| Peace-punk | see 'anarcho-punk' |
Peacham, Henry
(1576-1643) | a poet and writer, known today primarily for his book, The Compleat Gentleman, first printed in 1622. It is presented as a guidebook on the arts for young men of good birth. In it, he discusses what writers, poets, composers, philosophers, and artists a gentlemen should study in order to become well-educated. Because he mentions a large number of contemporary artistic figures, he is often cited as a primary source in studies of Renaissance artists |
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| Péage | (French m.) toll, toll-gate |
| Peal | suono (di campane) (Italian m.), Läuten (German n.), carillon (French m.), repique (Spanish m.), toque de campanas (Spanish m.) |
| a group of different-sized bells, usually from two to six, located in a belfry of the Christian church and rung according to the liturgical calendar and on other special occasions. Each bell of the peal swings at its own rate, thus producing an ensemble of disorganized sound. This ringing is referred to as pealing. In the British Isles, peal refers to 5,040 "changes" rung in continuous succession on a "ring" of bells. Seven bells or more permit this number of changes; if the ring contains fewer than seven, a peal will consist of the maximum number of changes possible on that number |
| loud sustained sound of series of sounds (for example, prolonged ringing of bells, firing of cannon, rolls of thunder, applause, laughter, etc.) |
| Peana | (Italian m.) a paean, a hymn, a song of praise |
| Pear | (pera (Italian), Birne (German), poire (French), peer (Dutch), pera (Spanish) European Species: Pyrus communis: Average Weight: from 45 to 50 pounds per cubic foot) a very hard, tough wood similar to apple. Used for carving, tool handles, block printing, and mechanical parts |
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| Pear Garden | Chinese opera is a popular form of drama in China. In general, it dates back to the Tang dynasty with Emperor Xuanzong (712-755), who founded the 'Pear Garden', the first known opera troupe in China. The troupe mostly performed for the emperors' personal pleasure. To this day operatic professionals are still referred to as "Disciples of the Pear Garden" |
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| Pearly | on the piano, a clear round smooth tone, particularly in scale passages |
| Pearly Gates | one of the two-couple figures danced in a circle of four people traditionally associated with square dancing |
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| Peasant Cantata | J. S. Bach's Cantata (Mer hahn en neue Oberkeet) BWV 212 |
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| Peasecod-belly | the unusual masculine silhouette produced by padding the doublet front to give a paunch shape. The fashion spread from Spain and was especially extreme in France |
| Peau | (French f.) skin, hide (leather) |
| (French f.) a drum head |
| (French f.) skin or leather bag of a bagpipe |
| Peau de batterie | (French f.) drum skin |
| Peau de buffle | (French f., literally 'buffalo hide') a stop of jacks on a harpsichord in which the plectra are made of very soft leather - usually the rank of jacks farthest from the player |
| sometimes written peau de bouffle |
| Peau de chamois | (French f.) chamois leather |
| Peau de mouton | (French f.) sheepskin |
| Peau-de-soie | (French f., literally 'silk skin') a thick silk fabric with a dull satin face on both sides |
| Peau supérieure | (French f.) drumhead |
| Peca | (Spanish f.) freckle |
| Pecado | (Spanish m.) sin |
| Peccadillo | (Spanish m.) a trifling fault, a pardonable offence |
| Peccavi (s.), Peccavimus (pl.) | (Latin, literally 'I/we have sinned') a confession of guilt or an admission of responsibility for an error |
| Pêche | (French f.) peach (fruit) |
| (French f.) fishing (activity), catch (fish) |
| Péché | (French m.) sin |
| Pêche à la ligne | (French f.) angling |
| Péché mortel | (French m.) a chaise-longue consisting of an upholstered arm-chair and a matching upholstered stool which can be removed |
| pécher | (French) to sin |
| pêcher | (French) to catch (fish), to dig up (familiar), to fish |
| pécher par timidité | (French) to be too timid |
| Pêcheur (m.), Pêcheuse (f.) | (French) fisherman (m.), fisherwoman (f.) |
| Pêcheur (à la ligne) (m.), Pêcheuse (à la ligne) (f.) | (French) an angler |
| Pecia | system of transcription of books in some universities, by which students hired master copies in sections to make their own transcripts |
Pécourt, Louis-Guillaume
(1653-1729) | a French dancer and choreographer. He became the Superintendant des ballets du Roi, succeeding Pierre Beauchamp |
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| Pecula | (Spanish f.) wig |
| Pécule | (French m.) savings (reducing costs, etc.) |
| Peculiaridad | (Spanish f.) peculiarity, characteristic |
| Peculium | (Latin) property |
| pécuniaire | (French) financial |
| Ped. |
| |
an abbreviation or, as shown above, a graphic symbol, found in piano music, both indicating the use of the right or damper pedal which when depressed sustains the tone |
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| Ped. | on the organ, a marking indicating that notes are to be played on the pedals |
| Pedaal | (Dutch) pedal |
| Pedaaltoon lang aangehouden | (Dutch) pedal point |
| Pedagogia | (Italian f., Spanish f.) pedagogy, education |
| pedagógico (m.), pedagógica (f.) | (Spanish) pedagogic, pedagogical |
| Pédagogie | (French f.) pedagogy, education |
| pédagogique | (French) educational, pedagogic |
| Pedagogo (m.), Pedagoga (f.) | (Spanish) pedagogue, teacher, educator |
| Pedagogue | (archaic) schoolmaster, teacher |
| Pédagogue | (French m./f.) schoolmaster, schoolmistress, teacher |
| Pedagogy | the science of teaching |
| Pedal | (English, German n.) pedale (Italian), pédale (French), a lever operated by the foot found on keyboard instruments, harps and some percussion instruments |
| the purpose of the pedal will depend on the instrument: |
| glassharmonica | a foot-operated treadle mechanism rotates the axle to which the glasses are attached |
| harmonium | the pedals on a harmonium operate the bellows that supply air to the reeds. A similar mechanism can be found on small chamber organs to supply air to the pipes |
| harp | 7 double-action pedals used to shift the pitch of the 7 diatonic strings (from left to right DCB EFGA) in each octave. The pedals have 3 positions. When the pedal is up, the note is a semitone flat, when the pedal is down, the note is a semitone sharp and when in the middle, the note is natural |
| harpsichord | some harpsichords have pedals to change the registration by engaging different stops and/or effects |
| organ | larger organs have a pedal board that is played with the feet. The pedal board is also found on some larger clavichords, harpsichords and the pedal piano |
| player piano | to advance the pre-punched paper roll which controls which notes are being played at any particular time |
| organ | the 'crescendo pedal' which brings on stops and couplers gradually, the swell pedal which opens and closes the shutters of the swell-box producing a gradual increase or decrease of tone, the combination pedal (one of a group of the levers placed above the pedal keyboard by means of which certain groups of stops are thrown in or out |
| piano | on the modern piano the pedals offer sustaining, dampening and a change of tone by moving the hammers so that they strike fewer strings |
| timpani | to allow the tension of the head to be adjusted, the pedal being connected to the tuning screws via a spider-like system of metal rods |
| amplified string instruments | controlling devices that alter the sound quality or timbre of the input signal, adding effects such as distortion, fuzz, overdrive, chorus, reverb, wah-wah, flanging, or phaser. They sit on the floor and have large on/off switches on top that are activated by foot. Some, such as wah-wah or volume pedals, are also manipulated while in operation by moving a large foot-activated analog switch
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| electronic organs & synthesizers | usually include a volume pedal similar to that of a guitar (indeed, the electronic organ and not the guitar pioneered this pedal), and some advanced models also include an 'effects pedal' that may be programmed to serve several of the functions |
| vibraphone | the pedal operates a damper bar, which has a material like felt attached to it. The damper bar usually rests against the bars of the vibraphone, preventing the bars from ringing freely, however pressing the pedal pulls the damper bar away from the bars thus allowing the notes to ring freely |
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| (German n.) treadle |
| Pedal | also called point d'orgue (French), pédale harmonique (French) or pedal armónico (Spanish), 'pedal note', 'pedal point' or 'pedal tone', a long held note above which other parts move |
| see 'inverted pedal point' |
| see 'internal pedal point' |
| the lowest note on an instrument, particularly that on a brass instrument for any slide or value setting |
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| Pedal armónico | (Spanish m.) pedal, point d'orgue (French), pédale harmonique (French) |
| Pedal board | a keyboard designed to be played with the feet, commonly found on organs, but more rarely on other instruments like the pedal piano and the pedal clavichord |
| Pedal C | C, two octaves below middle C |
| see 'octave' |
| Pedal celeste | (Spanish m.) left pedal (on a piano) |
| Pedal central | (Spanish m.) middle pedal (on a piano) |
| Pedalclaves | (German) pedal keys, pedals, pedal-board in an organ |
| Pedalclaviatur | (German f.) pedal-board in an organ |
| Pedal coupler | in an organ, a draw stop that connects the pedals with a particular manual |
| Pedal derecho | (Spanish m.) right pedal (on a piano) |
| Pedal drum | timpani where a pedal mechanism is employed to change the tuning |
| Pedale | (Italian m.) pedal (on the piano, this word means that the pedal which takes off the dampers must be pressed down) |
| (Italian m.) a pedal bass, organ-point that lies in the lowest part, a stationary bass |
| the Pedal division in an organ |
| see 'pedal point' |
| Pédale (s.), Pédales (pl.) | (French f.) pedal(s) |
| Pedale a ogni battuta | (Italian) use the pedal at each beat or division of the time |
| pedalear | (Spanish) to pedal (for example, on a piano) |
| Pédale céleste | see 'celeste pedal' |
