TFV | after Franz Trenner the cataloguer of music by Richard Strauss (1864-1949) |
TGB | abbrevation of Très grande bibliothèque (French: nickname of the Bibliothèque de France) |
TGV | abbrevation of train à grande vitesse (French: high-speed train) |
TH | abbreviation of Technische Hochschule (German: technical high school) |
Thaat | or that, the categorisation of the ten different sets of musical scales, with seven primary notes shown in ascending order and sequentially, so as to determine the total number of distinct Hindustani ragas. Some correspond to Western church modes, such as Kalyan (Lydian mode), Khammaj (Mixolydian mode) while others have no Western equivalent, such as Bhairav |
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Thaïlandais (m.), Thaïlandaise (m.) | (French m./f.) Thai |
thaïlandais (m.), thaïlandaise (f.) | (French) Thai |
Thaïlande | (French f) Thailand |
Thai music | |
Thanatos | (Greek, 'death') Sigmund Freud's term for a subconscious desire for self-destruction, a secret longing to die, a death wish |
Thap | (Southern Thailand) a drum similar in shape to the Persian dumbek. It is used to signal changes in rhythm and is used in a supporting role for the southern nora dance. The drums are used in pairs, one low-pitched and the other high-pitched |
That | see thaat |
Thavil | two-headed Indian drum |
Thayambaka | a solo chenda (drum) performance that is unique to Kerala, Southern India, where the player uses one hand and a stick in the other, rather than the more usual two sticks |
Thé | (French m.) tea |
Theandric | relating to, or existing by, the union of divine and human operation in Christ, or the joint agency of the divine and human nature |
Theater | (German n.) theatre, playhouse, a fuss (familiar), a 'to-do' (familiar) |
Theateranrecht | (German n.) theatre subscription (purchasing tickets for a season) |
Theaterbesucher | (German m.) theatre goer |
Theaterkarte | (German f.) theatre ticket |
Theaterkasse | (German f.) box-office |
Theatermantel | (German m.) opera cloak |
Theaterschneider | (German m./f.) costumer (theatre, etc.) |
Theater spielen | (German) to act, to put on an act (familiar) |
Theaterstück | (German n.) a play |
Theatertruppe | (German f.) a theatre group, a theatre ensemble |
Theaterveranstaltung | (German f.) a theatrical event |
Theaterverlag | (German m.) publisher of works relating to the theatre (playbills, programmes, etc.) |
Theatervorhang | (German m.) theatre curtain |
Theatervorstellung | (German f.) theatrical performance |
Theaterzettel | (German m.) theatre programme |
théâtral (s.), théâtraux (m. pl.) | (French) theatrical |
theatralisch | (German) theatrical, theatrically |
theatralisch vortragen | (German) to rant |
Theatre | a building where acting takes place (the term may also be used for a cinema) |
the world of acting that takes place in the theatre, or the world of acting in general |
Théâtre | (French m.) theatre, play-acting |
faire du théâtre (French: to act) |
Théâtre de l'Académie Royale de Musique | the official theatrical building of the Académie Royale de Musique from 1821 until 1873, the principal venue of the Parisian opera (from 1822) and of ballet companies until its destruction by fire in 1873 |
Théâtre de la foire | (French m., literally 'fairground theatre') a term applied both to the venues and to the material performed there in the great Paris fairs of the 16th-century. The entertainments were primitive, seldom based on more than popular tunes, but were the precursor of opéra-comique |
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Théâtre de l'Ambigu-Comique | (French m.) one of the theatres of Paris (it was founded in 1769 and demolished in 1966) founded by Nicolas-Médard Audinot, formerly a comedian of the Opéra-Comique, which he had left to become a puppet-master at the Paris fairs. Audinot had already been a success in one of the sites of the Saint-Germain fair, where his large marionettes (called bamboches) were in vogue. He later added children trained in the theatrical arts and, in 1771, dispensed with the puppets replacing them all with child-performers |
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Théâtre de la Montansier | (French m.) formerly the Palais Royal at Versailles |
Théâtre de la Nation | (French m.) the Grand Opera House |
Théâtre de la République | (French m.) Théâtre Français |
Théâtre de l'Europe | since 1990, the name of the Odéon, one of France's five so-called 'national theatres' |
Théâtre de variétés | (French m.) music hall |
Théâtre du Vaudeville | one of the Parisian theatres officially approved by Napoleon, where vaudeville, short plays with a strong element of comic and satirical song, were produced. As the plays became more dramatic, with more consistent plots, they were more suitable for performance at the Comédie Française. After 1850, the vaudeville acquired an increasingly music-hall image and reverted to the loosely connected sketch with catchy couplets |
Théâtre engagé | (French m.) dramatic works composed for a political or sociological purpose |
Théâtre Français | or Comédie-Française, is the only state theatre in France. The theatre has also been known as the Théâtre Nautique and as the Théâtre de la République. The best-known playwright associated with the Comédie-Française is Molière. He was considered the patron of French actors; however, he died seven years before the birth of La Maison de Molière, as the Comédie-Française is often styled |
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Théâtre grecques antiques | (French m.) ancient Greek theatre |
Theatre in the round | any theatre in which the audience is seated on every, or almost every side of the stage |
a performance taking place on an arena stage |
Theatre of Dionysus | the outdoor theatre in Athens where Greek drama began as a part of religious rituals on the sloped side of the Acropolis in Athens |
Theatre organ | a pipe organ or an electronic organ designed specifically for imitation of the orchestra. It took the place of the orchestra when installed in a movie theatre during the heyday of silent films. Most theatre organs were modeled after the style originally devised by Robert Hope-Jones, which he called a "unit orchestra". Such instruments were typically built to provide the greatest possible variety of timbres with the fewest possible pipes, and often had pianos and other percussion instruments built in, as well as a variety of sound effects. Theatre organs are usually identified at sight by their distinctive horseshoe-shaped console, which is not infrequently painted white with gold trim in original examples |
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Théâtre lyrique | (French m.) opera-house |
Theatrical | feature-length motion picture (colloquial) |
of, or pertaining to, the theatre |
Théâtrophone | (French, 'the theatre phone') a telephonic distribution system that allowed the subscribers to listen to opera and theatre performances over the telephone lines. The théâtrophone evolved from a Clément Ader invention, which was first demonstrated in 1881, in Paris. Subsequently, in 1890, the invention was commercialized by Compagnie du Théâtrophone, which continued to operate till 1932 |
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Theatrum instrumentorum seu Sciagraphia (1620) | written by Michael Praetorius (1571-1621), whose real name was Michael Schultheiß, and published in Wolffenbüttel |
Theatrum mundi | (Latin) theatre of the world |
the metaphor of theatrum mundi, or the world as stage, derives from classical sources such as Plato and Horace and from early Christian writers such as Saint Paul (Curtius, 138-44). While not a new concept, it was frequently employed by baroque thinkers to express an ordered world and the forces that threatened it. Throughout Europe, playwrights such as Molière and Shakespeare used the motif in their works to emphasize the close relationship between the stage and life |
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The Country Dance Book | see 'Country Dance Book, The' |
Thé dansant | (French m.) an afternoon entertainment at which there is dancing and tea is served |
The Dancing Master | also called 'Playford', The Dancing Master (first edition: The English Dancing Master) was a dancing manual containing the music and instructions for English country dances. It was published in several editions by John Playford (1623-1686) and his successors from 1651 until c.1728. Dances from The Dancing Master were re-published in arrangements by Cecil Sharp in the early
20th-century |
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The Devil and Daniel Webster | a one-act folk opera (first performed in 1938) by Douglas Moore (1893-1969) is set in the 1840s in New Hampshire It begins with the neighbours of Cross Corners celebrating the marriage of Jabez and Mary Stone, when a guest appears carrying a mysterious black box under his arm. Are souls safe at this party? The opera is based on the a short story of the same name by Stephen Vincent Benét (1898-1943) a US poet and novelist |
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The East is Red | a chinese folk song that permeates Luigi Nono's Per Bastiana--Tai-Yang Cheng with its pentatonic melody and intervallic structure |
Theeyattu | a solo dance-drama performed in front of the Kalam or Dhooli Chitram (ritual drawing with coloured powders). It is enacted in some Bhagavathy temples of Thiruvalla, Kottayam, Thripunithura and neighbouring areas of Kerala |
- Theeyattu from which this extract has been taken
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Thegn | a warrior who has sworn his loyalty to a lord in Anglo-Saxon society |
The Gods (theatrical term) | see 'gallery' |
The Hands | see 'Hands, The' |
Théière | (French f.) a teapot |
Theil (s.), Theile (pl.) | (German m.) or Teil, part, portion, section, movement (part of a larger work), volume (of a set of volumes), division(s) of the bar (measure), component part(s) (of a movement or piece) |
theilen | (German) see teilen, divided |
