldest son of the tenant would provide the service much like the eldest son of the ancient thegn might return the arms and armour to the chieftain who originally gave it to the thegn |
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| Heritage Craft School | established in Chailey, Sussex, in 1903 as a spin off from the Bermondsey Settlement, set up by Grace Kimmins under the banner of the "Guild of the Brave Poor Things". The Heritage Craft Schools and Hospitals for Cripples believed that disabled children could not be trained to their full capacity in city slums and so set up residential schools in the country. The Guild motto was "Happy in My Lot" |
| Herkunftskennzeichnung | (German f.) mark of origin |
| Herleving | (Dutch) revival |
| Herm (s.), Herma (pl.), Hermai (pl.) | in Greco-Roman archeology, a herm is a stone, bronze, or terracotta marker - originally placed at cross-roads or at estate and territorial boundaries, though in classical Athens, homeowners would erect herma outside the entrances of their houses for good luck |
| Hermana | (Spanish f.) sister |
| Hermanastro | (Spanish m.) stepbrother |
| Hermanastra | (Spanish f.) stepsister |
| Hermann | or HV (Herrman-Verzeichnis), reference to Hildegard Hermann's Thematisches Verzeignis der Werke von Joseph Eybler (pub. Munich, 1976) |
| Hermano | (Spanish m.) brother |
| Hermeneutics | the development and study of theories of the interpretation and understanding of texts |
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| hernach | (German) hereafter |
| Heroic | of, fit for, or like a hero, very brave, eroico (Italian), heroisch (German), héroïque (French) |
| Heroic Age of Greece | also known as the Homeric Age, the period between 1200-800 BC |
| Heroic couplet | two successive rhyming lines of iambic pentameter. The second line is usually end-stopped. It was common practice to string long sequences of heroic couplets together in a pattern of aa, bb, cc, dd, ee, ff, and so on. Because this practice was especially popular in the Neoclassic Period between 1660 and 1790, the heroic couplet is often called the neoclassic couplet if the poem originates during this time period |
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| Heroicomical | a humorous poem taking the conventions of heroic Greek literature and using them to comic effect |
| Heroics | high-flown language or sentiments, unduly bold behaviour |
| Héroïque | (French) heroic |
| heroisch | (German) heroic |
| Heroísmo | (Spanish m.) heroism |
| Herramienta artística | (Spanish f.) artistic device, artistic tool |
| Herrenvolk | (German n.) the master-race, a race predestined to rule the world |
| hersingen | (German) to sing, to recite in a singing manner |
| Herstellingsteken |  | (Dutch) the sign placed before a note that is neither sharpened or flattened |
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| Herstrich | (German m.) the stroke of the bow from heel to point on the cello or double-bass, which corresponds to the down stroke on a violin or viola |
| Hertz (German), hertz (English) | (English, German n.) the unit in which the frequency of a note is measured where one hertz is one cycle per second (cps), named for Heinrich Rudolf Hertz (1857-1894) a German physicist who was the first to produce radio waves artificially - the frequency range of human hearing is from 20 Hz to 20 kHz (20,000 Hz). It is abbreviated using an upper-case initial letter (Hz) and is written in full using an lower-case initial letter (hertz) |
| one kHz = 103 Hz = 1000 Hz; one MHz = 106 (one million) Hz; one GHz = 109 Hz |
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| hertzio | (Spanish) hertz (unit of frequency, cycles per second) |
| Heruli | (spelled variously in Latin and Greek) a nomadic Germanic people, who were subjugated by the Ostrogoths, Huns, and Byzantines in the 3rd to 5th centuries. The name is related to earl and was probably an honorific military title. One of the Heruli, Odoacer, deposed the last Western Roman emperor, Romulus Augustus |
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| herunterstimmen | (German) to tune a string down to a specified note |
| Herunterstrich | (German m.) Herabstrich, down-bow on the violin or viola |
| hervor | (German) out |
| hervor aus | (German) out of |
| hervorbringen | (German) to produce, to utter (word) |
| hervorgehen | (German) to come, to emerge, to follow |
| hervorgehen aus | (German) to follow from |
| hervorgehoben | (German) to emphasise a melody, emphasised, risaltato (Italian), mis en relief (French) |
| hervorheben | (German) to stress, to emphasise |
| Hervorhebung | (German f.) stress, emphasise |
| see Betonung |
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| hervorquellen | (German) to stream out, to bulge |
| hervorragen | (German) to jut out, to stand out (figurative) |
| hervorragend | (German) underlined, prominent, emphasised (for example, a melody) |
(German) superb, outstanding (for example, when describing a performance)
[corrected by Brian A. Jefferies] |
| Hervorruf | (German m.) curtain call |
| hervorrufen | (German) to cause (figurative) |
| hervorstehen | (German) to protrude |
| hervortr. | abbreviation of hervortretend |
| hervortreten | (German) to protrude, to bulge, to stand out (figurative) |
| hervortretend | (German) prominently, emphasised |
| Herzenwunsch | (German m.) heart's desire |