| Pedale dalla gran cassa | (Italian m.) bass drum pedal |
| Pédale de la grosse caisse | (French f.) bass drum pedal |
| Pedale del piano | (Italian m.) soft pedal |
| Pédale de prolongation | (French f.) sostenuto pedal |
| Pédale de résonance | (French f.) sustaining pedal |
| Pédale de sostenuto | (French f.) sostenuto pedal |
| Pedale destro | (Italian m.) right pedal |
| Pedale di risonanza | (Italian m.) sustaining pedal |
| Pedale doppelt | (German) double pedal (for example, pedal part in octaves) (in organ playing, playing the pedal-board with both feet at once) |
| Pedale doppio | (Italian m.) double pedal (for example, pedal part in octaves) (in organ playing, playing the pedal-board with both feet at once) |
| Pedale d'organo | (Italian) the pedals of an organ |
| Pédale douce | (French f.) soft pedal |
| Pédale droit | (French f.) right pedal |
| Pedale et manuale | (Latin) in marking found in organ music, literally 'pedal and manual', which means that the hand and feet play the same notes |
| Pédale forte | (French f.) sustaining pedal |
| Pédale gauche | (French f.) left pedal |
| Pédale harmonique | (French f.) or point d'orgue, pedal note, pedal armónico (Spanish) |
| Pédale hi-hat | (French f.) hi-hat pedal |
| Pedale interno | (Italian m.) an organ-point that lies in one of the inner parts (in other words, neither in the bass nor in the highest part) |
| Pedale invertito | (Italian m.) an organ-point that lies in the highest part |
| pedale ogni battuta | (Italian) use the pedal with each bar (or measure) |
| pédaler | (French) to pedal |
| Pedale sinistro | (Italian m.) left pedal |
| Pédale sourde | (French f.) the soft (una corde) pedal |
| Pedale tonale | (Italian m.) sostenuto pedal |
| Pedalflügel | (German m.) a grand piano with a pedal keyboard attached |
| Pedalharfe | (German) pedal harp |
| Pedal harp | any harp where pedals are employed to obtain semitones |
| see 'pedal' |
| harp size | description |
| petite | approximately 40 gut strings or less and standing around five feet tall |
| semi-grand | approximately 45 gut strings and standing five and a half feet tall |
| concert grand | usually with 47 gut strings and standing six feet tall, with a range of six and a half octaves |
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| Pedal harpsichord | a harpsichord in which the stops are turned "off" and "on" by means of pedals |
| the term 'pedal harpsichord', when called by the Germans Clavecimbelpedal, can indicate an ordinary harpsichord, under which pedal keys are located which pluck the lowest keys of the harpsichord using strings or some other mechanism. in other words, it is a harpsichord with pedals permanently connected |
| the term 'pedal harpsichord', when called by the Germans Clavecimbelpedal, can indicate an ordinary harpsichord placed on top of a second harpsichord, which is played by pedal keys like the pedal board on an organ. The two instruments are thus completely independent one of the other, the pedal harpsichord having its own strings and registers |
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| Pedali | (Italian pl.) pedals |
| Pedalier | (from the Latin pedalis, literally 'on the pedals') pedal board of an organ, although a similar device was developed and fitted either to the lower octaves of the pianoforte or provided with a separate set of strongs and action |
| Pédalier | (French m.) pedals, pedal keyboard, pedalier |
| (French m.) pedal board attached to a pianoforte and invented by Pleyel, Wolff and Cie, Paris |
| Pedaliera | (Italian f.) pedal keyboard, pedalier, pedaliera (Italian), clavier des pédales (French) |
| Pedalisierung | (German f.) pedalling, the use of the pedals on the piano |
| Pedaliter | (German from the Latin pedalis, literally 'on the pedals') in keyboard music, an instruction to play with hands and feet |
| Pedal keyboard | pedaliera (Italian), Pedalklaviatur (German), clavier des pédales (French), a keyboard designed to be played with the feet, commonly found on organs, but more rarely on other instruments like the pedal piano and the pedal clavichord. In the organ, 'pedal' is also the name for the section of pipes connected to these foot pedals. By activating the Pedalkoppel these pipes can be played from a manual. Pedals on the organ were introduced first in Germany between 1300 and 1500. The pedals in French organs developed later than those in Germany. They played only melody notes until the late 1700s, when bass-sounding ranks of pipes were added. English organs did not get pedals until the middle 1800s, more than a century after Bach and Handel |
| Pedalklaviatur | (German f.) pedal keyboard, pedaliera (Italian), clavier des pédales (French) |
| Pedalkoppel | (German n.) by activating the Pedalkoppel, the pipes connected to the foot pedals can be played from a manual |
| Pedal note | see 'pedal' |
| Pédalo | (French m.) pedal boat |
| Pedal organ | the set of stops controlled by the pedal keyboard in an organ |
| Pedalpauke (s.), Pedalpauken (pl.) | (German f.) mechanically tuned kettledrum with pedals |
| Pedal piano | a piano with a keyboard for the hands and a pedal-board for the feet |
| Pedal point | see 'pedal' |
| Pedal-Steel-Gitarre | (German f.) pedal steel guitar |
| Pedal steel guitar | only distantly related to the inherently harmonic inflexible Hawaiian steel guitar, although like its distant relative it is also played (in part) by sliding a steel bar up and down the strings, the pedal steel guitar overcomes any harmonic restrictions caused by moving a bar along pre-tuned strings, by employing a system of pedals and knee levers that mechanically alter the tuning of individual strings while the instrument is being played |
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| Pedal timpani | by far the most common type of timpani used today are pedal timpani, which allow the tension of the head to be adjusted using a pedal mechanism. Typically, the pedal is connected to the tuning screws via a spider-like system of metal rods |
| there are three types of pedal mechanism in common use today: |
ratchet-clutch system
Dresden system
Ringer system | uses a ratchet and clutch to hold the pedal in place. The timpanist must first disengage the clutch before using the pedal to tune the drum. When the desired pitch is achieved, he must reengage the clutch. The drums most professional timpanists use have Dresden pedals |
| balanced action system | a spring is used to balance the tension on the timpani head so that the pedal will stay in position and the head will stay at pitch. The balanced action system is sometimes called a floating pedal since there is no clutch holding the pedal in place. Timpani used by school bands and orchestras typically have balanced action pedals. Many professionals also use timpani with balanced action pedals for gigs and outdoor performances because they tend to be more durable |
friction clutch system
Berlin system | consists of a clutch attached to the pedal that moves along a post. When the player presses his toe forward, he frees the clutch from the post and the pedal moves freely. This system is much less common than the ratchet-clutch and balanced action systems |
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| Pedal tone | see 'pedal' |
| applied to brass instruments, the pedal tone is the note which is at the fundamental frequency of the harmonic sequence of the instrument, but it is not a resonant frequency of the air column. When the bell effect raises the lower resonances of the closed tube, the lowest resonance is actually not used, being out of tune with the rest of the notes. However, if the player's lips are vibrated at the pedal tone frequency, all the harmonics above it contribute and produce a tone at this pedal tone pitch. It is sometimes called a fictitious fundamental, but for the bass brass instruments, it is quite strong and useful |
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| Pedalwerk | (German n.) pedal (for example, on an organ). Pedals on the organ were introduced first in Germany between 1300 and 1500. The pedals in French organs developed later than those in Germany. They played only melody notes until the late 1700s, when bass-sounding ranks of pipes were added. English organs did not get pedals until the middle 1800s, more than a century after Bach and Handel |
| Pedana | (Italian f.) rostrum |
| Pedant | person who demands adherence to formal rules or literal meaning |
| pédant (m.), pédante | (French) pedantic |
| pedantisch | (German) in an even, unemotional manner |
| Pédiatre | (French m./f.) a paediatrician |
| Pédicure | (French m./f.) a chiropodist |
| Pedido | (Spanish m.) order |
| Pedigree | (English, French m.) recorded line of descent (of a person or pure-bred dog, horse, etc.), genealogical table, 'life history' of a person, thing, idea, etc. |
| pedir asilo politico | (Spanish) to ask for political asylum |
| pedir disculpas | (Spanish) to apologise |
| Peep toe | popular shoe style where the front section is cut away to reveal the wearer's toes |
| Peg | bischero (Italian), Wirbel (German), cheville (French), the tuning peg on a string instrument used to change the tension on a string and hence to set its pitch |
| pegar un brinco | (Spanish) jump |
| Pegbox | Wirbelkasten (German m.), chevillier (French m.), cassa dei bischeri (Italian f.), cassetta dei piroli (Italian f.), cavigliera (Italian f.) |
| or 'pegdisc' or 'peghead', where on stringed instruments the tuning pegs or, in the case of instrument fitted with a slotted peghead (a worm gear system), machine heads (or tuners) used to adjust the tension of the strings, are fitted |
| Pegdisc | see 'pegbox' |
| Pegel | (German m.) level (as in 'sound level') |
| Peghead | see 'pegbox', 'headstock' |
| Peg organ | see 'belly organ' |
| Pègre | (French f.) underworld |
| Peigne | (French m.) comb |
| peigner | (French) to comb, to comb the hair of (a person) |
| Peignoir | (French m.) a loose dressing-gown worn by women (named for the wearing of this garment when the hair is being combed, from peigne (French: comb) |
| peilen | (German) to sound |
| peindre | (French) to paint |
| Peine | (French f.) sadness, sorrow, trouble (effort, difficulty), punishment, sentence |
| peine, à | (French) scarcely, hardly, barely |
| Peine de mort | (French f.) death penalty |
| peine entendu, à | (French) barely audible |
| Peine forte et dure | (French f., literally 'severe and curel punishment') pressing to death under heavy weights, a punishment formerly inflicted on those who refused to plead to a charge of felony |