Theilton (s.), Theiltöne (pl.) | (German m.) or Teilton (s.), Teiltöne (pl.), upper partial, aliquot tone |
The Internationale | (L'Internationale in French) is the most famous socialist (and anarchist and Communist) song and one of the most widely recognized songs in the world. The original (French) words were written in 1870 by Eugène Pottier (1816-1887, later a member of the Paris Commune). Pierre Degeyter (1848-1932) set the poem to music in 1888. (It was originally intended to be sung to the tune of La Marseillaise) |
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Theke | (German f.) a bar, a counter (in a shop, etc.) |
Theka | theka is a fixed set of bols for a taal which cannot be changed. A tintaal theka would comprise 16 bols, just as jhaptaal theka comprise 10 bols and so on. Theka can be abstractly compared to the skeleton of the human body. Like the human skeleton, which provides strength and support, theka provides the rhythmic skeletal support for the music |
- Theka from which this extract has been taken
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The Lost Chord | see 'Procter, Adelaide Ann' |
Thema | (German n., Dutch) theme, subject, musical theme |
Thema in de fuga | (Dutch) fugal subject |
Thema und Variationen | (German n.) theme and variations |
Thematic catalogue | the classification of music under headings which include the opening notes of the composition and/or the notes of the main theme of the composition |
Thematic composition | see 'thematic development' |
Thematic development | or 'thematic composition', 'thematic transformation', the compositional process by which a theme is transformed by modifying its melodic outline, its harmony, or its rhythm |
Thematic material | phrases and melodies that form the basis of the main and subsiduary themes in a musical work and that are extended and/or modified in the development section and return in the recapitulation |
Thematic metamorphosis | see 'metamorphosis of themes' |
Thematic transformation | see 'thematic development' and 'transformation' |
Thematic vowel | in linguistics, a vowel attached to the end of an Indo-European root word to form a stem |
thèmatique | (French) thematic |
thematische Arbeit | (German f.) thematic transformation |
thematisches Motiv | (German n.) thematic motif |
thematisch-motivische Arbeit | (German f.) thematic-motivic transformation |
thematisch materiaal | (Dutch) thematic material |
Thema und Variationen | (German n.) theme and variations |
Theme | tema (Italian), Thema (German), thème (French) |
a central idea or statement that unifies and controls an entire literary work |
a group of notes, also called a melody, that will form the basis of a work that includes the theme's repetition and/or development, as, for example, in sonata form |
in musical analysis, a theme is termed the 'subject' |
the cantus firmus against which counterpoint is written |
the subject of a fugue |
the tune, or subject, upon which variations are written |
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Thème | (French m.) theme, subject, prose |
Theme and variations | an extended work, sometimes in separate movements or sections, where the opening musical statement, called the 'theme', is subjected to development (variations) |
see 'form' |
I sometimes ponder on variation form and it seems to me it ought to be more restrained, purer. Composers in the old days used to keep strictly to the base of the theme, as their real subject. Beethoven varies the melody, harmony and rhythms so beautifully. But it seems to me that a great many moderns (including both of us) are more inclined - I don't know how to put it - to fuss about with the theme. We cling nervously to the melody, but we don't handle it freely, we don't really make anything new out of it, we merely overload it. And so the melody becomes quite unrecognizable. Johannes Brahms (1833-1897) writing to Joseph Joachim (Dusseldorf, June l856) |
Thème de jazz | (French m.) strain (in jazz), melody (in jazz) |
Theme group | a number of themes all in the same key that function as a unit within a section of a form, for example, in 'sonata-allegro' form |
Theme music | the theme music of a radio or television program is a piece that is written specifically for that show and usually played during the title sequence and/or end credits. If it is accompanied by lyrics, most often associated with the show, it is a theme song |
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Thème musical | (French m.) strain, melody, (musical) theme |
Theme song | Erkennungsmelodie (German f.), the song or number that encapsulates the essence of a musical or film and becomes most closely associated with it, for example 'The Windmills of Your Mind' (words & music by Alan & Marilyn Bergman & Michel Legrand) from the film The Thomas Crown Affair (1968) |
The Messiah | see 'Messiah, The' |
Theme tune | Erkennungsmelodie (German f.), music that is used often as an introduction to a radio program, television program, video game or movie |
Thème varié | (French m.) a theme with variation, tema con variazioni |
The Mother of Us All | an opera by Virgil Thomson to a libretto by Gertrude Stein. It chronicles the life of Susan B. Anthony, one of the major figures in the fight for women's suffrage in the United States. In fanciful style, it brings together characters, fictional and non-fictional, from different periods of American history. The opera premiered in 1947 at Columbia Universitys Branders Matthews Hall |
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Themse | (German f.) Thames |
Thé musical (s.), Thés musicaux (pl.) | (French m.) a musical tea-party, a social gathering at which music is performed and tea is served |
The Music of Ireland (1903) | one of the most remarkable collections of Irish music, published in the early years of the last century, The Music of Ireland (1903) was compiled and edited in Chicago by O'Neill (1848-1936), who resigned from the city's police force in 1905 following a distinguished career. That O'Neill collected and published 1,850 pieces is all the more remarkable because he was unable to write music which had to be transcribed by an assistant who could |
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Theocrasy | the process by which aspects of two or more separate gods in mythology comingle or blend in the form of one deity |
Theodicy | in theological writings, this term refers to a defense of God's goodness or justice in the face of evil being allowed to exist or innocent creatures being allowed to suffer. The term theodicy comes from Gottfried Wilhelm von Leibnitz's Théodicée |
Theogony | in mythology, an account of the gods' origins and their genealogy |
Theologe | (German m.) a theologian |
Theologie | (German f.) theology |
Théologie | (French f.) theology |
Théologien | (French m.) theologian |
théologique | (French) theological |
Theomarchy | strife or warfare among the gods |
Theophany | a visible (but not necessarily material) manifestation of a deity to a human person |
Théorbe | (French m.) theorbo, tiorba (Italian f., Spanish f.), Theorbe (German) |
Theorbe | (German f.) theorbo, tiorba (Italian f., Spanish f.), théorbe (French) |
Theorbo | (English from the Italian) tiorba (Italian f., Spanish f.), Theorbe (German), théorbe (French) |
a large member of the lute family, in use from the sixteenth to eighteenth centuries, with an extended neck and two sets of strings, one set being fretted and fingered like those of the standard lute, the second, longer set of strings (called 'diapasons') being tuned to the diatonic scale and designed to be played unstopped (i.e. 'open') |
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Theorbenflugel | (German m.) see Lautenclavicymbel |
Théorème | (French m.) a theorem |
Theoretiker | (German m.) a theorist |
Theoretikon | (Greek) a codex containing theories of the art of music |
theoretisch | (German) theoretical, theoretically |
theoretische Studien | (German f. pl.) theoretical studies |
theoretisches Verstehen | (German n.) theoretical understanding |
Théoricien (m.), Théoricienne (f.) | (French) a theorist |
Theorie | (German f.) theory |
Théorie | (French f.) theory |
Théorie de la musique | (French f.) music theory |
Théorie de l'expression des emotions | (French f.) theory of the expression of the emotions |
see 'affections, doctrine of' |
Théorie musicale | (French f.) music theory |
théorique | (French) theoretical |
théoriquement | (French) theoretically |
Theory | the theory of music is a description of the way we think about, or believe we should think about, music and about its notation, structure and performance. You do not need to know anything about music theory to enjoy listening to music but it is essential should you decide to take a more practical interest in the subject, for example, by learning to play a musical instrument, for, as Leonardo da Vinci, himself a fine performer on the lyra da braccio, said about painting, "You must not only believe what you see, you must also understand what you see", so it is with music: to listen properly, we must understand what we hear |
theory has a number of distinct meanings in different fields of knowledge, depending on the context and their methodologies. In common usage, people use the word "theory" to signify "conjecture", "speculation", or "opinion." In this sense, "theories" are opposed to "facts" - parts of the world, or claims about the world, that are real or true regardless of what people think.
In science, a theory is a proposed description, explanation, or model of the manner of interaction of a set of natural phenomena, capable of predicting future occurrences or observations of the same kind, and capable of being tested through experiment or otherwise falsified through empirical observation. It follows from this that for scientists "theory" and "fact" do not necessarily stand in opposition. For example, it is a fact that an apple dropped on earth has been observed to fall towards the center of the planet, and the theory which explains why the apple behaves so is the current theory of gravitation.