| herzhaft | (German) hearty, charming |
| herzien | (Dutch) revised |
| Herzig | (German) hearty, heartily, tenderly |
| herzlich | (German) heartfelt, affectionate, tenderly, delicate emotion |
| Herzlichen Glückwunsch zum Geburtstag! | (German) Happy Birthday! |
| Herztöne | (German m. pl.) cardiac sounds |
| Hes |  |
| (German n.) the note 'B flat' (which in German is called 'B') |
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| Heses, heses |  |
| (German n.) the note 'B double-flat' (written in Germany as Bb) |
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| we have also included Bes as a translation for the note B double flat, although Michael Zapf confirms that, in Germany today, Bes is considered incorrect. The correct German word is Heses |
| hésitant | (French) hesitating |
| Hesitations | momentary stoppages of flow |
| in regard to speech, pauses in speech flow |
| Hesitation step | similar to a step used in the pavane, the 'hesitation step' survives today in weddings |
| Hesitation waltz | see 'Boston' |
| a variety of the true Valse that can very easily be performed once the Valse is known. Defined in a nutshell, the "Hesitation" is a halt on one foot (with the other foot suspended in the air) during the whole "1-2.3" of the beat of the music, or during the "2.3" only of every alternate "1-2.3." The ways of performing the "hesitation" are many and varied, and no way can be said to be more orthodox or correct than any other |
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| hésiter à | (French) to hesitate to |
| Hetaera (s.), Hetaerae (pl.) | (Latin from the Greek, hetaira (s.), hetairai (pl.)) a mistress, a prostitute |
| the Greek hetaira was often a very highly-educated woman |
| heterocl. | abbreviation of 'heteroclite' (an irregularly declined or inflected word) |
| Heteroclite | something or someone that deviates from the ordinary rule, an anomaly |
| Heterofonie | (German f.) heterophony |
| heterofonisch | (Dutch) heterophony |
| Heterogeneous | made up of dissimilar components, a large degree of variation within a population |
| Heteroglot reed | a reed that is separate to the instrument, and which might be tied to the upper side of the mouthpiece and therefore vibrates between the mouthpiece and the player's upper lip |
| see 'idioglot reed' |
| Heterophonie | (German f.) heterophony |
| Hétérophonie | (French) heterophony |
| Heterophony | two or more lines performing the same melody, maybe anticipating it or following it a beat or more behind, or applying different embellishments, a conjectural way of performing medieval repertoire, for example, songs of the troubadour and trouvère tradition, although similar traditions continue even today |
| the term heterophony was coined by Plato (c.428-c.347 BC) |
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| Heterotopia | in medicine, displaced or abnormally places organ, tissue, etc. |
| in general, occuring or appearing in different habitats |
| heterotopias: "[r]eal places ... which are something like counter-sites, a kind of utopia in which all of the real sites that can be found within a culture are simultaneously represented, contested and inverted. Places of this kind are outside of all places ..." [Michel Foucault (1926-1984), French historian and philosopher] |
| het stemmen | (Dutch) accordance (in an instrument) |
| het van het blad lezen | (Dutch) sight-reading |
| het van het blad zingen | (Dutch) sight-singing |
| het Volkslied | (Dutch) national anthem |
| heures de grande écoute | (French) peak time |
| Heureux au jeu, malheureux en amour. | (French) Lucky at cards, unlucky in love. |
| Heuriers-matiniers | (French) or heuriers et matiniers, officials who were required to sing the Office and the Mass on a regular basis at Chartres Cathedral. It is reported that they were expected to be able to sing Matins in the dark and were liable to pay a fine if unable to sing the Psalter from memory |
| heute in acht Tagen | (German) a week today |
| Hexachord | (English, German n./m., Latin, hexachordum) esacordo (Italian m.), hexacorde (French m.), hexacordo (Spanish m.), a group of six consecutive notes separated by a tone (whole-step) or semitone (half-step), in particular with reference to the solmization syllables proposed by Guido d'Arezzo |
| there are three hexachords |
| hard or durum | from G (i.e. G, A, B natural, C, D, E), i.e. hexachordum durum |
| natural or naturale | from C (i.e. C, D, E, F, G, A), i.e. hexachordum naturale |
| soft or molle | from F but using B flat (i.e. F, G, A, B flat, C, D), i.e. hexachordum molle |
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| Hexachordon | (Greek) a major sixth |
| Hexacorde | (French m.) hexachord |
| Hexacordo | (Spanish m.) hexachord |
| Hexameron | (Greek) a set of six musical pieces or songs |
| Hexameter | very common in Greek and Latin literature, less common in English, a line consisting of six metrical feet |
| Hexatonic | of or using only six notes |
| Hexatônica | (Portuguese) hexatonic |
| Hexatonic scale | a scale with six notes |
| Hexentanz | (German m.) witches' dance, a witches' sabbath (especially as represented in art or music) |
| Hey | see 'haye' |
| Heye | see 'haye' |
| Hfe | abbreviation of Harfe (German: harp - harpe (French)) |
| HFPA | Hollywood Foreign Press Association - they present the Golden Globes |