| peiner | (French) to struggle, to sadden |
| Peintre | (French m.) painter |
| Peintre de dimanche | (French m., literally 'a Sunday painter') a painter who earns his living otherwise than by painting |
| Peintre en bâtiment | (French m.) house painter |
| Peinture | (French f.) painting, paint (the material), the method of using paint characteristic of an artist or a school of artists |
| Peinture à la colle | (French f.) a method of painting with opaque powder-colour suspended in a solution of gum, poster-colour painting |
| Peinture à l'huile | (French f.) oil painting |
| Peinture sonore | (French f.) tone painting |
| Peitsche | (German f.) whip, slap stick |
| peitschend | (German) whipping, sferzando (Italian), en cinglant (French) |
| péjoratif (m.), péjorative (f.) | (French) pejorative |
| Peking opera | see 'Beijing opera' |
| Pelage | (French m.) coat, fur |
| pêle-mêle | (French) in a jumble |
| peler | (French) to peel |
| Pèlerin | (French m.) pilgrim |
| Pèlerinage | (French m.) pilgrimage |
| Pèlerine | (French f., literally 'a pilgrim's clock') a woman's narrow cape with ends coming down to a point in front (however, the term has been used over so long a period that it is apt for a whole range of styles of woman's cape) |
| Pélican | (French m.) pelican (bird) |
| Pelimanni music | (Finland) or Pellimanni music. By the beginning of the nineteenth century, foreign dances including polka, mazurka, schottische, minuet and polska were popular throughout Finland. These led to a number of distinctively Finnish forms of these dances, including humppa and jenkka. These are collectively known as pelimanni music featuring fiddles, harmoniums and accordions |
| Pelisse | (French f.) a woman's long loose cloak with holes for the arms (originally the cloak was lined with fur) |
| Pelle | (Italian f., literally 'leather') drum-head |
| (French f.) shovel, spade (as in 'bucket and spade' for a child) |
| Pellet bells | small spherical bells with slits that surround a loose pebble or bit of metal that rattles when the bell is shaken, for example, sleigh bells |
| Pelletée | (French f.) a shovelful |
| Pellicule | (French f.) film (thin sheet of material) |
| Pellicules | (French f. pl.) dandruff (hair) |
| Pellimanni music | see 'Pelimanni music' |
| Pellizco | (Spanish, literally 'pinch', 'nip' or 'small bit') small spontaneous gestures, mimicries or whimsical movements employed by a dancer to heighten the effect of a dance. The phrase is used in flamenco to describe actions which are spicy, saucy or flirtatious |
| Pélog | (English, German n.) see laras |
| Pélog scale |  |
| Pelote | (French f.) a ball |
| Pelote d'épingles | (French f.) a pincushion |
| Peloton | (French m.) a troop, a squad, (in sport) a pack |
| Peloton d'exécution | (French m.) firing-squad |
| Pelouse | (French f.) a lawn |
| Pelta | (Latin from Greek) a small light shield used by the ancient Greeks and Romans, a shield-like motif in decorative art |
| Peluche | (French f.) plush (material), a cuddly toy |
| Pelure | (French f.) peeling |
| Pelzfutter | (German m.) fur-lining (of a coat, etc.) |
| Pemade | in the gamelan orchestra, a high pitched instrument made of short resonating bamboo tubes. Its range lies between the ugal and the kantil |
| Pen | (Dutch) pin |
| a writing implement (felt-tip pen, fountain pen, etc.) |
| to write (colloquial), to hold within a secure enclosure (sheep, etc.) |
| Pena | a flamenco club |
| Penal | of or concerning punishment, punishable |
| pénal | (French) penal |
| pénaliser | (French) to penalize |
| Pénalité | (French f.) a penalty |
| Penalty | punishment for breaking a law, rule, contract, etc. |
| disadvantage, loss, etc. as a result of one's own actions |
| Penalize | subject (a person) to a penalty or disadvantage |
| Penance | act of self-punishment as reparation for guilt |
| penando | (Italian) toiling, struggling, stentando |
| Pence | plural of 'penny' |
| Penchant | (English, French m.) a strong or habitual inclination or liking |
| Penchant pour | (French m.) a strong or habitual inclination or liking for |
| penché (m.), penchée (f.) | (French, literally 'leaning' or 'inclining') in dance, a term used to qualify a position or movement, as, for example, in arabesque penchée |
| pencher | (French) to tilt, to lean over |
| pencher pour | (French) to favour |
| Pencil | instrument for drawing or writing, usually a thin rod of graphite, etc. enclosed in a wodden cylinder or metal case, resembling a pencil in shape (pencil skirt, etc.) |
| Pencilina | invented by Bradford Reed, and described as an electric ten string collision of the hammer dulcimer, slide guitar, koto and fretless bass with six pickups of varied type, struck with sticks, plucked and bowed |
|
| Pencil skirt | popular skirt shape cut from a straight block from hip to hem, often knee length and worn with suit jackets |
| Pendaison | (French f.) a hanging |
| Pendant | hanging jewel, etc., especially one attached to a necklace, bracelet, etc. |
| (French m.) a matching piece |
| pendant | (French) during, for |
| pendant (m.), pendante (f.) | (French) hanging, pending |
| Pendant d'oreille | (French f.) a drop ear-ring |
| pendantif | (French m.) pendant |
| pendant que | (French) while |
| Pendant vault | a vault supporting one or a number of dependant structures, usually with much surface decoration |
| penaud (m.), penaude (f.) | (French) sheepish |
| Pendeloque | (French) a pendant, particularly a pear- or drop-shaped precious stone set as a pendant |
| Pendent | hanging, overhanging, undecided, pending |
| Penderie | (French f.) a wardrobe |
| Pending | awaiting a decision or settlement, undecided, about to come into existence, during, until |
| Pendozalis | Cretan open circle dance |
| pendre | (French) to hang |
| pendre la crémaillère | (French) to have a house-warming (party) |
| Pendu (m.), Pendue (f.) | (French) hanged man (m.), hanged woman (f.) |
| pendu (m.), pendue (f.) | (French) hanging |
| pendu à (m.), pendue à (f.) | (French) hanging from |
| Pendule | (French f.) clock |
| (French m.) pendulum |
| Pendule à carillon | (French f.) musical clock |
| Pendule à musique | (French f.) musical clock |
| Pendulette | (French f.) (travelling) clock |
| Pendulous | hanging down, drooping, swinging |
| Pendulum | weight suspended so as to swing freely, for example, a rod with a weighted end used to regulate a clock |
| (in music) a marking used to denote the recommended tempo, expressed as the length of the string (usually in inches) to which a weighted bob is attached, found, for example, in Norwich Sol-fa. A metronome marking of 88 beats per minute is equivalent to a string length of 18 inches |
| Penetralia | (Latin pl.) the innermost parts or recesses (for example, of a temple) |
| the term is used metaphorically also for the inner chambers of the heart, mind, etc. |
| pénétrant | (French) penetrating |
| Penetrate | find access into or through, imbue with, permeate, see into, find out, discern, see through (darknes, fog, etc.), to be absorbed by the mind, (of a voice) easily heard through or above other sounds |
| Penetrating | (of a voice) describing one that can be heard through or above other sounds |
| (of the mind) having or suggesting sensitivity or insight |
| Pengling | from China, also called pengzhong or xing, a pair of cup bells held with their open ends pointing upward, and which are sounded by hitting both sides together, to produce a clear ringing sound |
- Pengling from which this extract has been taken
|
| Pengzhong | see pengling |
| Penillion singing | traditional form of Welsh singing in which alternating verses are accompanied by an air on the harp |
| Penitential psalms | Psalms 6, 32, 38, 51, 102, 130 and 143; they were recited after Lauds on Fridays in Lent |
| Pen-name | or pseudonym, a fictitious name, especially of an author |
| Penny whistle | the tin whistle or pennywhistle is a simple and cheap wind instrument used widely in Irish traditional music. The most common type has a moulded plastic mouthpiece attached to a cylindrical brass tube with six finger holes. It is diatonic though accidentals can be played by half-covering holes, and is available in different sizes for almost every key. Sometimes it is played in the key a fourth above the tonic (e.g. G for a D whistle). The most common key is D (an octave above middle C) and the fingering is standardly referred to as though for a D whistle |
| the low whistle, with its haunting and etheral tone, has recently established its place within Irish music. It is a tin whistle, in the range of keys from A below middle C, down to D. The lower range requires this whistle to be increased in size. It is suited for the contemporary composers such as Davy Spillane, Bill Whelan or Máire Breathnach. In skilled hands, it can also perform the traditional music of Ireland. It is essentially a vertical fipple flute |
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| Penorçon | (French) an ancient instrument resembling a ghittern |
| Penorkon | (Greek) an ancient instrument resembling a ghittern |
| Pensée | (French f.) a thuoght or reflection put into literary form |
| Pensiero | (Italian m.) a thought |
| Pensiero del(la) ... | (Italian) souvenir of..., recollection of ... |
| pensieroso | (Italian, Latin) contemplative, thoughtful
[information supplied by Sabrina Mudd] |
| the title of the John Milton's poem Il Penseroso, the companion to L'Allegro, means essentially "contemplative", although it exemplifies either Milton's incorrect Latin or his poor spelling: the correct word should be pensieroso |
| Pension | (French) a boarding-house, a lodging-house with a fixed weekly or monthly rate (in France or Italy) |
| Pensionnaire | (French) one who is living as a boarder, paying a fixed weekly or monthly sum for board and lodging |
| Pensol | name attributed by some to the 'Negrito nose flute' |
| pensoso | (Italian) pensive, thoughtful |
| Pentachonium | (Greek) a composition in five parts |
| Pentachord | (English, German n./m.) a five note chord |
| a five note section of a diatonic scale |
| an ancient instrument with five strings |
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| Pentacordo | (Spanish m.) pentachord |
| Pentagrama | (Spanish m.) or pentagráma (Spanish), stave, staff, portée (French) |
| Pentagrama | (Catalan m.) stave, staff, portée (French) |
| Pentagramma | (Italian m.) staff, portée (French) |
| there are various staff formats: |
| pentagramma semplice | single staff | generally, used for solo instruments such as flute, violin, trumpet, etc. |