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Theotechny | the introduction of gods or supernatural entities into a dramatic or literary work, especially to resolve situations |
The Rake's Progress | see 'Rake's Progress, The' |
Therapeut (m.), Therapeutin (f.) | (German) therapist |
thérapeutique | (French) therapeutic |
therapeutisch | (German) therapeutic |
Therapie | (German f.) therapy |
Thérapie | (French f.) therapy |
Theremin | (English, Italian m.) thérémin (French m.), Ätherwellengeige (German f.), (Spanish m.) |
Theremín | (Spanish m.) also théremin or théreminvoxtheremin, theremin (English, Italian m.), thérémin (French m.), Ätherwellengeige (German f.) |
Thérémin | (French m., Italian m.) or theremine, theremin or thereminvox, Ätherwellengeige (German f.), (originally known as the aetherphone, etherophone, Thereminophone, termenvox and thereminvox) a type of electronic musical instrument invented in the 1920s by Franco-Russian physicist Leo (or Leon) Thérémin [born: Lev Sergeyevich Termen] (1896-1993) which is played without physically touching it. Fitted with two antennas (one vertical and one horizontal) that create an electro-magnetic field, the field's disturbance when the player's hands enter it, effect changes in pitch and volume. The left antenna controls the volume, and the right antenna controls the pitch |
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Theremin cello | also known as the 'Fingerboard Theremin', instead of strings, it has a flexible plastic film fingerboard which, when touched, produces a tone. As long as the finger remains depressed, a tone is sustained. The volume is controlled by a lever on the player's right and the tone color is controlled by knobs, and the sound is amplified by an external amplifier
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Theremingerät | (German n.) thérémin |
Thereminvox | alternative name for the thérémin |
Therianthropic | an adjectival reference to any mixture of human and animal traits together in a single description |
Therianthroposis | noun form of therianthropic |
The Ring Cycle | see 'Ring Cycle, The' |
Therimorphic | another term for therianthropic |
Theriomorphosis | noun form of theriomorphic |
The River Bend | one of the figures unique to, or traditionally associated with, square dancing |
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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Thermalbad | (German n.) thermal bath, thermal spa |
Thermal paper | paper that is impregnated with a chemical that changes colour when exposed to heat. It is used in thermal printers and particularly in cheap, lightweight devices such as adding machines, cash registers, and credit card terminals |
Thermalquelle | (German f) thermal spring |
thermique | (French) thermal |
Thermogenesis | generation or production of heat, especially by physiological processes |
Thermography | a printing process in which raised print is created. A resin powder is applied to the surface of a freshly pulled print that only sticks to its wet printed ink. When heated this chemical combination swells and the printing on the finished sheet will be raised. It is used mostly with printed text such as stationary and business cards |
Thermometer | (English, German n.) a device for registering temperature |
Thermomètre | (French m.) thermometer |
thermonucléaire | (French) thermonuclear |
Thermos | (French m./f.) (Thermos) vacuum flask |
Thermosfalsche | (German f.) (Thermos) vacuum flask |
Thermostat | (French m., English, German m.) a device for controlling temperature (usually to hold the temperature maintained by a warming or cooling device to within a narrow range of a preset level) |
thésauriser | (French) to hoard |
Thesaurus (s.), Thesauri (pl.) | (Latin, from Greek) a repository of knowledge, a dictionary, an encyclopedia |
These | (German f.) thesis |
Thèse | (French f.) thesis |
Thesis (Greek, Latin s.), These (Greek pl.), Theses (Latin pl.) | (Greek, 'lowering') originally thesis was an unstressed syllable in metre. In this sense, in music, it would be an unaccented note. Its opposite is arsis which refers to a stressed syllable in meter and an accented note in music |
Note: over time, many writers have reversed these meanings and we recommend that both words be understood and written with caution, or avoided completely |
(Dutch) strong beat, down-beat, accented part of the bar |
(Latin, in which case the plural is theses) an extended original work (as for example, an essay written up and submitted as part of the requirements for the awarding of advanced degrees, particularly Ph.D., D.Phil, etc.) |
Thespis of Icaria | (in Greek, Θέσπις) the founder of drama who won a prize for a tragedy in about 534 BC. Probably first playwright to introduce an actor (hypocrit), independent of the chorus, who delivered monologues and also engaged in dialogues with the leader of the chorus. Thespis is thought also to have introduced the use of pigments and masks by the performers. Horace describes Thespis taking his plays on wagons, with a chorus whose faces were stained with wine-lees. Actors are also called Thespians derived from Thespis |
The Threepenny Opera | see Dreigroschenoper, Die (German f.) |
The Turkish Five | the five pioneers of western classical music in Turkey, who were all born in the first decade of the 20th-century and they composed their finest music in the early years of the Republic of Turkey, during the presidencies of Mustafa Kemal Atatürk and Ismet Inönü. The 'Turkish Five' composers are Ahmet Adnan Saygun, Ulvi Cemal Erkin, Cemal Resit Rey, Hasan Ferit Alnar and Necil Kazim Akses |
The Weary Blues | see 'Weary Blues, The' |
Theyyam | also known as kaliyattam, a ritual dance popular in north Kerala or the erstwhile Kolathunadu. Theyyam incorporates dance, mime and music and enshrines the rudiments of ancient tribal cultures which attached great importance to the worship of heroes and the spirits of ancestors |
- Theyyam from which this extract has been taken
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Thiasos | in ancient Greece, an organized group of women devoted to the worship of Aphrodite |
Thickened line | a term used in 'big band' arrangement for 'close harmony' particularly that within a section, for example, the trumpet parts |
Thing | while the althing was the closest organization the Icelandic Vikings had to a national government, the thing was the equivalent of the local or regional government (i.e., althings were huge gatherings dealing with matters affecting all of Iceland, while things were smaller, scattered gatherings dealing with matters affecting a town or community). At a thing, representatives from the local area gathered to vote on policy, hear complaints, settle disputes, and designate incorrigible individuals as outlaws |
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Thinline | a term used to describe hollow body electric guitars |
Thiol | (Greece) an alternative name for the 'violin' |
Thiorbo | synonymous with theorbo |
Third | terza (Italian), Terz (German), tierce (French), tercera (Spanish), tercer grado (Spanish), an interval comprising three diatonic degrees, or spanning two diatonic scale steps, for example, the interval C to E |
Third flute | flauto traverso terzetto (Italian m.), Terzquerflöte (German f.), Terzflöte (German f.), flûte à (la) tierce (French f.), flûte tierce (French f.), a transverse flute in E flat, sounding a minor third higher than the concert flute |
Third inversion | for example, the inversion of a seventh chord such that the seventh lies in the lowest 'root' position |
see 'inversion' |
Third person | terza pesona (Italian), troisière personne (French), tercera persona (Spanish) |
one of the three classes of pronouns, verb-forms, etc., where the person speaking is the 'first person', the person spoken to is the 'second person' and the person spoken of is the 'third person' |
Third stream | (English, Third-Stream German m.) a style of music that synthesizes characteristics and techniques of classical music and jazz, the term 'third stream' was coined in the 1950s by Gunther Schuller (b.1925) to describe this confluence |
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Third wall | usually referred to as the "fourth wall", depending upon how a stagebuilder numbers the sides of the stage, the third or fourth wall is an imaginary barrier that separates the events on stage from the audience |
Thirteener | a stanza rhyming ABABABABCDDDC |
Thirteenth | an interval comprising thirteen diatonic degrees, or an octave and a sixth, i.e. a compound sixth |
Thirteenth chord | a seven-note chord built in thirds |
Thirty-second note | | a demisemiquaver, a note one thirty-second the time value of a whole note or semibreve |
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Thirty-second rest | | a demisemiquaver rest, a rest one thirty-second the time value of a whole rest or semibreve rest |
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Thirty-two-bar form | often shortened to AABA, a musical form common in 'Tin Pan Alley' songs and later in popular music including rock and pop music, and jazz, though there were few instances of it in any type of popular music until the late 1910s when it went on to become the principal form in around 1925-1926. Section B is often called the 'middle eight', 'bridge' or 'release' |
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Thiruvathirakali | from Kerala, in Southern India, a dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (December- January) |
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ThM | abbreviation of 'Master of Theology' |
Thod-rnga | also called damaru, the thod-rnga is made from two human skulls. The drum is played by twisting it back and forth with one hand so that the small pellets at the ends of the strings strike the two drumheads |
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Tholppavakkoothu | (literally meaning 'leather puppet play') a ritual art performed during the annual festivals in the Kaali temples of Palakkad district of Kerala, in Southern India |
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Thomo | in Lesotho, a stringed instrument traditionally played by women |
Thon | (French m.) tuna (fish) |
Thon-rammana | Thai goblet drum with a usually decorated, ceramic body |
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Thorn | a letter representing a th- sound in the Anglo-Saxon alphabet and in Norse runes |
(German Schledorn or Schwarzdorn, French Prunellier, Dutch Sleedoorn, European Species: Prunus spinosa) While only available in small pieces, Thorn is very tough and hard and turns well. It was a favorite for hedges and walking sticks |
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Thoroughbass | figured bass, continuo |
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ThP | abbreviation of Tonhalte-Pedal (German n.: sostenuto pedal) [entry provided by Mark Polesky] |
Thrash | see 'thrashcore' |
Thrashcore | or thrash, a fast and raw brand of hardcore punk music |
