| I | (Italian m. pl.) the |
| Iamb | or iambus, a metrical foot used in various types of poetry, originally the term referring to one of the feet of the quantitative meters of classical Greek prosody, namely, two syllables, the first short, the second accented and long (as in i-amb itself) |
| Iambe | (French m.) iambus, giambo (Italian m.), Jambus (German m.), yambo (Spanish m.) |
| Iambic | or iambus, a poetic and musical foot consisting of two syllables, the first short, the second long |
| verses composed of a short and long syllable alternately |
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| Iambic pentameter | a meter in poetry. It refers to a line consisting of five iambic feet. The word "pentameter" simply means that there are five feet in the line; iambic pentameter is a line comprising five iambs. The term originally applied to the quantitative meter of Classical Greek poetry, in which an iamb consisted of a short syllable followed by a long syllable. The term was adopted to describe the equivalent meter in English accentual-syllabic verse, where an iamb refers to an unstressed syllable followed by a stressed syllable. Iambic rhythms come relatively naturally in English. Iambic pentameter is among the most common metrical forms in English poetry: it is used in many of the major English poetic forms, including blank verse, the heroic couplet, and some of the traditional rhymed stanza forms. |
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| iambique | (French) iambic, giambico (Italian), iambisch (German), yámbico (Spanish) |
| iambisch | (German) iambic, giambico (Italian), iambique (French), yámbico (Spanish) |
| Iambs, limping | see 'limping iambs' |
| Iambus | (Latin) a metrical foot consisting of a short and a long syllable, with the accent on the long, giambo (Italian m.), Jambus (German m.), iambe (French m.), yambo (Spanish m.) |
| IAML | abbreviation of 'International Association of Music Libraries' |
| Iastian | one of the ancient Greek modes, identical to the Ionian mode |
| IAWM | abbreviation of 'International Alliance for Women in Music' |
| Ib. | abbrevation for ibidem (Latin: in the same place, in the same book) |
| iba muy digna por la calle | (Spanish) she walked proudly down the street |
| iban agarrados del brazo | (Spanish) they were walking along arm in arm |
| Iberian organ | the great majority of instruments that had only one manual employed 'divided registers'. The term Medio Registro (the earliest instrument with this specification of which we have records was constructed in 1547) refers to a stop which functions over half of the keyboard only (thus, Corneta in the treble and Bajoncillo in the bass). An alternative lay-out, the Registro Partido (the earliest recorded instrument with this specification was constructed in 1567), finds the pipes relating to the compass from the lowest note up to c1 and those from c#1 to the highest note, provided with individual stop-knobs on either side of the console. To use the rank over the full compass it is necessary to draw both knobs |
| Ibid. | abbrevation for ibidem (Latin: in the same place, in the same book) |
| used in text to refer to a page previously mentioned |
| Ibid. should always be capitalised when it appears at the start of a footnote |
| Ibidem | (Latin, identical in French, English) ebenda (German), ibídem (Spanish), in the same place, in the same book (to avoid repeating a reference) |
| Ibídem | (Spanish) ibidem |
| Ibishikiso | (Burundi) in Burundian drumming, the drum that echoes the motifs played on the inkiranya |
| Ibo | a Caribbean dance rhythm that belongs to the group of faster Haitian merengues. It originated in Nigeria and features torso and pelvic movements and turning of the head |
| Ice cream van orchestra | six vans, stage name Fleet, play a ten minute, six-part composition written expressly for the van's horn by Kelvin Pawsey, an art technician from Folkestone. Pawsey composed and recorded the piece on a twelve-note, toy xylophone from the 1960s called a 'Pixiphone', and says the performance is influenced by folk tradition |
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| Ice dancing | a form of figure skating which draws from the world of ballroom dancing |
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| Ice instruments | Norwegian composer and percussionist Terje Isungset and vocalist and fellow Norwegian Lena Nymark are experts at creating a range of highly original sounds from instruments such as an ice harp, an ice horn and a set of percussion instruments including a xylophone-like construction |
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| Icelandic hip hop | |
| ich danke! | (German) no thank you! |
| ich dien | (archaic German) 'I serve' (the motto of the Prince of Wales) |
| Icheche | Igede shakers made from woven straw and leather that are filled with pebbles |
| Ich-Erzähler | (German m.) first-person narrator |
| ich grolle nicht | (German) I bear no grudge, I do not complain |
| Ichigenkin | smallest of the Japanese kotos, it has one string stretched over a slender plank of wood acting as a soundboard |