| pentagramma doppio | double staff | generally, used for solo instruments such as piano, harp, harmonium, etc. |
| pentagramma triplo | triple staff | used for music written for an organ with a pedal keyboard |
| pentagramma multiplo | muti-staff | used for multipart scores (e.g. string quartets, choral scores, orchestral scores, etc.) |
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| Pentateuch | volume containing the first five books of the Bible; Genesis, Exodus, Leviticus, Numbers and Deuteronomy |
| Pentathlon | (Greek) an athletic contest of the ancient world combining five different exercises - jumping, running, throwing the discus, throwing the spear and wrestling. They formed part of the various games held in ancient Greece which were named for the centre in which they took place. Music and singing competitions were not on the programme of the Olympic Games but they were a speciality of the Games at Delphi. Well before the appearance of sports competitions, musical competitions were organised in Delphi. These comprised singing accompanied by the cithara, flute solos or singing with flute accompaniment. Music and singing remained a feature of the Pythian Games even after the integration of sports competitions. Poetry and drama competitions also figured on the programme. |
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| Pentatone | an interval formed of five whole tones |
| Pentatonic blues scale | see 'pentatonic' |
| pentatónico (m.), pentatónica (f.) | (Spanish) pentatonic, pentatonique (French), pentatonische (German) |
| for example, escala pentatónica (Spanish: pentatonic scale) |
| Pentatonic scale | (from the Greek, literally 'of or using only five notes') in music, a pentatonic scale is a scale with five notes per octave. Pentatonic scales are very common and are found all over the world, including but not limited to the tuning of the Ethiopian krar and the Indonesian gamelan, the melodies of African-American spirituals, Celtic folk music and the music of French composer Claude Debussy |
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| pentatonic major scale (also called 'primary pentatonic scale'), a major scale omitting the fourth and seventh notes |
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| pentatonic minor scale, a minor scale omitting the second and sixth notes |
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| pentatonic minor major 6 scale, a minor scale omitting the second and seventh notes |
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| pentatonic minor 7 flat 5 scale, also called the 'pentatonic blues scale' |
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| pentatonic major sharp 9 flat 7 scale, a pentatonic scale comprising 2 triads, C major and Eb major |
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| pentatonic major flat 9 scale |
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| pentatonic whole-tone scale, used in jazz |
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| Pentatonic scales, altered | see 'altered pentatonic scales' |
| Pentatonik | (German f.) pentatonic (scale) |
| pentatonique | (French) pentatonic (for example, gamme pentatonique (French: pentatonic scale) |
| pentatonische | (Dutch, German) pentatonic (for example, pentatonische Skala (German: pentatonic scale), pentatonische toonladder (Dutch: pentatonic scale)) |
| Pentimento (s.), Pentimenti (pl.) | (Italian, literally 'repentance') in art, an alteration made in the process of executing a painting, discovered when an alteration made by the artist (for example, the hidding of some detail) becomes apparent in the course of time through the increasing translucence of the paint with age |
| Pentatonon | (Greek) an interval of five whole tones, augmented or extreme sixth |
| Pentozalis | a Cretan war dance that takes its name from its five (pente) basic steps, the zala, as they are known locally |
| Peon | (Spanish m.) a Mexican serf, a debtor held in servitude by his creditor until the debt is paid off |
| Peplos | (Greek) a rich robe or shawl worn by women in ancient Greece, hanging in folds and sometimes drawn over the head |
| Peplum | (Latin) a woman's overskirt, supposed to resemble the ancient peplos |
| the term is applied more generally to (a woman's jacket with) a flared skirt covering the upper part of the skirt beneath |
| Pepys Manuscript | although very much smaller and less elaborate than the Eton, Lambeth and Caius Choirbooks, the Pepys and Ritson Manuscripts contain shorter and rather simpler pieces, presumably for smaller and less able choirs. The Pepys MS is so-called because it was numbered among the diarist's books; he described it as containing 'monkish music of Edward IV's time.' Although Pepys associated his MS with the reign of Edward IV (1461-1483) the book was probably begun a year or two earlier on internal evidence. The MS was probably completed some time after 1465, because it refers to the composer Hawte as 'Knight' and 'Sir William Hawte', and he was knighted in that year |
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| per | (Italian) by, in order to, for, from, through |
| (Latin) by, through |
| per accidens | (Latin) by virtue of some non-essential circumstance, contingently |
| per annum | (Latin) (a sum of money paid) every year, yearly |
| per arsin et thesin | see arsin et thesin, per |
| per augmentationem | (Latin) by augmentation |
| per biscantum | (Latin) an old term for music in two parts |
| Perc., perc | abbreviation of 'percussion' |
| percale | (French from Persian) a soft closely-woven cotton fabric |
| per capita | (Latin, literally 'by heads') a division of a legacy or a payment amongst a group of individuals who are each to be treated, or are each to benefit equally |
| Perce | (French f.) bore |
| Percenter | also tenpercenter, an agent (colloquial) |
| Percentery | also tenpercentery) a talent agency (colloquial) |
| per centum | (Latin) per hundred, by the hundred, in each hundred (usually indicated by the symbol %) |
| Percepção musical | (Portuguese) ear-training |
| percepibile | (Italian) perceivable |
| Perceptible | (English, French, Spanish) capable of being perceived by the senses or intellect |
| Perception of loudness | see 'Weber-Fechner Law', 'decibel' |
| Perception of pitch | see 'Weber-Fechner Law' |
| Perception of rhythm/meter | Kramer (1998) noted that "performers and listeners use the information in a composition to understand where beats fall and how strongly accented they are, but we do not literally hear beats. We experience them - by means of mental processing of information...We react physically and emotionally to meter, but we do not literally sense it with our eardrums" |
| Perceptive listening | the ability to discern musical characteristics |
| Perceptum (s.), Percepta (pl.) | (Latin) in psychology, something percieved, a meaningful impression obtained through the senses |
| Percettibile | (Italian) perceptible |
| Percheron | (French) a breed of horse resembling a lightly-built cart-horse (from the le Perche region of Normandy, France) |
| per contra | (Latin) on the other hand, on the other side of the argument |
| Percossa | (Italian f.) a blow, a stroke |
| percosso | (Italian) struck, geschlagen (German), percuté (French) |
| percuotere | (Italian) to stike, to hit, to beat |
| Percusión | (Spanish f.) percussion |
| Percusionista | (Spanish m./f.) percussionist, percussionniste (French) |
| Percussão | (Portuguese) percussion |
| Percussion | percussione (Italian), batterie (French), Schlagzeug (German), percusión (Spanish) |
| (French f.) percussion (instruments) |
| instrument à percussion or instrument de percussion (French: percussion instrument) |
| Percussion acoustique | (French) non-electronic percussion |
| Percussion, body | see 'body percussion' |
| Percussion clef | see 'indefinite pitch clef' |
| Percussione (s.), Percussioni (pl.) | (Italian f.) percussion |
| Percussion électronique | (French) electronic percussion |
| Percussion instruments | Perkussionsinstrument or Schlaginstrument (German), batteria or strumenti a percossa (Italian), instruments à percussion (French), instrumentos de percusión (Spanish) |
| instruments that produce sound by being struck. Some have definite pitch while others have an indefinite pitch. Where the pitch of percussion instruments can be determined this will be by a complex set of variables depending on the dimensions and material of the instrument itself. For example, the pitch of a drum is determined by the size and thickness of the drum head, the tension, and to some extent the depth of the body. The pitch of a xylophone tone bar is determined by the material's density and flexibility, length and thickness, and shape. A xylophone bar is also normally amplified by a tuned resonator set underneath |
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| Percussionist | person who plays percussion instruments |
| Percussionniste | (French m./f.) percussionist |
| Percussion stop | a reed organ stop that strikes the reed a short, sharp blow when sounding it, so as to induce a stronger, prompter response |
| Percussive | to sound by striking |
| percuté | (French) struck, percosso (Italian), geschlagen (German) |
| percuter | (French) to strike, to percuss |
| percuter contre | (French) to strike, to thud into |
| Percuteur | (French m.) firing pin, hammer |
| perd. | abbreviated form of perdendosi |
| per davvero | (Italian) in earnest |
| perden. | abbreviated form of perdendosi |
| perdendo | (Italian) gradually dying away and, in its current usage, also becoming slower |
| (Italian) morendo, diminuendo |
| per diem | (Latin) (a sum of money paid) every day, daily, for a day's work |
| perdiéndose | (Spanish) perdendosi |
| perdendosi | (Italian) gradually dying away and, in its current usage, also becoming slower |
| (Italian) morendo (Italian), diminuendo (Italian), sich verlierend (German), verebbend (German), en se perdant (French) |
| perdere | (Italian) to lose, to miss, to ruin, to waste |
| perdere la bussola | (Italian) to lose one's bearings |
| perdersi | (Italian) to lose oneself, to get lost, to disappear, to go to ruin, to miscarry |
| perdersi d'animo | (Italian) to lose heart |
| perdiendo | (Spanish) perdendo |
| perdifiato | (Italian) at the top (or pitch) of one's voice, with all one's strength |
| Perdigiorno | (Italian m.) an idler, a time-waster |
| per disteso | (Italian) in full detail |
| Perdita | (Italian f.) loss, waste (time) |
| Perditempo | (Italian m.) waste of time, time lost |