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Thrash metal | a subgenre of 'heavy metal' music, whose origins are generally traced to the late 1970s and early 1980s |
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Thread the Needle | one of the figures unique to, or traditionally associated with, square dancing |
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Three | tre (Italian), Drei (German), trois (French) |
Three-accented octave | see 'octave' |
Three-accent octave | see 'octave' |
Three-chord song | a song whose music is built around three chords that are played in a certain sequence. Perhaps the most prevalent type of three-chord song is the simple twelve bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V7 chord is used instead of V, for greater tension |
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Three Cornered-Hat, The | ballet composed by Manuel de Falla (1876-1946) which is based on the 1874 novel El Sombrero de tres picos by Pedro Antonio de Alarcón (1833-1891) |
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Three-finger technique | see 'Scruggs style' |
Threefold death | a motif of the early Irish aideda in which a victim is killed by three different means in rapid succession, often wounding, drowning, and burning |
Three-lined octave | see 'octave' |
Three-line octave | see 'octave' |
Three-part form | see 'ternary form' |
Threepenny Opera, the | see Dreigroschenoper, Die (German f.) |
Three step | the Vienna waltz |
three voices, for | see 'for three voices' |
Threnody | (from the Greek threnos, 'wailing' and oide, 'ode') a dirge, a song of lamentation, an elegy, a funereal song |
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Threshold of pain | as it relates to hearing, the threshold of pain is the sound pressure level (SPL) beyond which sound becomes unbearable for a human listener. This threshold varies only slightly with frequency. Prolonged exposure to sound pressure levels in excess of the threshold of pain can cause physical damage, potentially leading to hearing impairment |
Thrice-accented octave | see octave |
Thrice-marked octave | an alternative name for the thrice-accented octave |
Throat-singing | exercised by a number of Central Asian tribes, throat singing is a peculiar vocal art with three basic vocalizing methods and at least four submethods that allow a singer to simultaneously sing with two, indeed, sometimes even with four voices. Other cultures have developed forms of throat-singing, including the Xosa of South Africa, other Siberian peoples, such as the Chukchi from the far north of Russia or the Ainu of Northern Japan and the Inuit of North America. Although khoomei (sometimes transliterated as xöömij, xomei or hoomi), the Tuvan word, is generally translated as 'throat-singing', Western musicians and researchers have also referred to the same phenomenon as 'overtone singing', 'biphonic' and 'diphonic singing' and 'harmonic singing' |
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Throaty (voice) | a voice characterized by too much pharyngeal resonance and/or excessive pharyngeal tension |
Thrombose | (French f., German f.) a thrombosis (a blood clot) |
Thron | (German m.) throne |
thronen | (German) to sit in state |
Thronfolge | (German f.) succession |
Thronfolger | (German m.) heir to the throne |
Through-composed | (from the German, durchkomponiert) a form with no pre-established musical structure, for example, a song composed from begining to end without repetitions of any major sections, each verse having its own, unique melody. If the song is in sections (stanzas) and the music is repeated unchanged for each section (stanza), the form is then said to be strophic |
Through-hole | also spelled "thru-hole", a technology that uses Pin-through-hole (PTH) electronic components that are mounted on the printed circuit boards (PCB) by insertion into pre-drilled holes in the board and secured by soldering the pins to pads on the opposite side of the board |
Through neck | or 'thru neck', a guitar making design that uses a neck that actually runs right through the centre of the body |
Thru-hole | see 'through-hole' |
Thrush | female singer (colloquial) |
Thrust stage | another term for an apron stage, one that extends out into the audience, so that the audience is seated on three sides of it |
Thule | (also Thula, Thyle, Thylee, Thile, Thila, Tile, Tila, Tilla, Tyle, or Tylen) in Classical sources, a place, usually an island. Ancient European descriptions and maps locate it either in the far north, often northern Great Britain, possibly the Orkneys or Shetland Islands, or Scandinavia, or, in the Late Middle Ages and Renaissance, in the west and north, often Iceland or Greenland. Another suggested location is Saaremaa in the Baltic Sea |
- Thule from which this extract has been taken
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Thullal | a solo performance combining dance and the recitation of stories in verse. Staged during temple festivals, the performer explicates the verses through expressive gestures. The themes are mythological, and thullal was introduced in the 18th century by the renowned poet Kunchan Nambiar |
- Thullal from which this extract has been taken
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Thumb hole | a finger hole in an wind instrument that uses the player's thumb |
Thumb line | in jazz, the term for 'tenor', a line played by the pianist's left thumb |
Thumb piano | see kalimba, mbira, marimba, marimbula, sansa and sanza |
Thumb picks | "thimble"-like prosthetics, common among banjo players (those playing Scruggs style) but are relatively uncommon among guitarists. They are more common, however, in certain folk styles, particularly when more emphasis is desired for the bass line. In addition, and particularly 'bluegrass' banjo players also use fingerpicks |
- Plectrum which includes information about thumb and finger picks
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Thumb pistons | just below the keys of each organ manual are a number of small buttons. The numbered ones are pistons. The others have various functions and are reversibles. The thumb is used to press them which is how they got their name |
Thumb position | the high positions on the cello where the thumb moves away from the neck of the instrument and is used together with the finger tips to stop the string |
on the double bass, when playing above the octave harmonic the thumb is used as a barre, so making it easier to press the string down for higher notes |
Ryan Selberg writing on the Internet Cello Society pages says, "My teacher studied with Feuermann for a while, and related Feuermann's analogy about thumb position finger usage. When we walk, we walk heel to toe, or full-footed. But when we run, we use the balls of the feet, not the heel. The same applies to slower, vibrated passages versus rapid passages. I would add a further analogy. Playing on the fingertips for vibrato and shifting would be akin to a ballet dancer walking on point ALL the time. Having the finger on the pad also helps shifting, as you have a bit of resistance to control speed, distance and location. Think of shoveling snow, and the angle of the shovel. Holding it vertical is not the most efficient position for it" |
Thumb roll | a percussion technique, usually applied to a tambourine, and used whenever 'shaken' is not specified in the tambourine part. The roll is achieved by wetting the thumb of the dominant hand, holding the tambourine by the wooden frame in the other hand, and rubbing the thumb across the head of the tambourine along the edge of the wooden frame in a circular motion |
Thumbwheel | a small wheel used on adjustable bridges (those usually found on archtop guitars or mandolins) to adjust the height of the bridge |
Thump | a short-lived, specifically English term for a 'left-hand pizzicato', mentioned in John Playford's Musick's Recreation on the Viol (1682) |
Thumri | see 'Hindustani classical song' |
Thunder | created in 1990 by Donald Buchla, 'Thunder' was a touch-sensitive tactile 'keyboard', designed ergonomically to fit the hand and used by performers to control a variety of MIDI parameters |
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Thunder machine | machine à tonnerre (French: thunder machine, thunder sheet), machine pour le tonnerre (French: thunder machine), Donnerblech (German: thunder sheet), Donnermaschine (German: thunder machine), lastra del tuono (Italian: thunder sheet), macchina per il tuono (Italian: thunder machine), lamina metalica (Spanish: thunder sheet), máquina del trueno (Spanish: thunder machine) |
any instrument used to create or imitate the sound of thunder, for example, a large drum or a large sheet of metal that is shaken |
Thunder run | long channel, down which a cannonball is rolled to give a realistic thunder rumble effect, built into the roof of some older theatres, but mostly now unused (for safety reasons) |
Thunder sheet | machine à tonnerre (French: thunder machine, thunder sheet), machine pour le tonnerre (French: thunder machine), Donnerblech (German: thunder sheet), Donnermaschine (German: thunder machine), lastra del tuono (Italian: thunder sheet), macchina per il tuono (Italian: thunder machine), lamina metalica (Spanish: thunder sheet), máquina del trueno (Spanish: thunder machine) |
large suspended steel sheet with handles which produces a thunder-like rumble when shaken or beaten |
Thunder stick | see 'bull roarer' |
Thunderstone | any of various mineral concretions, such as a belemnite, formerly supposed to be thunderbolts |
Thunfisch | (German m.) tuna (fish) |
Thürner | (German m.) town musician |
Thym | (French m.) thyme (herb) |
Thymian | (German m.) thyme (herb) |
Thyroïde | (French f.) thyroid |
Thyrsus (s.), Thyrsi (pl.) | (Latin, from Greek) an emblematic staff tipped with a pine cone and wreathed with ivy or vine-leaves, carried by Dionysus and his votaries |
Ti | the seventh tone (or 'leading note' or 'leading tone') in a major scale |
in 'fixed do' solfeggio, ti is always the note 'B' |
a Chinese bamboo or wooden horizontal flute |
(Danish, Norwegian) ten |
Tía | (Spanish f.) aunt, girl (familiar), woman (familiar) |
Tía abuela | (Spanish f.) great-aunt |
Tiara | (Latin, from Greek) a pointed hat encircled by three crowns worn by the Pope, a richly jewelled coronet or frontal worn by ladies on formal occasions |
Tibetano (m.), Tibetana (f.) | (Spanish) Tibetan |
tibetano (m.), tibetana (f.) | (Spanish) Tibetan |
Tibetan opera |
or, in Tibetan Ace Lhamo, dubbed a "living fossil" of Tibetan culture, Tibetan opera with its vivid facial masks, earthy dancing, unadorned singing and colourful costumes boasts a flourishing history of over 1400 years: |
the Goinba school | the Goinba school, originating in Ngamring and Lhaze counties of Southwest China's Tibet Autonomous Region, features high-pitched and sonorous singing, mixed with songs and dances from the Doi area, and traditional acrobatics |
the Gyanggar school | the Gyanggar school is popular in Rinbung, Gyangze, and Xigaze, and is characterized by an ancient, rugged, and solemn style derived from Lamaism |
the Xangba school | the Xangba school from western Tibet combines the influence of local folklore and the Gyanggar School |