| HHA | abbreviation of Hallische Händel-Ausgabe (German: Halle Edition of music by Handel) |
| Hialemos | (Greek) an elegy, a lament |
| Hiatus (s.), Hiatus (pl.) | (Latin) a gap (for example, in some logical or continuous sequence), a lacuna |
| in linguistics, the juxtaposition of two vowels (not forming a dipthong) with no intervening consonant |
| Hichiriki | a Japanese double-reed wind instrument similar to the oboe |
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| Hic jacet | (Latin, literally 'here lies') an epitaph, an inscription on a tomb, etc. |
| Hick rock | see 'alternative country' |
| Hidalgo | (Spansh m.) a gentleman by birth |
| Hidalguense, el | the state of Hidalgo, named after Don Miguel Hidalgo y Costilla, is located in the mid-eastern Mexico. It is rich with important mineral deposits of gold, silver and zinc. El Hidalguense one of the many Huasteco musical pieces used in dancing |
| hidastaen | (Finnish) ritenuto, reduce tempo immediately |
| hidastuen | (Finnish) ritardando, reduce tempo gradually |
| Hidden consecutives | hidden consecutives occur when two independent parts approach a single perfect fifth or an octave by similar motion instead of oblique or contrary motion. Conventional style dictates that such an interval, often called an exposed fifth or exposed octave, be avoided. But this is sometimes permitted under certain conditions, such as the following: the interval does not involve either the highest or the lowest part, the interval does not occur between both of those extreme parts, the interval is approached in one part by a semitone step, or the interval is approached in the higher part by step. The details differ considerably from period to period, and even among composers writing in the same period |
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| Hidden fifths | approaching fifths by similar motion can produce the same effect as approaching fifths by parallel motion. Adding a passing tone to a hidden fifth produces a parallel fifth, for example. Since the parallel fifth is implied by a missing note, approaching fifths by similar motion are called hidden fifths |
| Hidden octaves | approaching octaves by similar motion can produce the same effect as approaching octaves by parallel motion. Adding a passing tone to a hidden octave produces a parallel octave, for example. Since the parallel octave is implied by a missing note, approaching octaves by similar motion are called hidden octaves |
| Hief | (German) sound given by a bugle or hunting horn |
| Hief-horn | (German) bugle-horn, hunting horn |
| Hief-stoss | (German) sound given by a bugle or hunting horn |
| hier | (German) here |
| Hierophon | (German) a singer of sacred music |
| Hierro | (Spanish m.) iron |
| Hierro | a term used to describe the guataca (the hoe blade) or other metal sound used as the cowbell accompaniment to the rumba Columbia and other folkloric Afro 6/8 styles |
| Hierro forjado | (Spanish m.) wrought iron |
| hier unten | (German) down here |
| High | alta (Italian), hoch (German), haut (French) |
| High arched | hoch gewölbt (German), bombé (French), voûté (French), molto bombata (Italian), bombatura alta (Italian) |
| High comedy | elegant comedies characterized by witty banter and sophisticated dialogue rather than the slapstick physicality and blundering common to low comedy |
| High Energy | a mix of 'Breakbeat' rhythm and 'German Techo' sound |
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| Highest part | parte superiore (Italian), höchste Stimme (German), dessus (French) |
| High, extremely | altissimo (Italian), ausserordentlich hoch (German), très élève (French) |
| High fidelity | (English, Highfidelity (German f.)) or 'hi-fi' reproduction, a quality standard in which the reproduction of sound or images is very faithful to the original |
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| High frequency limit of hearing | the upper extent to which a particular animal can perceive sound |
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| Highland dancing | the term 'Highland dancing' is used today to refer to a style of athletic solo dancing which evolved into its current form during the nineteenth and twentieth centuries in the context of competitions at public events (namely, Highland games), where it is typically performed to the accompaniment of bagpipe music. In some regions of the Scottish Highlands, Highland dancing formed the main part of social entertainment |
| the term is somewhat misleading, however, in that it is only one form of dancing to have been done in the Scottish Highlands and, in addition, it has been subject to many influences from outside the Scottish Highlands. For example, it has been heavily influenced by the urban aesthetics of the patrons and judges of dance competitions since the nineteenth century |
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| Highland pipes | Scottish bagpipes that are played standing, usually in pipe bands. The chanter has eight holes. There are two tenor drones, tuned an octave below the chanter and a bass drone a further octave down |
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| Highlands | a 4/4 tune based on Scottish strathspeys, which are played in Donegal, a remote, partly Irish-speaking county in northwestern Ireland, and are one of the most commonly played types of tune in the county |