| Perditore (m.), Perditrice (f.) | (Italian) a loser |
| Perdizione | (Italian f.) ruin, perdition, destruction |
| perdonabile | (Italian) pardonable, excusable |
| perdonare | (Italian) to forgive, to excuse, to pardon |
| Perdono | (Italian m.) a pardon, forgiveness |
| perdre | (French) to lose, to get out of, to break, to mislay, to forget (date, name), to shed (fur), to waste (money), to miss (an event) |
| perdre connaissance | (French) to lose consciousness |
| perdre conscience | (French) to lose consciousness |
| perdre l'esprit | (French) to lose one's mind |
| perdre sa page | (French) to lose one's place |
| perdre sa place | (French) to lose one's place |
| perdu (m.), perdue (f.) | (French) hidden away, out of sight, hidden but on the watch (a hidden sentry), (lying) in ambush |
| perdurare | (Italian) to last, to persist, to persevere, to continue |
| perdurevole | (Italian) durable, lasting |
| perdutamente | (Italian) desperately, hopelessly, madly |
| Père | (French m.) (the) father (always preceded by a name, and opposed to fils (French: (the) son)) |
| Père de famille | (French m.) the father of a family |
| Peredyshka | (Russian) a breathing-space |
| peregrinare | (Italian) to travel, to wander, to go abroad |
| Peregrinazione | (Italian f.) peregrination |
| Peregrinata | (Italian f.) a singularity, a rarity |
| peregrino | (Italian) rare, precious, uncommon |
| Peregrinus | the words for 'pilgrim' (in the sense of 'wanderer') in modern European languages derive from the Latin peregrinus, which has among its main meanings 'foreigner' or 'stranger' |
| see tonus peregrinus |
| perezoso | (Spanish) lazy |
| perf(s). | abbreviation of 'performance(s)', 'performed (by)' |
| Perfección | (Spanish f.) perfection |
| Perfecciónista | (Spanish m./f.) perfectionist |
| Perfect | perfetto (Italian m.), perfetta (Italian f.),rein (German), parfait (French), juste (French - intervals) |
| (from the Latin perfectus) intervals of a unison, octave, fourth, and fifth when they are exactly in tune and neither augmented nor diminished |
| the term 'perfect' refers to intervals that, because of their extremely simple pitch relationships, are possessed of a high degree of consonance. The just fifth is a member of the harmonic series, as is the octave, and the frequency ratios that define the pure fifth (3:2) and the octave (2:1) are very simple. The fourth, which is the complement to the fifth, is also expressed, in terms of frequencies with a similarly simple ratio (4:3). What distinguishes 'perfect' intervals from seconds, thirds, sixths and sevenths is that when a 'perfect interval' is inverted, it remains perfect. Augmented, diminished, major and minor intervals all change their quality under inversion. The very earliest attempts at harmony in Gregorian chant involved only the octave and the fifth. The fourth, although 'perfect' because its quality is invariable under inversion, is considered a stylistic dissonance in certain contexts, namely in two-voice textures and whenever it appears above the bass |
| a concept from Medieval music defining the relationship of 3:1 |
| Perfect binding | see 'adhesive binding' |
| Perfect cadence | cadenza perfetta (Italian), Hauptschluss (German), cadence parfaite (French) |
| a closing harmonic progression consisting of the dominant chord followed by the tonic chord |
| some do not consider a cadence to be completely perfect unless the melody ends on the tonic and both chords are in root position |
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| Perfect chord | a concord or union of sounds which is consonant, including the unison, octave, perfect fifth and perfect fourth |
| Perfect concords | the unison, octave, perfect fifth and, sometimes, the perfect fourth |
| Perfect consonances | the unison, octave, perfect fifth and, sometimes, perfect fourth |
| Perfecting | or backing-up, printing the second side of a sheet |
| Perfection | (English, French f.) making, becoming or being perfect |
| Perfect interval | perfektes Intervall (German n.), reines Intervall (German n.), intervalle juste (French), intervallo giusto (Italian), intervalo justo (Spanish), the interval of a unison (also called 'standard prime'), a fifth, a fourth or an octave. The ratios of frequencies they correspond to, are prime (1:1), 4th (4:3), 5th (3:2), and octave (2:1) |
| perfecto | (Spanish) perfect |
| Perfect pitch | orecchio assoluto (Italian m.), absolute Gehör (German n.), oreille juste (French f.), oreille absolue (French f.), oreille parfaite (French f.), oído absoluto (Spanish m.) |
| see 'absolute pitch' |
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| Perfect prime | alternative name for 'unison' |
| Perfect time | in medieval theory, triple time |
| Perfect unison | alternative name for 'unison' |
| Perfectus | (Latin) see 'perfect' |
| perfekt | (German) perfect |
| perfektes Intervall | (German n.) perfect interval |
| Perfektion | (German f.) perfection (the state of being perfect) |
| Perfervidum ingenium | (Latin) extreme enthusiasm, ardent temperament |
| perfetto (m.), perfetta (f.) | (Italian) perfect, complete |
| Perfezione | (Italian f.) perfection |
| Perfezionista | (Italian m./f.) perfectionist |
| perfide Albion | (French) treacherous England (the traditional (French) view of England) |
| Performance | in performing arts, a performance generally comprises an event in which one group of people (the performer or performers) behave in a particular way for another group of people (the audience). Sometimes the dividing line between performer and the audience may become blurred, as in the example of "participatory theatre" where audience members might get involved in the production. Singing choral music, and performing in a ballet are examples. Usually the performers participate in rehearsals beforehand. Afterwards audience members often clap, indicating appreciation. However, sometimes this rule is reversed. In Japan, the greatest compliment is complete silence |
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| Performance art | multimedia art form involving visual as well as dramatic and musical elements |
| Performance dance | also known as concert dance, a category of dances in which an audience watches but does not participate |
| Performance edition | also called 'practical edition', an inexpensive alternative to the far more expensive 'scholarly' or 'library' editions which are usually hard-bound and full of critical commentary |
| Performance markings | or 'performance marks', signs in the score that indicate the composer's wishes as regards tempo and dynamics, articulation and phrase marks, expression, fingering, whether or not to use the mute, and so on |
| the term 'marks' seems more appropriate for small individual symbols, like accents, dots for staccato, and so on. 'Markings' or 'indications' may be a better general term. While the two words 'marks' and 'markings' are often interchangeable, it is more usual to use the terms 'dynamic markings' (or 'dynamics'), 'tempo indications' (for words such as andante, allegro) amd 'metronome markings'. Where a composer chooses to use explicit indications of expression and articulation one might called these 'expressive markings/indications' |
| Performance marks | see 'performance markings' |
| Performance practice | (from the German Aufführungspraxis) the study and application of conventions, as far as these can be understood from contemporaneous evidence, that guided the original performances of musical works, particularly in matters of instrumentation (specific instruments, their playing technique, the balance between different parts, etc.), notation and ornamentation (where these are not explicit), elements of improvisation (for example, realising a figured bass), timbre (for example, the appropriate kind of voice production), tuning, temperament and pitch. There are similar conventions that can be applied to the performance of dance and theatre |
| some have argued that these matters are important to a proper understanding of what the music meant when it was originally written (and, by extension, the meaning that it should have for us today) and that this is something that should concern us. The counterargument lies in the fact that we, the listener and performer, are not living in the past and that there is no way we can separate the past from the present. So, when deciding, as we must, in the absence of recordings from the period, the sound world in which these works were created and the cultural norms that informed the original performers and their audience, we can only understand these things in terms of the present |
| Performance score | a score, containing all the parts, from which all the performers are meant to play. If a piece is sold as a performance score, there are no separate parts available |
| Performing arts | those forms of art which differ from the plastic arts insofar as the former uses the artist's own body, face and presence as a medium, and the latter uses materials such as clay, metal or paint which can be molded or transformed to create some art object. Performing arts include the acrobatics, busking, comedy, dance, magic, music, opera, film, juggling, marching arts, such as brass bands, theatre, and circus arts |
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| Pergamenthandschrift | (German f.) vellum |
| Pergamino | (Spanish m.) parchment |
| Perger | or P, after Lothar Perger, the cataloguer of music by Johann Adolph Hasse (1699-1783) and Johann Michael Haydn (1737-1806) |
| Pergola | (Italian) a covered walk formed of growing trees trained over trellis-work |
| Periconas | Chilean dance from the Quellón region that combines Spanish music and dance forms with aboriginal Chilean music and dance |
| Perico ripiao | (Spanish, literally 'ripped parrot') the name given to the merengue that continued to use the accordion at a time when the piano and brass instruments were added to larger merengue orchestras |
| Perigordino | (Italian) périgourdine |
| Périgourdine | (French) an ancient Franco/Flemish singing-dance in compound duple time |
| per il flauto solo | (Italian) for solo flute |
| per impossible | (Latin, literally 'by an impossibility') supposing it were possible, which it is not |
| using an argument when considering the hypothetical result of conditions which can never exist |