the Gyormolung school | the Gyormolung school from the Shannan and Lhasa areas is the most recently established school. Specializing in singing, choreography, stunts, and comic effects, it is the most developed among the four schools and has formed a jubilant style with rich and colorful songs and dances. Today, Gyormolung troupes are active in different parts of Tibet and are even known in Sichuan Province's Garze region as well as the Southeast Asian countries of India and Bhutan |
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Tibia | (Latin, German f.) ancient Roman wind instrument, consisting of two pipes, that was used in religious ceremonies, rituals and the theatre |
(French m.) shin-bone |
Tibia angusta | (Latin) flute-stop of the organ |
Tibia aperta | (Latin) flute-stop of the organ |
Tibiae pares | (Latin) two flutes, one held in the right hand and the other in the left, which were played on by a single performer |
Tibia obliqua | (Latin) the flauto traverso |
Tibia major | (Latin) flute-stop of the organ, of 16 ft. tone, the pipes of which are stopped or covered |
Tibia sylvestris | (Latin) flute-stop of the organ |
Tibia vulgaris | (Latin) flute-stop of the organ |
Tibia utricularis | (Latin) a bagpipe, gaita (Spanish), cornamusa (Italian), cornemuse (French), Dudelsack (German) |
Tibicen | (Latin) a flute player or piper |
Tibicina | (Latin) a female flute player or piper |
Tibieza | (Spanish f.) tepidity, lack of enthusiasm (figurative) |
tibio (m.), tibia (f.) | (Spanish) tepid, lukewarm |
la obra obtuvo una tibia acogida (Spanish: the play had a lukewarm reception) |
Tible | a Catalan folk oboe or shawm |
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Tiburón | (Spanish m.) shark |
Ti bwa | (Martinique and Guadeloupe) a pair of sticks, used by a second percussionist to play patterns on the side of the tanbou belè, single headed barrel drum with a goatskin head, laid on the ground and straddled by the drummer, who uses his heel to change the pitch. The drum with its two percussionists feature in chouval bwa |
Tic | (French m.) twitch (contraction), mannerism |
Tic douloureux | (French m.) an involuntary twitching of the facial muscles |
Tick | (German m.) a quirk (familiar) |
einen Tick haben (German: to be crazy) |
Ticket tout | tout is any person who solicits business or employment in an importune manner (generally equivalent to a 'solicitor' in American English, or a 'spruiker' in Australian English). A ticket tout is someone who engages in ticket resale for more than the face value of the ticket (though a ticket reseller is known as a 'scalper' rather than a 'solicitor' in North American and Australian parlance) |
Tic nervioso | (Spanish m.) a nervous twitch, habit (manic behaviour - figurative) |
Tictac | (Spanish m.) tick-tock, ticking (of a clock) |
Tic-tac | (French m.) ticking (of a clock) |
Tidinit | a Saharawi instrument of hollowed ebony with a leather cover, similar to a four-stringed lute. It was originally used only by men and especially the iggawin (Mauritanian griot) |
Tidskrift | (Swedish) periodical, review |
Tidsskrift | (Danish, Norwegian) periodical, review |
Tie | ligadura de prolongación (Spanish), fascia (Italian), Bindenbogen (German), liaison (French) |
or 'bind', a sign, a curved line that joins two or more successive notes of the same pitch, indicating that those notes should be played or sung sustained, unbroken, through their total time value |
the 'tie' mark came into use during the early part of the 16th-century. The mark used as a 'slur' came later, during the first half of the 17th-century, and initially only as a legato mark |
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tiède | (French) lukewarm, mild |
Tiédeur | (French f.) lukewarmness, mildness |
Tief | (German n.) depression (meteorlogical) |
tief | (German) deep, low, profound, flat, deeply, profoundly, (sleep) soundly |
tief Atem holen | (German) to take a deep breath |
Tiefbau | (German m.) civil engineering |
tief Cammerton | (German m.) or Opera-ton (German m.), late 17th/early 18th century pitch at about a'=390Hz |
Tiefe | (German f.) depth |
Tiefebene | (German f.) a lowland plain |
tiefe Lage | (German f.) of the register of a voice or instrument, 'low' |
tiefer | (German) deeper, lower, below, flatter |
tiefer Alt | (German m.) (lower) contralto |
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tiefer Bass | (German m.) a deep bass |
tiefer Teller | (German) a soup-plate |
Tiefgarage | (German f.) an underground car park |
tiefgekühlt | (German) (deep-)frozen |
tiefgespannt | (German) a drum slackened off to produce a lower-pitched sound |
tiefgreifend | (German) radical, radically |
tiefgründig | (German) profound (figurative) |
tief Kammerton | (German m.) see Kammerton |
Tiefkühlfach | (German n.) freezer compartment |
Tiefkühlkost | (German f.) frozen food |
Tiefkühltruhe | (German f.) a deep-freeze |
Tiefland | (German n.) lowlands |
tief Luft holen | (German) to take a deep breath |
tieftönend | (German) deep toned |
Tiefpunkt | (German m.) low (figurative) |
tiefschürfend | (German) profound (figurative) |
tiefsinnig | (German) profound (figurative), melancholy |
Tiefstand | (German m.) low (figurative) |
Tiefsttemperatur | (German f.) minimum temperature |
Tiempo | (Spanish m.) movement, tempo, time, temps (French) |
(Spanish m.) time (epoch), period, age (epoch), season, weather, tense (linguistics) |
tiempo bien aprovechado | (Spanish) time well spent |
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Tiempo binario | (Spanish m.) duple meter |
Tiempo cómodo | (Spanish m.) tempo comodo, convenient speed |
Tiempo común | (Spanish m.) common time, C |
Tiempo cortado | (Spanish m.) cut time, alla breve |
Tiempo de abundancia (s.), Tiempos de abundancia (pl.) | (Spanish m.) time of plenty |
Tiempo débil | (Spanish m.) weak beat, the unaccented part of the bar |
Tiempo específico | (Spanish m.) specific time-signature (for example, 3/4, 6/8, etc.) |
Tiempo fuerte | (Spanish m.) strong beat, the accented part of the bar |
tien, le (m.), tienne, la (f.) | (French) yours |
Tienda | (Spanish f.) shop, store |
Tienda de antigüedades | (Spanish f.) antique shop |
Tienda de campaña | (Spanish f.) tent |
Tienda de trastos viejos | (Spanish f.) junk shop |
Tienda de ultramarinos | (Spanish f.) grocer's (shop), grocery store |
tiende | (Danish, Dutch) tenth |
tiene acento francés | (Spanish) he has a French accent |
tiene ahogos | (Spanish) he gets out of breath |
tiene alergia a la penicilina | (Spanish) he's allergic to penicillin |
¿tiene alguna? | (Spanish) do you have any? do you have one? |
tiene ... años | (Spanish) he is ... years old |
tiene arte para arreglar flores | (Spanish) she has a flair for flower arranging, she has a gift for flower arranging |
tiene mal aspecto | (Spanish) she doesn't look well, it doesn't look nice (thing) |
tiene ... metros de alto | (Spanish) it is ... metres high |
tiene ... metros de altura | (Spanish) it is ... metres high |
tiene ... metros de ancho | (Spanish) it is ... metres wide |
tiene mucha capacidad de aguante | (Spanish) he is very long-suffering |
tienen un aire | (Spanish) they look a bit alike, they resemble one another |
tiene que hacerlo todo a su antojo | (Spanish) she has to do everything her own way |
¿tienes alguna cita para mañana? | (Spanish) have you any appointments for tomorrow? |
tienes que abrirte a nuevas ideas | (Spanish) you've got to be open to new ideas |
tienes que poner el horno más alto | (Spanish) you must turn the oven up |
tiene un aire aristocrático | (Spanish) she has an aristocratic air |
tiene un horario muy flexible | (Spanish) his hours are very flexible |
tiene unos nervios de acero | (Spanish) she's got nerves of steel |
Tiens! | (French) Hey there! Take this! |
Tiento | (Spanish m.) caution, tact, stick, steady, swig (familiar) |
Tiento (s.), Tientos (pl.) | (Spanish m., literally 'touch') a term derived from the Spanish tentar, meaning 'to try out', indicating a work that explores the capabilities of instrument for which it is written, originally the vihuela, and later keyboard instruments |
the terms tiento (Spanish), obra (Spanish) and tento (Portuguese) are generic, used both for imitative and homophonic pieces, and closely approaching, in conception, the ricercare, fantasia (or phantasia), sin paso or toccata. This group may be subdivided into the following basic types: |
falsas | a slower-moving, quiet piece with suspensions and dissonance, similar to the Italian durezze e ligature |
lleno (Spanish) cheio or chão (Portuguese) | a piece which uses the same stops over the whole compass of the keyboard, identical stops being drawn for treble and bass |
partido or medio registro meio registo (Portuguese) | a piece which requires separate tone colour for each hand, this term being further qualified by alto/tiple/mano derecha for right hand or vajo/baxón/mano izquierda for left hand to indicate the voice carrying the solo |
tiento de contras | a piece which contains long held pedal notes, over which the figuration unfolds, normally played as a lleno |
batalla batalha (Portuguese) | the first piece of this genre sets the pattern for others, including an imitative opening, homophonic sections, and lots of echo effects |
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Tientos | flamenco style derived from tangos, although with a slower beat |
tiepido | a variant of tepido |
Tier | (German n.) an animal |
Tierarzt (m.), Tierärztin (f.) | (German) veterinary surgeon |
Tierce | (French f.) the interval of a third |
(of bells) the minor-third partial of a tuned bell |
an organ stop (a 1 3/5 ft. mutation stop that sounds two octaves and a third above the written pitch) that sounds a seventeenth higher than the diapason |
one of the Canonical Hours |
Tiercé | (French m.) place-betting (gambling) |
Tierce coulée | (French f.) or tercera ligada (Spanish), a French baroque ornament consisting of a slide of a third, that is from one principal note via an unaccented ornamental note to a second principal note a third away from the first |
Tierce de picardi | see 'Picardy third' |
Tierce de picardie | see 'Picardy third' |
Tierce majeure | (French f.) major third |
Tierce maxime | (Latin) augmented third, and interval containing five semitones (half steps) |
Tierce picarde | see 'Picardy third' |
Tierce pure | (French f.) just third, equivalent to a frequency ratio of 5:4 |
Tierce pythagoricienne | (French f.) the Pythagorean interval of two major tones or two just major seconds equivalent to a frequency interval given by the ratio 81:64 |
Tierceron | extra vaulting ribs which form a fan shape with the main structural ribs and terminate on a ridge rib |
Tiergarten | (German m.) a zoo |
tierisch | (German) animal, bestial (figurative) |
Tierkreis | (German m.) the zodiac |
Tierkreiszeichen | (German n.) a sign of the zodiac |
Tierkunde | (German f.) zoology |
tierno (m.), tierna (f.) | (Spanish) tender, soft, fresh, young (person), affectionate, loving |
Tierquäleriei | (German f.) cruelty to animals |