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| ich kann nicht anders | (German) I can do no other (a reference to Martin Luther's speech to the Diet of Worms, 1521) |
| ich werde mich darum kümmern | (German) I shall see to it |
| Iconoclasm | Bilderstürmerei (German f.), iconoclasia (Spanish f.), iconoclastia (Spanish f., Italian f.), the destruction of works of art on the grounds that they are impious. During the sixteenth century, Calvinist iconoclasts destroyed a great many religious art works in the Netherlands. Similar sentiments led to the destruction of a large number of church organs in Switzerland because musical instruments were banned from churches - though congregational singing was permitted and this proved to be both popular and an effective way of 'spreading' the message |
| Iconoclast | Bilderstürmer (German m.), iconoclasta (Spanish m./f., Italian m.), iconoclaste (French m./f.), individual subscribing to the philosophy of iconoclasm |
| iconoclastic | iconoclastico (Italian), bilderstürmerisch (German), iconoclaste (French), iconoclasta (Spanish) |
| Iconoclastic controversy | a movement in the Eastern Roman Empire, headed by the emperor, that denied the holiness of religious images. During the eighth and early ninth centuries the use of such images was prohibited, but icons were restored to worship by 843 |
| Iconography | iconografia (Italian f., Spanish f.), Ikonographie (German f.), iconographie (French f.), the study of pictures, particularly in music, to determine how instruments might have been played, when they were in use and where and by whom they might have been used. Details of instruments otherwise unknown, because originals have not survived, although their names are known from the writings of contemporaneous authors may be gleaned from pictures, carvings, books and other surviving images. Of course, artists and their models may not have been players and so some of the poses might provide little useful information about technique. In other cases, the accuracy of dimensions (length, depth, proportion) may not have been important to the picture and, to improve the composition, details might have been omitted, embellished or modified |
| Iconostasis | (Latin, from Greek) a screen dividing the sanctuary from the nave of an Orthodox church, on which sacred pictures (ikons) are displayed |
| Icons | graphic symbols or representations indicating, for example, pitch or rhythm, and used in lieu of or along with traditional symbols for these elements |
| ICTM | abbreviation of 'International Council for Traditional Music' |
| Ictus (s.), Ictus (pl.) | (Latin, Spanish, Italian) Iktus (German m.), the accent resulting from the transients produced at the instant of plucking a string |
| a separation mark in Gregorian chant, placed before and after an important note in the melody |
| (Latin) in linguistics, a metrical stress, a stressed syllable in metre, particularly an artificial stress or diacritical accent placed over the top of particular syllables in a line of poetry to indicate which syllables the poet wants the reader to stress if that stress is not clear from the normal pattern of pronunciation |
| Id | (Latin, literally 'it') in psychology, the inherited instinctive impulses of the individual |
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| Idade Média | (Portuguese) or Idade Medieval (Portuguese), Middle Ages, medioevo (Italian), Mittelalters (German), médiévale (French), medieval (Spanish) |
| ID3 tag | information embedded in an MP3 file, such as artist, title, track, etc. An ID3 tag editor lets you add and change this information. Without an ID3 tag, an MP3 would be recognizable only by the name of the file itself. ID3 tags are important to playlists because they identify pieces of music |
| Idakka | see edakka |
| Idea, Ideas (English, Spanish pl.) | (English, Italian f., Spanish f.) mental impression, notion or concept, Idee (German f.), idée (French f.) |
| Idea fija | (Spanish f.) monomania, obsession, fixed idea, fixe Idee (German f.), idée fixe (French f.) |
| see idée fixe (French f.) |
| Ideal | (English, German n., Spanish m. ) a thing, concept, principle to be emulated, idéal (French m.) |
| Idéal | (French m.) ideal (English, Spanish m.), ideale (Italian m.), Ideal (German n.) |
| Ideale | (Italian m.) ideal (English, Spanish m.), Ideal (German n.), idéal (French m.) |
| Idealization | a portrayal of something as ideal or perfect |
| Ideal reader | the imaginary audience who would, ideally, understand every phrase, word, and allusion in a literary work, and who would completely understand the literary experience an author presents, and then responds emotionally as the writer wished |
| Ideas completamente antediluvianas | (Spanish f.pl.) really old-fashioned ideas |
| Idee | (German f.) idea (English, Italian f., Spanish f.), idée (French f.) |
| Idée | (French f.) idea (English, Italian f., Spanish f.), Idee (German f.) |
| Idée fixe (s.), Idées fixes (pl.) | (French f.) obsession, fixed idea, monomania, fixe Idee (German f.), idea fija (Spanish f.) |
| a recurring theme (and hence related to 'cyclic form'), with or without variations, that appears throughout a composition, a phrase first applied by Hector Berlioz (1803-1869) to describe the theme in his Symphonie fantastique. It is a forerunner of leitmotif |