| Périnet Valves | the Périnet valve is named after François Périnet, the Parisian who invented this type of piston valve in 1838 and patented it the following year. The valve loops are arranged in such a way that the inlet tubing is positioned on a different level than the outlet tubing. The piston is held at rest by a spring, which is placed either on top (top-sprung) or below (bottom-sprung) the piston. The Périnet valve is now the standard for trumpets in most countries (except Germany and Austria), and is often simply called the "piston valve." |
| Period | a complete musical thought, concluded by a cadence, having from two phrases, each usually two to eight bars (measures) in length, called the 'antecedent' (often ending in a half cadence) and the 'consequent' (often ending in an authentic cadence) |
| see 'musical period' |
| see 'decorative period' |
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| Periode | (German f.) period |
| Période | (French) period |
| Periodenbau | (German) composition, the construction of a musical period |
| Periodical | publications issued on a regular basis are periodicals. Weekly magazines, scholarly journals and newspapers are all examples of periodicals. Serials are any periodicals, books, yearbooks, or indexes that are issued in a series. So all periodicals are serials but all serials are not periodicals |
| Periodicities | musical phenomena with the quality or state of being periodic, that is they recur at regular intervals |
| Periodic phrasing | organization of phrases of a musical work into pairs of an equal number of measures (usually 4 + 4, sometimes 8 + 8), in an antecedent-consequent arrangement. In such an arrangement, the first phrase is open-ended and requires the second phrase (often based on a similar theme or idea) to achieve closure |
| Período | (Portuguese) period, as in 'musical period' for example, Baroque or Classical |
| Period performance | the application of the ideas behind 'performance practice' to music, theatre and dance |
| Peripeteia | (Greek) a sudden change of fortune or reverse of circumstances (for example, as providing the dénouement of a play or novel) |
| Periphrasis (s.), Periphrases (pl.) | (Greek) circumlocution, a round-about way of speaking, a roundabout phrase or expression |
| Periplus | (Latin, from the Greek) a circumnavigation, a circuit, a primitive chart or sailing-guide |
| Perito (s.), Periti (pl.) | (Italian) an expert |
| Perkussion | (German f.) percussion |
| Perkussionsinstrument | (German n.) percussion instrument |
| per l'addietro | (Italian) in the past, formerly |
| perlato | (Italian) pearly |
| perlé | (French) pearly, brilliant |
| perlend | (German) pearly |
| per l'organo | (Italian) for the organ |
| Permanentatmung | (German f.) circular (i.e. continuous) breathing |
| per mensem | (Latin) (a sum of money paid) monthly, every month |
| permis (m.), permise (f.) | (French) allowed, permitted |
| Permis | (French m.) licence, permit |
| Permis de conduire | (French m.) driving-licence |
| Permis de séjour | (French m.) a license to reside in a given place (issued by the police in certain countries) |
| per modo di dire | (Italian) as it were |
| Permutation | (English, German f.) where a subject recurs with a change in the order of the notes |
| Permutation fugue | a fugue in which material after the original subject also becomes the object of imitation |
| Permutationsfuge | (German f.) permutation fugue |
| permuter | (French) to change round |
| pernicieux (m.), pernicieuse (f.) | (French) pernicious |
| Perno | (Italian m.) centre pin |
| però | (Italian) however, therefore |
| Pérou | (French m.) Peru |
| Perpendicular | in architectural history, the final phase of Gothic in England, characterised by large windows with vertical tracery and flattened arches |
| Perpetual | without end, infinite, perpetuo (Italian), dauernd (German), perpétuel (French), continuel (French) |
| Perpetual canon | a round, an infinite canon |
| perpétuel (m.), perpétuelle (f.) | (French) perpetual, never-ending |
| perpetuo | (Italian, Spanish) perpetual, never-ending |
| Perpetuum mobile | (Latin, literally 'perpetual motion') moto perpetuo (Italian), a piece that is rapid, filled with notes of the same value rather like a toccata |
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| per pro | abbreviation for pro pro curationem (Latin: by proxy, by the action of an official agent or deputy) |
| used to indicate that a letter or document has been signed by an agent on behalf of the principal. The correct sequence is (principal) per pro (agent), but usage has reversed this so that now it is understood to be (agent) per pro (principal) |
| per/pro | (Latin) a variant of per pro, which is taken to mean 'for and on behalf of' |
| per pro curationem | see per pro |
| per quanto | (Italian) however |
| per quanto io sappia | (Italian) as far as I know |
| per questo | (Italian) for this reason |
| per recte et retro | (Latin, literally 'forward then backward') by retrogression, the antecedent or subject reversed note for note |
| Perreo | (Spanish) a Puerto Rican sexually explicit dance associated with reggaeton |
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| per rinforzo | (Italian) for the purpose of reinforcement |
| Perron | (French m.) front steps |
| in English, an architectural term for a platform in front of the main entrance of a building, usually approached by a double flight of steps |
| Perroquet | (French m.) a parrot |
| Perruche | (French f.) a budgerigar |
| Perruque | (French f.) a wig |
| in English, the term is applied especially to a full-bottomed wig, and hence, by association, to a pompous but essentially vacuous person |
| Perry | an cider-like drink made from pears rather than apples |
| Pers | (Dutch) press |
| per saltum | (Latin) by a jump, at a single step, without any intermediate stages |
| Persan | (French m.) Persian (language) |
| persan (m.), persane (f.) | (French) Persian |
| per se | (Latin) by itself, in itself, without reference to anything else |
| persécuter | (French) to persecute |
| Persécution | (French f.) persecution |
| persévérer | (French) persevere |
| Persévérance | (French f.) perseverance |
| Persian music | Persia's early musical culture was highly developed, and had for centuries been mixing with the ancient musical culture of neighboring India. Like Islamic music, Persian music relied on improvisation, employed the lute, and used female slave musicians. According to Atheneaus, King Darius of Persia had 329 musicians in his harem. But we have little direct information; it appears that the existing treatises on Persian music were burned by the Muslims |
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| Persienne | (French f.) (outside) shutter |
| the term applies particularly to a shutter constructed with moveable slates like a Venetian blind |
| Persiflage | (French m. pl.) raillery, mockery, light-hearted banter, frivolous discussion of a subject |
| Persona (s.), Personae (pl.) | (Latin) a person's 'public image', that part of the personality which is in touch with the outside world, the expression of the personality |
in examining the composition and performance of musical works, the question of persona is raised: whose persona does the music represent--that of the composer, the performer, or (in the case of vocal music) the character portrayed by the performer? With respect to musical borrowing, the relevant question is: whose voice or persona is speaking in the borrowed material, the original composer's or the borrower's? In the case of self-borrowing by a vocal composer, it is the composer's own voice, rather than that of the poet whose text he or she originally set, that speaks through the borrowed material. In an instrumental transcription of a vocal work, the vocal melody retains its original textual associations, thereby preserving the original composer's voice despite the removal of the text. When the situation is reversed, as in a popular vocal arrangement of an instrumental classic, the original composer's persona is still felt, as is the case with arrangements of Chopin and Tchaikovsky melodies. Concerning the transcription of an existing instrumental work for a new instrumental combination, the integrity of the transcription (its preservation of the original composer's voice) rests on its use of a restricted choice of instrumentation. Lastly, folk-tune or anthem borrowings can seem ridiculous if they are too obvious, where the original composer's voice completely overpowers the borrower's persona, disrupting the new piece. Puccini's use of The Star-Spangled Banner in Madama Butterfly is a prime example of this
[paraphrase of material from: Cone, Edward T. The Composer's Voice. Berkeley: University of California Press, 1974]
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| Personaje | (Spanish m.) personage |
| Personalabteilung | (German f.) human resources, personnel department |
| Personaleingang | (German m.) staff entrance |
| Persona muta (s.), Personae mutae (pl.) | (Latin) a character in a play who has no speaking part |
| Persona non grata (s.), Personae non gratae (pl.) | (Latin) unwelcome guest, a representative who is personally unacceptable to the authority with whom he (or she) is expected to do business, etc. |
| Personnel | (from French) the total force of people required for the conduct of some enterprise, etc. |
| persönliche Note | (German f.) personal touch |
| perspektivische Zeichnung | (German f.) perspective |
| per stirpes | (Latin) (Law) the division of a legacy, etc., so that each branch of a family receives the same amount, and then that amount is then divided equally between the members of that branch |
| Persymphans | Moscow's experimental Persymphans ('First Symphonic Ensemble') employed an inward-facing arrangement in which the violins and violas sat with their backs to the audience. Formed in February 1922, this much-publicized group dispensed with a traditional conductor. Instead it took collective decisions regarding tempos, dynamics, balance, and other interpretive factors. In Marxist terms, its workers controlled their (cultural) production directly |
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| Pertichino | (Italian m., literally 'understudy') a term, common in the eighteenth century, applied to a character in an opera who remians silent or makes occasional interjections during an aria or recitative |
| Perücke | (German f.) wig |
| Peruvian folk music | |