Tierra | (Spanish f.) land, earth, world, country, soil, ground, earth (electricity) |
Tierra adentro | (Spanish) inland, interior (inland) |
Tierra de nadie | (Spanish f.) no-man's-land |
Tierra natal | (Spanish f.) homeland |
Tierra trágame | (Spanish f.) (figurative) I wish the ground would open up and swallow me |
Tiers | (French m.) a third (the fraction 1/3), a third party |
tiers (m.), tierce (f.) | (French) third |
Tiers état | (French m.) the commons in the French National Assembly before the French Revolution of 1789. The first two estates were the nobility and the clergy |
Tiers-Monde | (French m.) Third World |
tieso (m.), tiesa (f.) | (Spanish) stiff, rigid, upright, erect, starchy (familiar), full of oneself (familiar), in good shape (figurative) |
Tiesto | (Spanish m.) flowerpot |
Tifs | (French m. pl.) hair (familiar) |
TIFF | acronym for 'Tagged Image File Format', a file format for exchanging bitmapped images (usually scans) between applications |
TIG | abbrevation of travaux d'intérêt général (French: community service) |
Tige | (French f.) stem (of a plant), stalk (of a plant), shaft (metal) |
Tige de vibrato | (French f.) whammy bar |
Tige métallique | (French f.) metal rod |
Tige métallique aussi recourbée | (French f.) metal rod that is bent |
Tiglio | see 'lime' |
Tignasse | (French f.) a mop of hair |
Tigre (m.), Tigresse (f.) | (French m.) tiger (m.), tigress (f.) |
tigré | (French) striped, tabby (cat) |
Tihai | in Indian music, any thrice-repeated phrase ending on the sum (i.e. the first beat of a rhythm cycle) |
Tijd | (Dutch) time |
Tijdgenoten | (Dutch) contemporaries |
Tijdsaanduiding | (Dutch) time signature |
Tijdschrift | (Dutch) periodical |
Tilaks | caste-marks on the forehead |
Tilapäinen etumerkki | (Finnish) accidental |
Tilde | (Spanish) (~), the diacritic mark found in Spanish loan words, indicating a /y/ sound added to a consonant (for example, in Spanish, doña). In Portuguese loan words, the tilde indicates nasalized vowels (for example, in Portuguese, São Paolo). The earlier Spanish usage is found in some English words of Spanish origin, for example duenna. The mark represents the second n written on top of the first |
(Spanish m.) signo de equivalencia, equivalence sign (~) |
tilfojelse | (Danish) addition |
tilgen | (German) to pay off (a debt), to delete, to wipe out (figurative) |
til gennemsyn | (Norwegian) on approval |
Tilia | see 'lime' |
Tilinkó | Hungarian shepherd's pipe, about 70-80 cm long, and made from willow bark, wood or metal. It has neither fingerholes nor duct. Sounds are made with the tongue and with a finger opening and closing the bottom of the pipe. Its use, today, is restricted to the Csángós of Moldova |
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Tillaeg | (Danish) appendix, supplement |
Tillaegg | (Norwegian) appendix, supplement |
Tillägg | (Swedish) supplement, appendix [corrected by Lars Hellvig] |
Tillbehör | (Swedish) accompaniment |
Tillegg | (Norwegian) appendix, supplement |
Tilleul | (French m.) (lime-)tree, (linden-)tree, lime tea (infusion) |
see 'lime' |
tillfälligt Förtecken | (Swedish) accidental |
tillökad | (Swedish) enlarged [corrected by Lars Hellvig] |
tillökning | (Swedish) addition [corrected by Lars Hellvig] |
till påseende | (Swedish) on approval [corrected by Lars Hellvig] |
till salu | (Swedish) on sale [corrected by Lars Hellvig] |
Tilpo | Tibetan hand bell |
Timb. | abbreviation of timballes |
Timba | (Cuba) described as being like salsa on steroids, this newest Cuban genre incorporates influences from Brazilian music, R&B, hip-hop and salsa. Though related to salsa, timba has its own characteristics and history, and is intimately tied to the life and culture of Cuba, and especially Havana. Timba is to Havana what tango is to Buenos Aires, or pagode to Rio de Janeiro |
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Timbal | (Spanish m.) kettledrum, timpani, timbale (French) |
Timbalada | a rhythmic percussion style from the northern part of Brazil |
Timbale | (French f.) kettledrum, timpani |
(French) goblet, (metal) tumbler, double serving dish |
Timbale chromatique | (French f.) chromatic kettledrum |
Timbale chromatique mécanique | (French f.) mechanically tuned chromatic kettledrum |
Timbale mécanique | (French f.) mechanically tuned kettledrum |
Timbalero (m.), Timbarlera (f.) | (Spanish) the musician who plays the timbales, a kettle drummer |
Timbales | (French f. pl., German pl.) kettledrums, tympani |
(Spanish m., German pl., from the French timbale, literally 'kettledrum') a Cuban percussion instrument, the direct descendant of the European tympani, consisting of a pair of stand-mounted, shallow, tunable drums, with thin single heads, tuned to different pitches, with a very powerful 'cutting' sound and played with two sticks with some timekeeping strokes made with the hand on the lower drum. They are paired as 13" and 14" or 14" and 15" in diameter, the larger is called the hembra and the smaller macho. They were initially used exclusively by the charangas interpreting danzón, they became part of the Latin orchestra in the 1940s and are now a mainstay and signature sound of many Afro-Latin styles. Timbales are almost always mounted on a stand with a pair of cowbells. The timbale player will tend to mostly use the cowbells and play pailia (on the side of the drum) during a song, until the timbale solo, where the drum sound can easily cut through the whole band |
Timbales afinados | (Spanish m. pl.) tuned kettledrums |
Timbales afinados manualmente | (Spanish m. pl.) manually-tuned kettledrums |
Timbales cubaines | (French f. pl.) timbales |
Timbales latino-americani | (Italian) timbales |
Timbalier | (French m.) a player of the kettle-drums |
Timbalitos | a smaller version of the timbales, tuned at higher pitches, and often added to the timbales to make up a set of four |
Timballes | (French f. pl.) kettle-drums, timpani |
Timballo | (Italian m.) a kettle-drum, timpani |
Timbalones | larger version of timbales, typically found in charangas |
Timba songo layé | an Afro-Cuban musical style |
Timbila | (Mozambique) plural of mbila, xylophones with resonators |
xylophone orchestra with up to thirty instruments are a feature of the Chopi people. The instruments are named: |
soprano | chilanzane |
alto | sanje |
tenor | dole |
bass | dibhinda |
double bass | chinzumana |
these xylophones are tuned according to an equiheptatonic scale in which the tonic is the first note of the soprano |
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Timbral nuances | sensibility to, awareness of, or ability to express delicate shadings of the tone quality distinctive of a particular singing voice or musical instrument |
Timbre | (English, French m., Spanish m., German n.) also timber (from the French, timbre). Sounds may be generally characterized by pitch, loudness, and quality. Sound 'quality' or 'timbre' describes those characteristics of sound which allow the ear to distinguish different sounds that have the same pitch and loudness. Timbre is then a general term for the distinguishable characteristics of a note. Timbre is mainly determined by the harmonic content of a sound, by the dynamic characteristics of the sound such as vibrato and by the attack-decay envelope of the sound. Some investigators report that it takes a duration of about 60 ms to recognize the timbre of a note, and that any note shorter than about 4 ms is perceived as an atonal click. It is suggested that it takes about a 4 dB change in mid or high harmonics to be perceived as a change in timbre, whereas about 10 dB of change in one of the lower harmonics is required
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Robert Erickson (Sound Structure in Music, p.6) gives a table of subjective experiences and related physical phenomena based on J.F. Schouten's five attributes (The Perception of Timbre): |
subjective | objective |
tonal character, usually pitched | periodic sound |
noisy, with or without some tonal character, including rustle noise | noise, including random pulses characterised by the rustle time (the mean interval between pulses) |
colouration | spectral envelope |
beginning/ending | physical rise and decay time |
colouration glide or formant glide | change of spectral envelope |
microintonation | small change (one up and down) in frequency |
vibrato | frequency modulation |
tremolo | amplitude modulation |
attack | prefix |
final sound | suffix |
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Timbre | (French m.) a clapperless bell, or a bar of metal used for musical purposes |
(French m.) the cat-gut snare stretched across the lower head of a side-drum |
(French m.) the well-known airs to which the authors of vaudevilles set newly written words |
(French m., Spanish m.) or timbre-poste (French), (postage) stamp, fiscal stamp |
(Spanish m.) door-bell |
timbré | (French) crazy (familiar) |
Timbre de alarma | (Spanish m.) alarm bell |
Timbrel | Latvian tambourine with jingles |
Timbre-post | (French m.) (postage) stamp |
timbrer | (French) to accent, to stamp (put a stamp on a letter, etc.) |
Timbres, jeu de | (French m.) glockenspiel |
Timbres à clavier | (French m. pl.) keyed glockenspiel |
Timbrístico | (Portuguese) timbre, tone-colour |
Timbro | (Italian m.) timbre, tone-colour |
Time | tempo (Italian), Takt (German), mesure (French) |
a word used to mean 'in the rhythm of', for example, march time meaning 'in the rhythm of a march' |
see 'simple time', 'compound time' |
Time as before | or speed as before, tempo primo (Italian), erste Bewegung (German), mouvement précédent (French) |
Time bracket notation | or 'time brackets', a term used by the American composer John Cage (1912-1992), where a instrumentalist is assigned a part which contains mostly single notes and chance-distributed time brackets indicating the period of time (as measured by a stopwatch) within which the notes are to be played. A performer might begin to play, say, at any time between 0'00 and 1'00 and end somewhere between 0'30 and 1'30 |
Time brackets | see 'time bracket notation' |
Timed segments | unmetered music which in measured in minutes and seconds, not beats |
Time, duple | see 'duple time' |
Time, first | see 'first time' |
Time, in | see 'in time' |
Timelines: music | |
Time-point | in music a time-point (point in time) is the beginning of a sound, rather than its duration |
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Time scales in music |
in music, Curtis Roads distinguishes nine time scales of music: |
infinite | literally infinite, such as the length of sine waves in classical Fourier analysis |
supra | months, years, decades, and centuries; everything above the level of macro |
macro | "overall musical architecture or form" or the level of the individual piece; minutes, hours, or even days |
meso | "divisions of form" including movements, sections, phrases; seconds and minutes |
sound object | (Schaeffer 1959, 1977) "a basic unit of musical structure" and a generalization of note (Xenakis' ministructural time scale); fraction of a second to several seconds |
micro | "sound particles" (see granular synthesis) down to the threshold of audible perception; thousands to millionths of seconds |