| Highlife | or 'Hi-life', music that conjures up images of African nightclubs, shiny dance-floors, champagne, fine clothes and the spirit of hope and expectation that marked the end of the colonial era. Based on the kpanlogo rhythm, that originated in Ghana in the 1920s and became popular in neighboring Nigeria, it is a combination of tribal rhythms with various European, American-style big band sounds, and even Caribbean influences. Calypso, jazz, waltz and merengue were cross-pollinated with indigenous styles such as osibisiba and gome to form an infectious dance music. It reached its maximum popularity in the 1950s and 1960s in dance clubs throughout West Africa, the name mocking the high living lifestyle of its patrons |
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| High Mass | a celebration of the Roman Catholic Mass where the prayers are sung, distinguishing it from a low Mass where all the prayers are read or recited without music |
| High modernism | a belief that society is in a state of crisis and that mass culture is modernism's other, the spectre that haunts it, the threat against which high art has to shore up its terrain. The modernist aesthetic, so prominent this century in literature, music, architecture, the visual arts, so influential in cultural criticism and theory, should be seeb as a reaction formation. The modernist aesthetic defines itself by its opposition not only to bourgeois culture, but to the mass culture and entertainment which it sees not as a manifestation of the culture of the lower classes themselves but as the primary forms of bourgeois cultural articulation: the "essential enemy", the "bourgeois norm", as Barthes says in the 1970 preface to Mythologies. The modernist aesthetic must work by permanent contrast, it must never be contaminated by mass culture, nor should it be realist, that is, try and reflect everyday life. It must be self-referential, separate, pure |
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| High vowel | any vowel sound made with the jaw almost shut and the tongue elevated near the roof of the oral cavity |
| Hi-hat | (English, Hi-Hat (German n.)) or sock cymbal, a pair of matched cymbals of the same diameter mounted horizontally (the bottom cymbal fixed, the top cymbal is moved up and down via a pedal action). They are an essential part of a drum kit |
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| Hi-Hat-Maschine | (German f.) hi-hat, sock cymbal |
| Hi-hat sock jingle | see 'ching ring' |
| Hija | (Spanish f.) daughter |
| Hijacking | in social dancing, that strongly relies on 'leading' and 'following', this term means the temporary assuming of the leading role by the follower, and is known also as 'stealing the lead' |
| Hija política | (Spanish f.) daughter-in-law |
| Hijastra | (Spanish f.) stepdaughter |
| Hijastro | (Spanish m.) stepson |
| Hijo político | (Spanish m.) son-in-law |
| Hike | to increase or raise prices (ratings, etc.) or, less commonly, to promote |
| Hilfe | (German f.) help, aid |
| hilflos | (German) helpless |
| Hilflosigkeit | (German f.) helplessness |
| Hilfreich | (German) helpful |
| Hilfsarbeiter | (German m.) unskilled labourer |
| hilfsbedürftig | (German) needy |
| hilfsbedürftig sein | (German) be in need of help |
| hilfsbereit | (German) helpful |
| Hilfsgriffe | (German m.) alternative fingerings |
| Hilfskraft | (German f.) helper |
| Hilfslinie | (German f.) ledger line, leger line |
| Hilfsmittel | (German n.) aid |
| Hilfsnote | (German f.) an auxiliary note
[corrected by Brian A. Jefferies] |
| hilfsverb | (German) auxiliary verb |
| Hilfszeitwort | (German) auxiliary verb |
| Hi-life | see Highlife |
| hiljaa | (Finnish) piano (dynamic marking) |
| hiljentyen | (Finnish) diminuendo, decrescendo |
| Hillbilly music | a term used to describe Appalachian and Southern fiddle-based and religious music, a sub-genre of 'old-time music' |
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Hilltop Writers Colony
(c.1860-1914) | a writers colony among the Surrey Hills, in and around Haslemere where some 65 Victorian writers came to make a permanent home, rent lodgings or stay with friends, while writing their books during the fifty years or more following the arrival of the railway in 1859. Amoung them; Alfred Tennyson, Christina Rossetti and William Allingham; the novelists George Eliot, Conan Doyle, Grant Allen, Richard Le Gallienne, Margaret Oliphant, Mrs Humphry Ward and H.G. Wells; playwrights Bernard Shaw and Arthur Pinero; the essayist, Logan Pearsall Smith and Flora Thompson |
| Himene tarava | a form of singing common in French Polynesia and the Cook Islands, unaccompanied vocal Christian music that is distinguished by a unique drop in pitch at the end of the phrases, which is a characteristic formed by several different voices; it is also accompanied by steady grunting of staccato, nonsensical syllables |
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| Himmelfahrts-Oratorium | J. S. Bach's Ascension Oratorio (Lobet Gott in seinen Reichen) BWV 11 |
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| Himno | (Spanish m.) hymn, anthem, inno (Italian m.), Hymne (German f.), cantique (French m.), hymne (French m.) |
| Himno a San Juan Bautista | (Spanish m.) the chant, Ut queant laxis, from which the Aretinian syllables were originally drawn |
| Himno nacional | (Spanish m.) national anthem, inno nazionale (Italian m.), Nationalhymne (German f.), hymne national (French m.) |