| Peruvian harp | also called arpa indigena (indigenous harp), originally a Spanish import probably introduced by the Jesuits. The Peruvian diatonic harp has had an indigenous association since colonial times in Peru. Physical and musical differences are noticable from Píura and Ancash in the north, Canta and Junín in the central region, to Ayacucho and Cuzco in the south. The harp in Peru has several roles: as a solo instrument, accompaniment for a singer (usually the harpist himself), or as an ensemble instrument. In the last role it is often hoisted upside down and played while parading or during festivals. The number of strings, their materials and techniques of fastening into the harp box, vary in Peru, but there are usually between 30 and 35 that are made from metal, gut, or nylon |
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| Pervading imitation | a Renaissance compositional technique in which successive phrases of the text are set to overlapping points of imitation, brought to perfection by Giovanni Pierluigi da Palestrina (1525-1594) as part of the stile antico |
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| Pes | (Latin, literally 'foot') see 'neumatic notation' |
| Pes | (Latin, literally 'foot') accompaniment for a round, often carrying a melodic ostinato figure |
| (Latin, literally 'foot') in thirteenth-century England, a tenor part |
| Pes (s.), Pedes (pl.) | (Latin, literally 'foot') the first section of a canso, the section itself made up of two phrases, the first which ends inconclusively on an ouvert cadence, on the note above the final, the second of which ends conclusively on a clos cadence, on the final - there are usually two pedes at the start of a canso |
| pesado | (Portuguese, Spanish) heavy, firm, vigorous, tedious |
| Pesage | (French m.) on a keyboard, the weight of the touch |
| when the keys are depressed, the performer is must apply a certain amount of force to sound each note. Where the force is great, the touch is said to be heavy and most players would find it hard work to play very quickly or very loudly; where the force needed is small, the touch is said to be light and most players would find it difficult to employ a wide dynamic range |
| pesamment | (French) heavily, firmly, vigorously, ponderously, sluggishly |
| "In musical terms, means slowly, in a manner that is not vif and animé." - Trévoux (1771) |
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| pesant (m.) pesante (f.) | (French) heavy, firm, vigorous, weighty, sluggish, ponderous |
| "Musique pesante , that is to say one in which the tempi [mouvements], and consequently the notes, are slow and of long duration." - Brossard (1703) |
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| pesante | (Italian) heavy, weighty, ponderous, firm, vigorous, forcibly, impressively, weightily |
| pesantemente | (Italian) heavily, firmly, vigorously, ponderously |
| Pesanterin | (Hebrew) psaltery (mentioned in Daniel 3:7), and believed to refer to the nebel |
| Pesinden | (Javanese) female singers who perform with gamelan orchestras |
| Pes flexus | see 'neumatic notation' |
| Peso del braccio | (Italian m.) the weight of the arm |
| Peso del corpo | (Italian m.) the weight of the body |
| Pesrev | see 'Ottoman classical music' |
| Pétale | (French m.) petal |
| Pétanque | (French f.) bowls |
| pétarader | (French) to backfire |
| Pétard | (French m.) firework, banger |
| the term has been applied to a work of art designed to startle |
| Petenera | a cante which is outside of mainstream flamenco. The name derives from Andalucian folklore and is believed to be a corruption of the word patenera, who originally sang the cante and came from Paterna de la Rivera (near Jerez de la Frontera). Playing of the petenera is considered, by the superstitious, to be unlucky. The general mood of this form is one of sadness due to its associated legend which tells of a beautiful young prostitute named Dolores who died a violent death at the hands of one of her lovers. Every year in July, the people in the village of Paterna pay homage to this form of cante and to Dolores by hosting a national peteneras song competition |
| péter | (French) to go bang (familair), to snap (break), to break wind |
| Peterhouse Partbooks, The | despite the loss of the tenor, the Peterhouse partbooks (Cambridge University Library, Peterhouse MSS. 40, 41, 31, 32) are a most important and informative source. They contain five-part music by Fayrfax, Ludford, Taverner, Tye and Tallis, and various minor contemporaries, some of whom are known only from this source. A date of 1540-7 is generally accepted, and certainly nothing later could reasonably stand, because the reference to Henry VIII in Taverner's Christe Jesu has not been modernised |
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| Peter Pan collar | a small collar shape with two equal rounded lapels indented in the middle |
| pétillant (m.), pétillante (f.) | (French) fizzy (water) |
| pétiller | (French) to crackle (a fire), to sparkle (eyes, champagne) |
| pétiller d'intelligence | (French) to sparkle with intelligence |
| Petit (m.), Petite (f.) | (French) small child, junior (in school), kitten, pup |
| petit (m.), petite (f.) | (French) small, little, trivial, insignificant |
| when used in phrases such as petit bourgeois, it implies contempt or disparagement |
| Petit allegro | in ballet, the smaller jumps and travelling steps of an allegro |
| Petit-ami | (French m.) boy-friend |
| Petit battement | in ballet, fast, small beats of the working leg in front of and behind the supporting leg |
| Petit beurre | (French m.) a plain sweet biscuit |
| Petit blanc (s.), Petits blancs (pl.) | (French m.) a member of a community of mixed race (one of which is European) |
| Petit bourgeois (m.), Petite bourgoise (f.) | (French) a member of the lower middle classes, a person assumed to have very limited mental horizons |
| Petit-chalumeau | (French m.) the smaller of the two chanters on a musette de cour, the addition of which Hotteterre le Romain attributes to his father Martin Hotteterre (c.1640-1712) |
| see grand-chalumeau |
| Petit corps | (French m.) wing, tenor joint |
| Petit déjeuner | (French m.) breakfast |
| Petit doigt | (French m.) little finger |
| Petite amie | (French f.) girl-friend, the female friend of a middle-aged man (with the implication that the friendship is not entirely Platonic) |
| Petite bourgeoisie | (French f.) the lower middle classes, assumed to have a very limited mental horizon |
| Petite branche | (French f.) wing, tenor joint |
| Petit echappé | in ballet, when the legs are opened in the air before returning to the floor |
| Petite clarinette | (French f.) soprano clarinet |
| Petite enfance, la | (French f.) infancy |
| Petite entrée | (French f.) the privilege of admission (to Court, etc.) on a familair footing for informal private functions |
| Petite flûte | (French f.) piccolo |
| Petite maison | (French f.) a 'love-nest', a flat or villa maintained for the residence of a mistress |
| Petite maîtresse | (French f.) a woman who is full of affectation |
| Petite mesure à deux temps | (French f.) 2/4 time |
| Petite nature | (French f.) in art, not quite life-size, between full-size and half-size |
| petite note précédent l'entrée d'instrument | (French) cue note |
| Petite partition | (French f.) a musical score not primarily intended for performance use, with the notation and/or text reduced in size, i.e. a pocket or study score |
| Petite repr. | abbreviation of petite reprise (French: coda) |
| Petite reprise | (French f.) a coda or extended second ending, a compositional device where a phrase is immediately repeated, often with voice exchange, followed then by the final cadence |
| Petit four | (French m., literally 'a little oven') a small highly decorated fancy cake or biscuit |
| Petitio | (Latin) order |
| Petitio principii | (Latin) an assumption from the start, begging the question |
| Petit maître | (French m.) a dandy, a fop, a man full of affectation |
| Petit mal | (French f.) a mild form of epilepsy |
| Petit peuple | (French m.) people in a small way of business, the lower classes |
| Petit point | (French m.) (embroidery executed in) tent-stitch |
| Petit poulet | (French m.) a young fowl |
| Petits chanteurs | (French m. pl.) choristers |
| Petits soines | (French m. pl.) little attentions, little services (usually performed by a man for a woman) |
| Petit verre | (French m.) a glass of liqueur (not the liqueur-glass itself) |
| Peto | (Spanish) thick protective padding worn by horses participating in a bull-fight |
| Petto | (Italian) chest, as in voce di petto, 'chest voice' |
| Petronian motet | a motet that divides the breve into three shorter notes, following the innovations proposed by Petrus de Cruce (fl. c. 1290) which results in a patter song in which the top voice sings as fast as is possible, the motetus moves somewhat more slowly and the tenor moves the slowest of the three |
| Petronian notation | innovations proposed by Petrus de Cruce (fl. c. 1290) to the notation system of Franco of Cologne (fl. c.1250-1280) |
| Petrushka chord |  |
| not an individual chord, but rather a succession of intervals, it is defined as two simultaneous major triad arpeggios separated by a tritone - the lower voice is under first inversion. In Petrushka Stravinsky used C Major on top of F-sharp Major |
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| peu | (French) little, a little, rather |
| peu animé, un | (French) somewhat faster |
| peu à peu | (French) little by little, gradually, by degrees, nach und nach, poco a poco |
| peu de chose | (French) nothing much |
| peu enviable | (French) unenviable |
| Peuple | (French m.) people, characteristic of the working classes, plebeian |
| peupler | (French) to populate |
| Peuplier | (French m.) poplar |
| Peur | (French f.) fear |
| peureux (m.), peureuse (f.) | (French) fearful, timid |
| peu suivi | (French) poorly-attended |
| peut-être (que) | (French) perhaps, maybe |
| Pevchy dyak | (Russian) an ancient name for the occupation of singer. There were singers at the court of the tsars and in the choirs of the churchs associated with patriarchs, metropolitans and archiereus (bishop of the Orthodox Church) |
| Pewter plug | pertaining to keyed wind instruments, a nineteenth-century type of key in which the flat leather, or formed stuffed-leather pad, was replaced by a tapered plug of pewter or other soft metal riveted loosely to the key end. The tonehole covered by such a key was then lined with a similarly tapered metal bushing or sleeve that supposedly ensured an airtight seat. Plug keys were liberally used during the first three quarters of the nineteenth century, usually only for foot joints, although some flutes, especially if made in England, were outfitted completely with plug keys. It is rare to find plug keys applied to any woodwind other than the flute, the wind instrument most popular with amateurs. While amateur flutists may initially have found their durability an advantage, the reverse was true when repairs required costly professional assistance |