sample | sample (music), measured as are samples in millionths of a second or microseconds |
subsample | changes "too brief to properly recorded or perceived", billionths of a second, nanosecond, or less |
infinitesimal | literally "infinitely brief" such as delta functions |
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Time, second | see 'second time' |
Time signature | in the US called 'meter signature', a symbol placed at the left side of the staff indicating the meter of the composition |
beats per bar (measure) | simple time signature | beat | compound time signature | beat |
2 (duple) | 2 2 | minim (half note) |
6 4 | dotted minim (dotted half note) |
2 4 | crotchet (quarter note) | 6 8 | dotted crotchet (dotted quarter note) |
2 8 | quaver (eighth note) | 6 16 | dotted quaver (dotted eighth note) |
3 (triple) | 3 2 | minim (half note) | 9 4 | dotted minim (dotted half note) |
3 4 | crotchet (quarter note) | 9 8 | dotted crotchet (dotted quarter note) |
3 8 | quaver (eighth note) |
9 16 | dotted quaver (dotted eighth note) |
if a piece is so quick that the feeling is of one beat in a bar, then the triple meter (usually 3/2 or 3/8) is compound (i.e. may be divided into three) |
4 (quadruple) | 4 2 | minim (half note) | 12 4 | dotted minim (dotted half note) |
4 4 | crotchet (quarter note) | 12 8 | dotted crotchet (dotted quarter note) |
4 8 | quaver (eighth note) | 12 16 | dotted quaver (dotted eighth note) |
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Time-Space notation | see 'proportional notation' |
Time step | |
Time stretching | the process of changing the speed or duration of an audio signal without affecting its pitch |
Time, the same | see 'same time, the' |
Time Unit Box System | or TUBS, a simple system for notating events that happen over a period of time. This system is mostly used for notating rhythms in music. The notation consists of one or more rows of boxes; each box represents a fixed unit of time. Blank boxes indicate that nothing happens during that interval, while a mark in a box indicates that an event occurs at the start of that time interval |
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Time value | the length of time a particular note is to be held |
timide | (French) timid |
Timidezza | (Italian f.) timidity |
Timidité | (French f.) timidity |
timido | (Italian) timid, hesitant, fearful |
Timila | a type of drum associated particularly with Panchavadyam performances |
Timore | (Italian m.) timidity, fear |
timoré | (French) timorous |
timorosamente | (Italian) timidly, fearfully |
timoroso | (Italian) timid, fearful, hesitant |
Timp., timp | abbreviation of timpani |
Timpanetto | (Italian m.) a small drum or timbrel |
Timpani | (Italian m. pl.) kettle drums, timbales (French), Pauken (German) |
(Italian m. pl., English) kettle-drums, a set of tuned drums |
timpani must have some way to hold the head at different tensions so you can play specific pitches. Some drums have a ratchet on the pedal (Ringer Timpani ), some drums have a hydraulic cylinder, some have a post with a ball bearing clutch that locks onto it (some Premiere timpani), but MOST timpani are Balanced Action. William F. Ludwig invented the balanced action timpani in the early twentieth century. This mechanism can be described very simply: the pedal is placed mechanically in between a spring and the timpani head - when the tension of the spring is matched to the tension of the head, the pedal is balanced and the pitch of the drum will stay where you set it. |
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Timpani coperti | (Italian m. pl.) muffled kettle-drums |
Timpanist | a player of the kettle-drums or timpani |
Timpanista | (Italian m./f.) timpanist |
Timpano | (Spanish m., Italian m.) eardrum, tympanon (French), tympan (French) |
Tímpano | (Portuguese m., Spanish m.) kettle-drum, timpani (in the plural form), timps (abbreviation) |
Timpano (s.), Timpani (pl.) | (Italian m.) kettle-drum, timbrel, tabor |
Timpano a macchina | (Italian m.) machine timpano |
Timpano cromatico | (Italian m.) chromatic timpano |
Timpanon | see tympanon |
Timpano pedale | (Italian m.) pedal timpano |
Timpanu | (Corsica) a triangle |
Timple | a small guitar with 12 metal strings used in Spain, Colombia, Puerto Rico and other Spanish-speaking countries, also known as guitarrillo |
'Tina | short for 'concertina' |
Tindé | Algerian drum played by a group of women |
Tine | A tuning fork is made up of a handle and two tines (the parts that vibrate when a tuning fork is struck) |
Tinnitus (aurium) | (Latin) tinnitus can be described as "ringing" ears and other head noises that are perceived in the absence of any external noise source. It is estimated that 1 out of every 5 people experience some degree of tinnitus. Hearing loss, hyperacusis, recruitment, FMS, and balance problems may or may not be present in conjunction with tinnitus |
tinnitus is classified into two forms: objective and subjective |
objective tinnitus | the rarer form, consists of head noises audible to other people in addition to the sufferer. The noises are usually caused by vascular anomalies, repetitive muscle contractions, or inner ear structural defects. The sounds are heard by the sufferer and are generally external to the auditory system. This form of tinnitus means that an examiner can hear the sound heard by the sufferer by using a stethoscope. Benign causes, such as noise from TMJ, openings of the eustachian tubes, or repetitive muscle contractions may be the cause of objective tinnitus. The sufferer might hear the pulsatile flow of the carotid artery or the continuous hum of normal venous outflow through the jugular vein when in a quiet setting. It can also be an early sign of increased intracranial pressure and is often overshadowed by other neurologic abnormalities. The sounds may arise from a turbulant flow through compressed venous structures at the base of the brain |
subjective tinnitus | this form of tinnitus may occur anywhere in the auditory system and is much less understood, with the causes being many and open to debate. Anything from the ear canal to the brain may be involved. The sounds can range from a metallic ringing, buzzing, blowing, roaring, or sometimes similar to a claanging, popping, or nonrhythmic beating. It can be accompanied by audiometric evidence of deafness which occurs in association with both conductive and sensorineural hearing loss. Other conditions and syndromes which may have tinnitus in conjunction with the condition or syndrom, are otosclerosis, Menier's syndrome, and cochlear or auditory neve lesions |
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Tin Pan Alley | the name given to the collection of New York City-centered music publishers and songwriters who dominated the popular music of the United States of America in the late 19th century and the early 20th-century. The equivalent area in Great Britain was Denmark Street, London |
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Tin sandwich | see 'harmonica' |
Tint | a term, similar in meaning to chroma, suggested by Mieczyslaw Kolinski Consonance and Dissonance (Ethnomusicology, Vol. 6, No. 2. (May, 1962), p66) for the quality that is identical in octave tones but distinct in other tones' relations |
He writes: "For example, all Gs have an identical tint; the same is the case with all As, all Bs etc. However G, A and B represent different tints. As a matter of fact, the Western tone system consists of a series of twelve different tints." |
Tintamarre | (French m.) a great noise accompanied by confusion, a din |
Tinte | (German f.) ink |
tintement | (French) tinkling, chiming, jingling, ringing (sound) |
Tintenfisch | (German m.) squid |
Tintenstift | (German m.) or Kopierstift (German m.), indelible pencil |
tinter | (French) to tinkle, to chime, to ring, to jingle (keys) |
Tintiddle | a word coined by the American illustrator and humorist Gelett Burgess (1866-1951), for an esprit de l'escalier, a witty remark or telling retort which comes to mind only after the occasion for its use has passed |
tintinnare | (Italian) to tinkle, to chime |
Tintinnabolo | (Italian m.) small bell, sacring bell |
Tintinnabulo | (Italian m.) small bell, sacring bell |
Tintinnabulum (s.), Tintinnabuli (pl.) | (Latin) small bell, sacring bell |
Tintinnabuli | (Latin) the composer Arvo Pärt (b.1935) refers to his current style as tintinnabuli which can be defined as the application of various inversions of a certain chord. While its original meaning evokes the pealing of bells, the bells' complex but rich sonorous mass of overtones, the gradual unfolding of patterns implicit in the sound itself, and the idea of a sound that is simultaneously static and in flux, Pärt explains the term, "as an area I sometimes wander into when I am searching for answers - in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises - and everything that is unimportant falls away. Tintinnabulation is like this. . . . The three notes of a triad are like bells. And that is why I call it tintinnabulation". More specifically, tintinnabulation involves the predominance of a single triad in one or more voices. In a four-voice context, it is likely that two of the voices will sound only notes of a single triad, while the other two voices move in a step-wise fashion. This triad is, in most cases, the tonal centre of the piece from which Pärt rarely departs |
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tintinnamento | (Italian) tinkling |
tintinnio | (Italian) tintillation, jingling, tingling of a bell |
tintinno | (Latin) tintillation, jingling, tingling of a bell |
Tinto | (Italian m.) colour, expression |
tintoteinté | (Italian) gebeizt (German), teinté (French), stained, coloured |
Tints | in printing, mechanical shading in line areas, normally available in 5% steps from 5% to 95% |
Tin whistle | an end blown wind instrument with six holes, originally made from tin but now more usually made of steel |
see 'penny whistle' |
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Tinya | pre-Hispanic Mexican resonating box with 5 strings |
tio | (Swedish) ten |
Tiompán | Irish hammered dulcimer |
tionde | (Swedish) tenth |
Tiorba | (Italian f., Spanish f.) theorbo, Theorbe (German), théorbe (French) |
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Tip | the very end of the bow away from the frog where the player placed his or her hand |
Típica | Spanish term for typical or traditional |
a term specifically used in orquesta típica and música típica |
term used to describe traditional, folkloric or 'classic' sound, instrumentation or approach to playing an instrument or style |
Típico | (Panama) the general name of the native dance styles of the central provinces |
Tipigrafo | (Italian m.) printer |
Tipik sega | a genre of Mauritian music |
Tiple | a small stringed instrument of Spanish origin, derived from the guitar family, and used in Cuba's música campesina as well as other types of Latin American music with Spanish roots. It usually has four double or triple sets of strings. (There are eight to twelve strings tuned to four different pitches.) The tiple is made of wood-usually pine, cedar, or walnut. Tiple players strum chords as rhythmic accompaniments for songs or melodies played by other instruments |