| Idée reçu (s.), Idées reçues (pl.) | (French f.) conventional opinion (outlook or doctrine), accepted idea, received opinion |
| Ideh | (Nigeria) large seeds attached to a grass band. They are used as an arm or leg rattle |
| Idem | (Latin) the same (particularly, the same author - used to avoid repetition of the name of an author already referred to - idem originally referred to male authors; the equivalent for female authors is eadem) |
| Idem quod | (Latin) the same as |
| Idem sonans | (Latin) identity of pronounciation, that can lead to the miswriting of one word for another having the same sound (for example, in English, bough (of a tree) = bow (of a boat)) |
| Identical rhyme | the use of the same words as a "rhymed" pair. For instance, putting the words stone/ stone or time/ time at the concluding positions in two lines. Many poets frown upon identical rhyme as unartful. The technique can, however, add emphasis to a poetic passage. In medieval French verse, this fashionable technique was called rime riche |
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| identificare con | (Italian) to identify with |
| identificarsi | (Italian) to identify with |
| identificarti con | (Italian) to identify yourself with |
| Ideograph | also called a logograph or ideogram, this is a written symbol system in which a single marking or collection of markings represents not a phonetic sound but rather an entire word or idea. Classical Egyptian, Cuneiform, Mandarin Chinese, and Japanese are ideographic languages |
| Ideomotor effect | or 'Carpenter effect', a psychological phenomenon wherein a subject makes motions unconsciously. As in reflexive responses to pain, the body sometimes reacts reflexively to ideas alone without the person consciously deciding to take action. For instance, tears are produced by the body unconsciously in reaction to the emotion of sadness. Stage hypnotists exploit the ideomotor effect for entertainment value, convincing volunteers to perform some action without consciously deciding to do so. The volunteers usually have no memory of their performance, much like sleepwalkers. More subtle unconscious physical reactions are often used by magicians and illusionists to perform "mind-reading" tricks |
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| Ides | the 13th or the 15th of the month, depending on the month, in Roman dating |
| Id est | (Latin) this is to say, that is to say (often abbreviated to i.e. or ie) |
| used as a description to explain a statement |
| Idi | see ideh |
| idilico | (Spanish) idyllic |
| Idilio | (Spanish m.) idyll |
| idillico | (Italian) idyllic |
| Idillio | (Italian m.) idyll, an ecologue, a short poem in a pastoral style |
| Idiofon | (German n.) idiophone |
| Idiofono (s.), Idiofoni (pl.) | (Italian m.) idiophone |
| Idiofono a tastiera | (Italian m.) keyed idiophone |
| Idioglot reed | a reed that is cut out of part of the instrument that is placed inside the mouth to sound. A simple way of reconstructing one of these idioglot reeds is to cut a small triangular slit in a straw. When this is placed in the mouth it produces a buzzing sound. Instruments with idioglot reeds are first mentioned in dictionaries in sixteenth century France (for example, Estienne (1511)) and are decribed in more detail in the seventeenth century treatises of Mersenne and Trichet |
| see 'heteroglot reed' |
| Idiolect | the language or speech pattern unique to one individual at a particular period of his or her life. Because no total conformity in pronunciation is possible, each individual has a slightly different way of pronunciation, a fact that allows computer voice recognition to note unique markers in a person's voice. That uniqueness is part of idiolect, as is each person's unique set of vocabulary and ideosyncrasies of grammar |
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| Idiom | in its loosest sense, the word idiom is often used as a synonym for dialect or idiolect. In its more scholarly and narrow sense, an idiom or idiomatic expression refers to a construction or expression in one language that cannot be matched or directly translated word-for-word in another language |
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| Idiomatic music |
| (from the Greek idios, literally 'own') music that bears characteristics that are associated with: |
| a particular cultural tradition or style, period or genre | at the beginning of the 1800s, a transformation was underway in Western art. Previously, the highest goal of an artist was to express universal ideas. The new impulse was to look inward and embrace things that were unique to one's own country, like folk songs and traditions, landscapes and natural surroundings. Composers were moving away from general concepts towards specificity.... By the late nineteenth century, common elements started to blur distinctions among national styles and many efforts began to seem cliched. Paradoxically, the movement towards localism and specificity had given way to a new commonality. Nevertheless, the nationalist movement had opened minds to other cultures, and brought an appreciation of things that were authentic and unspoiled by the increasing rate of change in modern culture |