| Himnos délficos | (Spanish m.) Delphic hymns (of ancient Greece) |
| Hinaufstrich | (German m.) an upbow on the violin or viola |
| Hind. | abbreviation of Hindi |
| Hindustani classical music |
| there are five significant stages in the evolution of the melodic experience in Hindustani music: |
| until the early nineteenth century | the era dominated by dhrupad as a vocal art form |
| mid-nineteenth to mid-twentieth centuries | defined by the khayal as the dominant interface between musicians and their audiences |
| late nineteenth century onwards | defined by the emergence of the fretted lute, sitar, as the major force in Hindustani music |
| from the 1950s | characterised by the influence of the semi-polychord, sarod |
| from the mid-1970s | the rise of the santoor, a polychord |
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| Hindustani classical song | Hindustani, or Northern Indian, classical song has many genres, including dadra, kajri, chaiti, hori and khyal. Thumri was the pre-eminent song genre of Punjabi tawaif (female courtesan) performers. With their honed performance skills, renowned tawaif vocalists such as Gauhar Jan and Jankibai were among the Indian subcontinent's first recording stars. The twist was that it became born-again high art, though not necessarily as an exclusively female preserve - the walrus-moustached Bade Ghulam Ali Khan was renowned for his authoritative damsel roles. Female vocalists such as Begum Akhtar and Siddheshwari Devi assisted its passage into modern times. Shobha Gurtu was their natural successor, the quintessence of thumri |
| hingebungsvoll | (German) freely, unrestrained, abbandonamente (Italian), abbandonatamente (Italian), con abbandone (Italian), mit Hingabe (German), avec adandon (French) |
| hinken | (German) to limp, zoppicare (Italian), boiter (French) |
| hinkend | (German) limping, alla zoppo (Italian), alla zoppa (Italian), boiteux (French) |
| Hi-NRG | see 'High Energy' |
| hinsterbend | (German) dying away, fading away, spirando, en expirant |
| Hinstrich | (German m.) the stroke of the bow from the point to the heel on a cello or double-bass, which corresponds to the up-stroke on a violin or viola |
| hinten im Buch | (German) at the back of the book |
| Hinterbühne | (German f.) backstage |
| hinter der Scene | (German) behind the scene |
| Hintereingang | (German m.) rear entrance |
| Hintergrundmusik | (German f.) background music |
| Hinterland | (German n.) the district lying behind a coastal district, which has become a term used also for a sphere of activity on the fringe of law-abiding society |
| hinterlassen | (German) posthumous |
| HIP | acronym for 'historically-informed performance' |
| see 'authenticity' |
| Hip hop (music) |
| (English, Hip-Hop (German m.)) from the 1970s, a cultural movement and a music genre (a subgenre of R & B tradition) that grew out of 'rap' which exists in a number of forms: |
| old school hip hop | from the late-1970s and early 1980s |
| East Coast hip hop | based out of New York City, the most successful of the region styles |
| West Coast hip hop | based out of Los Angeles |
| G funk | in 1992, Dr. Dre's The Chronic revolutionized the West Coast sound, using slow, stoned, lazy beats |
| Southern rap | based out of Atlanta and New Orleans |
| Dirty South | a distinctive sound characterised by Atlanta-based performers like OutKast and Goodie Mob |
| alternative hip hop | in the mid 1990s, popular among critics and long-time fans of the music |
| jazz rap | for example, De La Soul's 3 Feet High and Rising (1989), making use of live instrumentation and/or jazz samples |
| reggaeton | a South American variant, based out of Puerto Rico |
| electro hip hop | invented in the 1980s, but is distinctly different from most old school hip hop |
| go go | another old style of hip hop |
| trip hop | created by fusing hip hop with techno |
| rapcore | created by fusing hip hop with heavy metal |
| Miami bass music | from the late 1980s, characterised by bass-heavy grooves designed for dancing |
| Christian hip hop | hip hop with Christian themes in the lyrics |
| hip hop dance elements include: |
| Breakdancing | also known as 'B-boying' or 'B-girling' by its practitioners and followers, is a dynamic style of dance. The term 'breakdancer' originates from the dancers at DJ Kool Herc's parties, who saved their best dance moves for the 'break' section of the song |
| Hip-Hop | a form of dance that is becoming more popular. Hip hop dance comes from breakdancing, but does not consist wholly of breakdancing moves. Unlike most other forms of dance, which are often at least moderately structured, hip hop dance has few (if any) limitations on positions or steps |
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| Hip-hopera | see 'rap opera' |
| Hip hop português | literally 'Portuguese hip hop' which is also known as 'Hip Hop Tuga', the Portuguese variety of hip hop music, although distinct because it has mixed African music from Lusophone Africa with reggae. It is often performed by African-Portuguese, descendants of African immigrants that came to Portugal after the independence of the former African colonies |
- Hippie from which this information has been taken
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| Hip hop tuga | see 'Hip hop português' |