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Tiple, Hawaiian | see Hawaiian tiple |
Tipo | (Italian m., Spanish m.) type, style |
Tipo di musica jazz | (Italian m.) jazz style, for example, 'bebop' |
tippen | (German) to type (familiar), to touch |
tippen auf | (German) to bet on (familiar), to touch something |
Tippfehler | (German m.) a typing error (familiar) |
Tipping | or double-tonguing, an articulation for quick notes played on the transverse flute, in which the tongue moves against the roof of the mouth |
Tippschein | (German m.) a lottery coupon, a pools coupon, a betting slip |
tipptopp | (German) immaculate, immaculately (familiar) |
Tip-tap | (Italian m.) tap dance |
Tique | (French f.) tick (insect) |
Tir | (French m.) shooting (sport), firing (the act of shooting), fire |
Tiracorda | (Italian f.) tensioner |
Tirada aparte | (Spanish) offprint |
Tirade | (French f.) a soliloquy |
(French f.) also tirata (Italian) or coulade, a quick succession of notes of equal length, ascending or descending by degrees, which bridge two notes an interval of a fifth or more apart |
Tirage | (French m.) printing (photographs, etc.), circulation (of a magazine), edition (of a book), draw (of a lottery), draught (of a chimney) |
Tirage à part | (French m.) offprint |
Tirage au sort | (French m.) drawing lots |
tiraillé entre | (French) torn between |
Tiraillement | (French m.) gnawing pain, conflict |
tirailler | (French) to pull at, to pull away at, to plague |
Tirailleur | (French m.) a skirmisher, a sharp-shooter |
tirait la langue | (French) his tongue was handing out, he was dying of thirst |
Tir à l'arc | (French f.) archery |
Tirana (s.), Tiranas (pl.) | from the 18th-century, a syncopated Spanish song-dance from Andalusia, usually in 6/8 time |
tirando | (Italian) drawing, dragging, pulling, en tirant - referring to the down-bow on the violin |
a classical guitar technique, in which the finger hits nothing after plucking the string as opposed to apoyando in which the finger that plucks the string rests on the next string afterwards |
tirando por lo alto | (Spanish) at the most |
Tiranna | a Spanish air or song, accompanied by a guitar |
Tirant | (French m.) tracker on an organ |
Tirant (d'une corde) | (French m.) gauge (of a string), a measure of a string's thickness |
Tirante | (Italian m.) tracker |
tirare | (Italian) to draw - referring to the down-bow on the violin |
(Italian) to draw out - on the organ, referring to the pulling of a stop |
Tirasse | (French) pedals which draw down the bass keys of the manual in organs without pedal stops |
Tirata | (Italian) tirade |
tirato | (Italian) pulled, drawn (referring to the down-bow on the violin) |
(Italian) pulled, drawn (on the organ, referring to an organ stop) |
Tira-tutti | (Italian) or tira-tutto, a combination draw-stop or pedal which throws out all the stops of an organ, thus making available the full power of the instrument |
tiré | (French m.) drawn, pulled - referring to the down-bow on the violin |
(French) drawn, pulled - on the organ, referring to an organ stop |
Tire-bouchon | (French m.) a cork-screw |
tiré de | (French) taken, derived from |
tire hacia abajo | (Spanish) to pull down, to pull downwards |
Tirelire | (French f.) a money-box |
tirer | (French) to pull, to tow, to tug, to stick out (tongue), to draw (conclusions, etc.) to fire, to shoort, to print (a photograph, etc.) |
(French) to draw, to pull - referring to the down-bow on the violin |
(French) to draw out, to pull out - on the organ, referring to the pulling of a stop |
(French) in viol playing, to pull the bow (which using the under-hand hold is the weaker bow stroke) |
tirer à blanc | (French) to shoot blanks |
tirer à ... copies | (French) to print ... copies |
tirer à la courte paille | (French) to draw straws |
tirer ... à l'écart | (French) to pull ... aside |
tirer à ... numéros | (French) to print ... issues |
tirer à sa fin | (French) to be drawing to a close, to be nearly over |
tirer au clair | (French) to clarify |
tirer au flanc | (French) to shirk (familiar), to skive (familiar) |
tirer (...) au sort | (French) to draw lots (for ...) |
tirer à vue | (French) to shoot on sight |
tirer ... d'affaire | (French) to help ... out, to pull ... through |
tirer de | (French) to take out of, to get out of, to extract from, to derive from (pleasure, etc.), to shoot, to fire |
tirer ... de ... | (French) to get ... out of ... |
tirer ... de côté | (French) to pull ... aside |
tirer ... de l'erreur | (French) to disabuse ... |
tirer ... d'embarras | (French) to help ... out of a predicament |
tirer ... de la misère | (French) to rescue ... from poverty |
tirer ... de sa rêverie | (French) to wake ... from his daydreams, to wake someone from her daydreams |
tirer ... de son travail | (French) to drag someone away from his work, to drag someone away from her work |
tirer ... du doute | (French) to dispel ...'s doubts |
tirer ... du lit | (French) to drag ... out of bed |
tirer ... d'une situation | (French) to get ... out of a situation |
tirer ... du prison | (French) to get ... out of prison |
tirer ... du sommeil | (French) to wake ... |
tirer en l'air | (French) to fire into the air (gun, etc.) |
tirer la laugue | (French) to stick out one's tongue, to put out one's tongue, to have a rough time of it, to be green with envy |
tirer la jambe | (French) to drag one's feet, to limp |
tirer la patte | (French) to hobble along |
tirer le jus | (French) to juice |
tirer les cartes à ... | (French) to read ...'s cards |
tirer les rois | (French) to cut the Twelfth night cake |
tirer le verrou | (French) to bolt |
tirer parti de | (French) to take advantage of |
tirer profit de | (French) to profit from |
tirer sans sommation | (French) to shoot without warning |
tirer ses prix | (French) to sell at rock bottom prices |
tirer sur | (French) to pull at, to pull on, to verge on, to shoot at, to criticise, to puff at (cigarette), to take a drag of (cigarette) |
tirer sur la corde | (French) to push one's luck (colloquial) |
tirer sur la ficelle | (French) to push one's luck (colloquial) |
tirer sur l'épargne | (French) to draw on one's savings |
tirer sur les rênes | (French) to pull on the reins |
tirer un auteur à soi | (French) to translate an author to suit oneself |
tirer un bord | (French) (nautical) to tack |
tirer une bordée | (French) to go on a spree |
tirer une conclusion | (French) to draw a conclusion |
tirer un plan | (French) to draw a plan (for example, of a building) |
tirer un texte à soi | (French) to translate a text to suit oneself |
Tiret | (French m.) a mordent, a dash (-) |
Tireur | (French m.) a gunman |
Tireur d'élite | (French m.) a marksman |
Tireur isolé | (French m.) a sniper |
Tir forain | (French m.) a shooting gallery |
Tiring-house | an enclosed area in an Elizabethan theatre where the actors awaited their cue to go on stage, changed their costumes, and stored stage props. The term is an abbreviation of "attiring house" or "attiring room." This structure was located at the back of the stage and opened out onto the stage from two or more doors in the frons scenae |
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Tiro | (Italian m.) slide casing |
Tiroir | (French m.) a drawer |
Tiroir-caisse | (French m.) a till (for keeping cash in a shop, bank, etc.) |
Tirol | (German n.) the Tyrol |
Tisane | (French f., from Greek) herb-tea, any herbal infusion |
Tisch | (German m.) a table, a (writing) desk |
nach Tisch (German: after the meal) |
Tischbuch | (German n., literally 'table book') parts written in different directions on facing pages, so to enable reading by performers standing around a table |
Tischdecke | (German f.) table-cloth |
Tischgebet | (German n.) grace (a prayer said before a meal) |
Tischharfe | (German f.) German table zither that can be both plucked and bowed |
Tischler | (German m.) a joiner (wood-worker), a cabinet-maker |
Tischrede | (German f.) after-dinner speech |
Tischtennis | (German n.) table tennis |
Tischtuch | (German n.) table-cloth |
Tishou | Chinese clappers |
Tisi galoppante | (Italian) galloping consumption (i.e. tuberculosis) |
Tison | (French m.) an ember |
Tisonnier | (French m.) a poker |
Tissage | (French m.) weaving |
tisser | (French) to weave |
Tisserand | (French m.) a weaver |
Tissu | (French m.) fabric, material, tissue (biological) |
tissu de, un | (French) web of, a (figurative) |
Tssue paper | a lightweight, light crêped paper. Tissue can be made both from virgin and recycled paper pulp |
Tissu-éponge | (French m.) (Terry) towelling, face-cloth |
Tissu extensible | (French m.) stretch fabric |
Titel | (German m.) caption, cover, heading, lettering, style, title (of a book, piece of music ,etc.), title design |
Titel- | (German prefix) titular |
Titelanwärter | (German m.) challenger for the title, aspiring champion |
titelauflagen Ausgabe | (German f.) editions or impressions having merely a new title page |
Titelaufnahme | (German) description |
Titelbild | (German n.) cover design, frontispiece |
Titelblatt | (German n.) cover, title page |
Titelei | (German f.) (in typography) preliminaries |
Titelentwurf | (German m.) title design |
Titelhalter | (German m.) titleholder |
Titelinhaber | (German m.) titleholder |
Titelkampf | (German m.) title bout |
Titelkopf | (German m.) heading |
Titelkupfer | (German n.) frontispiece |
Titelrolle | (German f.) (in the theatre, etc.) namepart, title part, title role |
Titelsong | (German m.) title song |
Titelthema | (German n,) subject title |
Titelverteidiger | (German m.) defending champion |
Titelzeile | (German m.) headline |
Tite Street | during the late 1800s, a loose community established itself in and around Tite Street, London, that revolved around Edward Godwin, architect of Bedford Park, and the actress Ellen Terry |
'Tit-fer | the Louisiana French name for a triangle, a simple instrument often used to provide rhythm in a Cajun band. 'tit derives from the French word petit meaning little while fer means iron in French. A traditional 'tit-fer is made from a tine of an old-fashioned hay rake, fabricated and tempered by a blacksmith to produce its musical quality. It is also seen as t-fer, ti-fer, or tee fer with or without capitals or apostrophes |
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Tithe | the tenth part of produce from the land and of other income, collected to support a parish priest and maintain his services |
Title role | the lead part in a movie or other production for an actor that is named after the title of the film |
Titre | (French m.) title |
titré | (French) titled (bearing a title) |
titrer | (French) to give as a headline (in a newspaper) |
titubante | (Italian) hesitant |
tituber | (French) to stagger |
Titulaire | (French m./f.) holder (of a licence, permit, etc.) |
titulariser | (French) to give tenure to |
Ti-tze | Chinese transverse bamboo flute |
Tivra swara | in Indian music, a sharpened note |