| Pezze | (Italian pl.) fragments, scraps |
| (Italian pl.) select, detached pieces of music |
| Pezzi concertanti | (Italian) concerted pieces, in which each instrument has occasional solos |
| Pezzi de bravura | (Italian) compositions pieces designed to display a player's skill and dexterity |
| Pezzi staccati | (Italian) any detached number drawn from an opera, oratorio, etc. |
| Pezzo (s.), Pezzi (pl.) | (Italian m.) piece, number (from an opera, oratorio, etc.) |
| (Italian m.) sections of a wind instrument |
| Pezzo di mezzo | (Italian m.) middle joint of a wind instrument |
| Pezzo di reversa | (Italian m.) crook (used on a brass instrument to alter the pitch) |
| Pezzo imposto | (Italian m.) compulsory piece |
| Pezzo inferiore | (Italian m.) lower joint of a wind instrument |
| P.F., pf | abbreviation of 'pianoforte', piano (instrument) |
| p.f. | abbreviation of più forte, poco forte |
| pf. | an instruction to play piano and then, suddenly, forte |
| Pfeife | (German f.) pipe, fife, flute, fischietto (Italian m.), Querpfeife (German f.: fife), Flöte (German f.: whistle, pipe, flute), sifflet (French m.), pifano (Spanish m.) |
| Pfeifen | (German f. pl., literally 'pipes') in early Middle Ages organs, made from bronze, copper or wood, later from tin, lead or metal alloys, occasionally also from ivory (as , for example, in the Prospekt or main organ display). The length of a pipe is given in feet. Large church organs can have as many as 6000 pipes with some as long as 30 metres |
| pfeifend | (German) whistling |
| Pfeifen-deckel | (German) the stopper or covering of an organ pipe |
| Pfeifenfuß (s.), Pfeifenfüße (pl.) | (German m.) foot, feet (measurement of the pitch of organ pipes) |
| Pfeifenorgel | (German f.) pipe organ |
| Pfeifer | (German m.) fifer or piper |
| pfiffig | (German) artful |
| Pflichtstück | (German m.) compulsory piece |
| pfmr(s) | abbreviation of 'performer(s)' |
| pfp. | abbreviation for piano-forte-piano, where the sound starts quietly before swelling and then finally dying away |
| Pft., Pfte | abbreviation of 'pianoforte' |
| Phaamon | (Hebrew) bells attached to the hem of the high priest's garment (Exodus 28:33) |
| Phach | (Vietnam) a feature of ca tru or 'tally card singing', the phach is an instrument, played by the singer, made of wood or bamboo that is beaten with two wooden sticks |
| Phagotum | see phagotus |
| Phagotus | or phagotum, a kind of bellows-blown bagpipe invented by Afranio degli Albonesi of Pavia in early 16th-century Italy |
| Phagwa | or Holi, a Hindu festival whose origins can be traced back to the Hindu holy scriptures Vishnu Purana. Percussion instruments, particularly dholak (drum), kartaal, jhaal and majeera have always had an important role in the celebrations but today chowtal singing often accompanies Phagwa celebrations. These songs are dedicated to the Hindu deities, Lord Shiva, Lord Krishna and Lord Rama. When depicted in popular Hindi film, the men sing and dance in the streets, while the women move from house to house applying abir to the faces and clothing of their friends and families in a bewildering array of colours, red, green, blue, yellow, pink, purple and orange |
| Phantasia | a term used sometimes by Portuguese composers to denote non-imitative works |
| Phantasie | (German f.) fantasia, fancy, imagination, reverie |
| Phantasiebilder | (German n. pl.) pictures of the imagination |
| Phantasiestücke | (German n. pl., literally 'fantasy pieces') a title used by a number of romantic composers, e.g. Wagner, Liszt, Schumann, Reinecke, for a composition of a fanciful, romantic nature |
| Phantasievorstellung | (German f.) lively imagination, overactive imagination |
| Phantasy | (German f.) fantasia |
| Phantom fundamental | at the lower end of the ears response, low notes can sometimes be heard when there is no sound at that frequency. This is due to the ear synthesising the low frequency sound from the differences of audible harmonics that are present. This effect is used in some commercial sound systems to give the effect of extended low frequency response when the system itself cannot reproduce that frequency adequately |
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| Phares code | (French) dimmer (electrical control for lighting), dipped headlights |
| Pharmacopoeia | (Latin from Greek) a book containing authorative formulae for the preparation of drugs and medicines |
| Pharos | (Greek) a (Greek or Roamn) lighthouse, named for the Pharos, the name of an island off Alexandria, the site of a famous lighthouse built by Ptolemy Philadelphus |
| Pharynx | (English, French m.) the pharynx (plural: pharynges) is the combined part of the digestive system and respiratory system of many animals. It is situated immediately posterior to the mouth and nasal cavity, and is cranial to the esophagus, larynx, and trachea. Because both food and air pass through the pharynx, special adaptations are necessary to prevent choking or aspiration when food or liquid is swallowed. In humans the pharynx is important in vocalisation |
- Pharynx from which this extract has been taken
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| Phase | (German f.) Abkantung (German f.), Randel (German n.), chanfrein (French f.), smusso (Italian m.), chamfer, a bevelled surface at an edge or corner |
| Phasenrauschen | (German n.) phase noise |
| Phasing | a compositional technique in which a musical pattern is repeated and manipulated so that it separates and overlaps itself, and then rejoins the original pattern, i.e. getting 'out of phase' and then back 'in sync' |
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| a term meaning the same as 'beating', the lower frequency difference tone heard when two pipes supposedly at the same pitch are in fact slightly out of tune with each other |
| or phasing shifting, a term that describes relative phase shift in superposing waves. Waves may be of electromagnetic (light, RF), acoustic (sound) or other nature. By superposing waves using different phase shifts the waves can add (0° shift = "in phase") or cancel out each other (180°). A modulation of the relative phaseshift while superposing waves thus causes an amplitude modulation |
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| PhB | abbreviation of 'Bachelor of Philosophy' |
| PhD | abbreviation of 'Doctor of Philosophy' |
| PhDEd | abbreviation of 'Doctor of Philosophy in Education' |
| Phenomenal accent | see 'accent' |
| Phenomenon (s.), Phemomena (pl.) | (Latin from Greek) an appearance, an immediate object of perception, something extraordinary, a remarkable thing, a remarkable person |
| Philadelphia soul | or 'Philadelphia sound', a genre of soul, with distinct characteristics including a lush orchestral sound and doo-wop-inspired vocals |
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| Philharmonic | see Philharmonie |
| Philharmonie | (German f.) as the name of an orchestra, Die Kölner Philharmonie, Philharmonic (English, as the name of an orchestra, The Royal Philharmonic), Filarmónica (Spanish, as the name of an orchestra, Orquesta Filarmónica de Montevideo), Filarmonica (Italian, as the name of an orchestra, Accademia Filarmonica Romana), Philharmonique (French, as the name of an orchestra, Orchestre Philharmonique de Monte-Carlo) |
| Philharmoniker | (German m.) a member of a philharmonic society, or orchestra |
| (German f. pl.) philharmonic orchestra |
| Philharmonique | see Philharmonie |
| philharmonique | (French) philharmonic |
| philharmonisch | (German) philharmonic |
| Philippine music (twentieth century) | |
| Philistine | a word used by poet and school inspector Matthew Arnold (1822-1888) in an attack on the cultural values of the nineteenth century. His mocking division of the English into three groups or classes, Barbarian (the aristocracy), Philistine (the middle classes), and Populace (the lower classes), present a set of analogies all closely related to satiric definitions and descriptions |
| Philly soul | see 'Philadelphia soul' |
| Philomousos | (Greek) a lover of music |
| Philosophe | (French m./f,) a philosopher, although the term implies someone tending towards freethinking |
| the term has come also to be associated with those who dabble in philosophy, i.e. an amateur philosopher |
| philosophe | (French) philosophical |
| Philosophical pitch | or 'Sauveur's Philosophical Pitch, C-512', also called 'scientific pitch', fixed middle C at exactly 256 Hz (arrived at by computing the ninth power of 2) and resulted in the A above it (a') being tuned to approximately 430.54 Hz. It gained some popularity due to its mathematical convenience (the frequencies of all the Cs being a power of two) but it never received the same official recognition as diapason normal (a'=435 Hz) and was not as widely used |
Philosophic Land Association
[1832-1836] | an 'interim' community set up by 32 members of the Land Association. They rented premises including a chapel and school room. The group’s leader, William Cameron, a Scottish tailor, was a communal enthusiast - he had been a member of The Edinburgh Practical Society and the Spa Fields Community. He wrote his own proposal for a community entitled The First Trumpet and went on to support the Chartist Land Plan |
| Philosophie | (French f.) philosophy |
| philosophique | (French) philosophical |
| Phin | a lute, normally three-stringed, used in the performance of mor lam |
| Phobia | (Greek) a morbid fear or aversion |
| the form exists in Greek only as a suffix |
| Phobie | (French f.) phobia |
| Phon | (English, German n.) a unit of apparent loudness, equal in number to the intensity in decibels of a 1,000 Hz tone judged to be as loud as the sound being measured and which takes account of the variable human sensitivity to different frequencies |
| Phonagogos | (Greek) opening statement or subject, for example, in a fugue |
| Phonaskie | (Greek) practice in vocalisation |
| Phonaskos | (Greek) teacher of singing and declamation |
| Phonaskus | (Latin) teacher of singing and declamation |
| Phonation | physiological process whereby the energy of moving air in the vocal tract is transformed into acoustic energy within the larynx |
| production |