| Hip house | also known as house rap, a mixture of house music and hip hop which arose during the 1980s in New York and Chicago |
- Hip house from which this information has been taken
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| Hippie | or 'hippy', a term originally used to describe some of the rebellious youth of the 1960s and 1970s among whose characterists was listening to psychedelic rock, blues, traditional Eastern music, rock music with eastern influences, soulful funk, jam bands and folk music. Neo-hippies (twenty-first-century people who still believe in the hippy philosophy) frequently participate in the bluegrass music scene. In addition they would perform music casually, often with guitars, in friends' homes, or for free at outdoor fairs and festivals |
- Hippie from which this information has been taken
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| Hippocampus | a part of the brain, in the medial area of the cerebral cortex, that is thought to be critical for storing memories |
| Hipster | style for skirts and trousers where the waist band fits low on the hip rather than the waist, made popular in the 1960s when they were often worn with a large belt |
| Hipsters | see 'detuners' |
| in the 1940s and 1950s the term hipster came into usage by the American Beat generation to describe jazz and swing music performers, and evolved to also describe the bohemian-like counterculture that formed around the art of the time |
| Hira-daiko | (Japanese) flat taiko drum |
| a general term for a drum that is wider than it is deep |
| Hiratsuri-daiko | (Japanese) a double headed frame-drum suspended vertically from a wooden frame by means of three rings on the body, or suspended horizontaiiy from a tripod |
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| Hirmológicas | (Spanish f. pl. from the Greek Heirmoi) melodies from the Byzantine rite, usually quick (120-180 bpm) and syllabic |
| Hirt | (German m.) herd, herdsman |
| Hirte | (German m.) shepherd |
| Hirtenflöte | (German) shepherd's flute |
| Hirtengedicht | (German) pastoral peom, ecologue, idyl |
| Hirtenlied | (German n.) herdsman song, pastoral song |
| Hirtenpfeife | (German f.) Hirtenschalmei. rustic pipe, pastoral pipe |
| (German f.) or shawm, ciaramella (Italian f.), cennamella (Italian f.), Schalmei (German f.) , chalumeau (French m.), pipeau (French m.), simple rustic reed pipe, ancestor of clarinet, with 6 to 8 finger holes |
| Hirtenschalmei | (German) a capped double-reed shepherd's shawm |
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| His, his |  |
| (German n.) the note 'B sharp' |
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| His-Dur | (German n.) the key of 'B sharp major', enharmonically equivalent to the key of 'C major' |
| His-genitive | an unusual use of his, her, and their as the sign of the genitive by attaching them to the end of a word or locating them immediately after a word |
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| Hishigi | (Japanese) the highest note on the bamboo transverse flute, nohkan |
| Hisis, hisis |
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| (German n.) the note 'B double sharp' |
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| his-Moll | (German n.) the key of 'B sharp minor', enharmonically equivalent to the key of 'C minor' |
| Hispanic chant | see 'Mozarabic chant' |
| Hispanic neumes | see 'Mozarabic neumes' |
| Hiss | a category of noise, more properly called 'white noise' |
| Histoire | (French f.) story, history |
| Histoire à dormir debout | (French f.) cock-and-bull story |
| Histoire de la musique | (French f.) music history, history of music |
| histoire de voir | (French) just to see |
| Histoire sans queue ni tête | (French f.) cock-and-bull story |
| Historia (s.), Historiae (pl.) | in ancient times, the word historia meant roughly the same thing as the modern English word "story" (i.e., any narrative whether factual or fictional). Latin writers, especially in medieval times, might on occasion use the word historia refer to history, to legends, to vitae (lives), mythology, folklore, hearsay, gossip, and rumouin ancient times, the word historia meant roughly the same thing as the modern English word "story" (i.e., any narrative whether factual or fictional). Latin writers, especially in medieval times, might on occasion use the word historia refer to history, to legends, to vitae, mythology, folklore, hearsay, gossip, and rumorsrs |
| musical setting of a biblical story, associated with Protestant, particularly Lutheran communities |
| Historia | (Spanish f.) history |
| Historiador | (Spanish m.) historian |
| Historia europea | (Spanish f.) European history |
| Historia sacra (s.), Historiae sacrae (pl.) | (Latin) one of the early forms of oratorio, a combination of dialoghi (drama-narrative) and laudi spirituali (songs of praise), similar to the 'recitative' and 'aria' forms in oratorio |
| Historiated (initial) | see 'decorated initial' |
| Historia von D. Johann Fausten | the first "Faust book", a chapbook of stories concerning the life of Johann Georg Faust, written by an anonymous German author. It was published by Johann Spies (1540-1623) in Frankfurt am Main in 1587. This book became the main source for the play The Tragical History of Doctor Faustus by Christopher Marlowe, Goethe's play Faust, and also served as the libretto of the opera by Alfred Schnittke, also entitled Historia von D. Johann Fausten |
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| Historical album | a collection of songs around a unified theme with a basis in the documented history of a person or place. This differs from a concept album, which may have a unified theme, but is usually comprised of fictional stories not linked with actual historical facts even though the subject could be a real person or place. Historical albums are often considered concept albums due to the broad nature of that more recognizable category |
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| Historical dance | also called 'early dance', a collective term covering a wide variety of dance types from the past as they are danced in the present |
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| Historical dictionary | a dictionary that traces the changes in a word's meaning by listing its entries chronologically and providing quotations using the word in that particular sense as illustrative examples |
| Historical edition | works of the past published in collections prepared from studies of the original sources or manuscripts. Historical editions are usually published to preserve a musical heritage (Musica Britannica, for example, focuses on English music), disseminate repertory, and make authentic editions available for study and performance. They can be the complete works of a composer, "monuments" of a specific type of music, or a series of performing editions |
| Historical instrument | many writers distinguish the terms 'historic instrument' and 'historical instrument'. The former refers to an original, the latter to a later reconstruction or 'copy'. The term 'copy', when applied to musical instruments raise,s its own problems as the examination of modern copies quickly demonstrates. Invariably, the 'copies' differ not only from the original but even from one another. In many cases, this is easy to understand. What makes a musical instrument is much more than the material from which it has been made or the sum of the skills used to fashion it. The important relationship between instrument and player too is very important and generally must be highly personal. In a similar way, every maker of a copy is drawn too into the complexities of that association so that the modern instrument is a reflection of the modern maker as much, if not more so, as that of the original maker |
| Historically aware | see 'authenticity' |
| Historically informed | see 'authenticity' |
| Historical novel | a novel in which fictional characters take part in, influence, or witness real historical events and interact with historical figures from the past |
| Historical romance | see 'romance, historical' |
| Historic instrument | many writers distinguish the terms 'historic instrument' and 'historical instrument'. The former refers to an original, the latter to a later reconstruction or 'copy'. The term 'copy', when applied to musical instruments raise,s its own problems as the examination of modern copies quickly demonstrates. Invariably, the 'copies' differ not only from the original but even from one another. In many cases, this is easy to understand. What makes a musical instrument is much more than the material from which it has been made or the sum of the skills used to fashion it. The important relationship between instrument and player too is very important and generally must be highly personal. In a similar way, every maker of a copy is drawn too into the complexities of that association so that the modern instrument is a reflection of the modern maker as much, if not more so, as that of the original maker |
| Historicism | Herder in his philosophy of history presented the first extensive formulation of historicist principles, and rejected the Enlightenment conception of a unilinear development of human civilization. Mankind was indeed one but, he maintained, this mankind can only be understood in its historical manifestations in diverse national cultures. Religion, philosophy, science, and art thus do not exist in any absolute sense; there are only the religions, philosophies, sciences, and arts of specific cultures at specific stages in their development. All cultures, Herder held, European and non-European, primitive and civilized are thus equally worthy of study, in a sense the primitive more so insofar as they are closer to the original genius of a people. Any attempts to use abstract tools of analysis to understand national cultures were mechanistic and
unhistorical. History as life can only be grasped through empathy (Mitfühlen) |
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| histórico | (Spanish) historic, historical |
| Historic pitch | |
| Historicus | (Latin) or testo (Italian m.), narrator in an oratorio (one of the features that distinguish the oratorio from early opera) |
| Historien (m.), Historienne (f.) | (French) historian |
| Historien de salon (m.), Historienne de salon (f.) | (French) amateur historian, popularizer of history |
| Historiker | (German m.) historian |
| Historiography | historiography has a number of related meanings. It can refer to the history of historical study, its methodology and practices (the history of history). It can also refer to a specific body of historical writing (for example, "medieval historiography during the 1960s" means "medieval history written during the 1960s"). Historiography can also be taken to mean historical theory or the study of historical writing and memory. As a meta-level analysis of descriptions of the past, this third conception can relate to the first two in that the analysis usually focuses on the narratives, interpretations, worldview, use of evidence, or method of presentation of other historians |
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| historique | (French) historical |
| historisch | (German) historical |
| historische Aufführungspraxis | (German f.) historic performance practice |
| historische Studien | (German f. pl.) historical studies |
| Historismus | (German m.) historism |
| History of music | the history of music has a long and complex history. It may predate language (and certainly predates the written word) and is found in every known culture, past and present, varying wildly between times and places. A culture's music is influenced by all other aspects of that culture, including social and economic organization, climate, and access to technology. The emotions and ideas that music expresses, the situations that music is played and listened to in, and the attitudes toward music players and composers all vary between regions and periods. "Music history" is the distinct subfield of musicology and history which studies music (particularly Western art music) from a chronological perspective |
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| History play | play dealing with a historical subject, for example, Shakespeare's Henry V |
| Histrio | (Latin) actor |
| histrionic | (of behaviour) theatrical, dramatic, istrionico (Italian) |
| Histrionics | insincere and dramatic behaviour designed to impress, commedia (Italian f.) |
| Histrionismo | (Spanish m.) histrionics |
| Hit | (English, German m.) a commercially successful recording, song, play, etc. |
| hitaasti | (Finnish) largo, adagio |
| Hitch-pin | the pin which retains the end of a string opposite the wrestpin or tuning pin on a keyboard instrument like a piano or harpsichord. The hitch-pins are driven into the hitch-pin rail |
| Hitoyogiri | (Japan) an end-blown flute |
- Hitoyogiri from which this information has been taken
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| Hittite cultic music | one main element of Hittite rituals is the musical performances frequently mentioned in ritual literature. The sacred acts were accompanied by sacred words recited in a whispered or murmured tone, in metrical form, in responsorial antiphony of precentor and choir or in archaic foreign languages. Music and singing accompanied ritual acts such as the sacrifice, the libation, and the appearance of the king or the royal couple. The use of or ban on music were regulated by ritual instructions mentioning instruments, singing, recitation, and clapping. Most frequently lyres can be found, more rarely harps and lutes (chordophones), drums, different rattles, cymbals (idiophones, membranophones), double oboes, and horns (aerophones). Songs were performed by individuals or choirs, had diffentiating titles, and were sometimes attributed to particular deities. Music served for calling deities and entertaining them, for communication with them (trance), contact with the deceased, threatening enemies and encouraging fighters. It had an apotropaic, captivating, and erotic effect and was used to entertain feasting parties |
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| Hiva kakala | (literally 'fragrant songs') love songs or poems, an important part of semi-traditional Tongan secular music |
| Hiva usa | in the smaller Tongan churches and the minority Methodist sects, hymn singing is unaccompanied, hiva usa. A strong singer will sing the first notes alone (a practice called hua or opening) and the rest of the congregation will then join. Church choirs are popular, practice is frequent, and most congregations sing all hymns in harmony |
- Hiva usa from which this information has been taken
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| Hiver | (French m.) winter |
| hizo ademán de levantarse | (Spanish) he made as if to get up |
| hizo un calor achicharrante | (Spanish) it was scorching |
| Hjælpelinie | (Danish) ledger line, leger line |
| Hjälplinje | (Swedish) ledger line, leger line |
| HK-pop | see 'Canto pop' |
| Hlafdig | also called a hlaefdieg, hladig, or cwen, an Anglo-Saxon wife of a warlord |
| Hlaford | an Anglo-Saxon warrior chieftain who was served by a number of loyal warriors called thegns. His wife, called the hlafdig, hlaefdieg, hladig, or cwen may have been responsible for overseeing communal provisions |
| Hlzbl. | abbreviated form of Holxbläser, that is, the woodwind section in an orchestra or band |
| hmn | abbreviation of 'harmonium' |
| h-Moll |  | (German n.) the key of 'B minor' |
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| h-moll Messe | (German f.) see 'B minor Mass' |
| Hmong harp | (Laos) a double-tongued brass Jew's harp |
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| HMV | abbreviation of 'His Master's Voice' |
| Hn, hn | abbreviation of Horn (German - cor (French)), 'horn' |
| Hne | (Burmese) a small double-reed instrument, of which a larger version, the hne gyi, is used on ceremonial occasions |
| Hne-gji | (Burmese) or hne gyi, a larger version of the hne |
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| Hne gyi | see hne-gji |