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the specific strengths or weaknesses of a particular instrument |
one can ask of a composition, 'are instruments/voices handled well and with sympathy in respect of their strengths and weaknesses?' Music writing that recognises and makes use of the specific properties of a particular instrument is said to be 'idiomatic'. For example, one might observed that 'in the Baroque era, composers begin the write idiomatic music for instruments; trumpet or string parts, for instance, were no longer interchangeable with vocal parts.' |
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| Idiomatic writing | when applied to music, a term synonymous with 'idiomatic music' |
| Idiomelon | an heirmos (Byzantine chant) with its own individual melody |
| see 'automelon' |
| Idiophon | (German n.) idiophone |
| Idiophone | term of classification, from the Sachs-Hornbostel hierarchical scheme for classifying musical instruments, applied to instruments that produce sounds from the material of the instrument itself without the assistance of reeds, strings or other externally applied resonator. An idiophone produces sounds by one of the following methods |
| idiophone type | modus operandi | example(s) |
| concussion idiophone | striking together two objects capable of vibration | claves, cymbals, etc. |
| friction idiophones | rubbing the vibrating object | glass armonica, musical saw, etc. |
| percussion idiophones | striking the vibrating object with a mallet, hammer, stick or other non-vibrating object | wood block, bell, gong, etc. |
| plucked idiophone | plucking a flexible tongue | Jew's harp, thumb piano, music box, etc. |
| rattle idiophone | shaking the vibrating object | maracas, pellet bells, etc. |
| scraped idiophone | scraping the vibrating object with a stick or other non-vibrating object | ratchet, güiro, washboard, etc. |
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| Idiot savant | (French m., literally, 'learned idiot') a mentally retarded person who exhibits genius in a highly specialized area, such as mathematics or music |
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| IDM | see 'Intelligent dance music' |
| Idolum (s.), Idola (pl.) | (Latin, 'idol') false images of the mind. Francis Bacon's Novum Organum (1620), classifies the primary fallacies in human thinking as four types: idola tribus, specus, fori, et theatri (idols of the tribe, the cave, the market, and the theatre) |
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| Idoru kashu | (Japanese ) pop stars |
| Idyl | or idyll, idilio (Spanish), idillio (Italian), Idylle (German), idylle (French), a short description, especially in verse, of a peaceful or romantic, especially rural, scene or incident |
| Idyll | (English, French f., German) a musical composition or work of verse of a peaceful, pastoral character |
| during the nineteenth century, the term was used by a number of composers as a title for an idyllic overture, for example, the Siegfried-idyll by Richard Wagner (1813-83) |
| a composition in verse or prose presenting an idealized story of happy innocence |
| Idylle | (French f., German) a musical composition of peaceful, pastoral character, as, for example, the Siegfried Idyll by Richard Wagner (1813-83) |
| Idyllic | blissfully peaceful and happy, of or like an idyll |
| idyllisch | (German) idyllic |
| idyllique | (French) idyllic |
| i.e. | abbrevation for id est (Latin: that is to say, this is to say) |
| Iesus Hominum Salvator | (Latin) Jesus, Saviour of mankind, abbreviated to I.H.S. |
| Iesus Nazarenus, Rex Judæorum | (Latin) Jesus of Nazareth, King of the Jews |
| Ieta | a small 7-stringed bow harp of the Baka forest people from southeast Cameroon |
| Ievina | Latvian accordion |
| I Fiamminghi | (Italian) in the early renaissance, the name by which Flemish musicians, composers, singers and players, were known in Northern Italy |
| IFMC | abbreviation of 'International Folk Music Council' |
| Igba | short Nigerian peg-tuned drum with the head made out of antelope skin. It is slung from the shoulder and played with a curved stick |
| IG Farben | abbreviation for Interessen-Gemeinschaft Farbenindustrie AG, the world's largest chemical cartel consisting of a conglomerate of German chemical, pharmaceutical and dye manufactures. Its major members were the companies known today as BASF AG, Bayer AG, Hoechst AG, Agfa-Gevaert Group, and Cassella AG. They formed a loose association in 1916 and formally merged in 1925. By 1951 the cartel was broken up into its original founding companies though many parts quickly reunited |
| Iggawin | a Mauritanian griot |
| Igil | two-stringed fiddle from Tuva with a carved wooden horses' head attached to the top of the neck. Modern versions feature three strings. It is played vertically, while sitting on the ground or on a chair |
| Iglesia | (Spanish f.) church (building) |
| la Iglesia (Spanish f.: the church - the institution, the doctrine) |
| Iglesia Adventista | (Spanish f.) Adventist Church |
| Iglesia Adventista del Séptimo Día | (Spanish f.) Seventh-Day Adventist Church |
| Iglesia anglicana | (Spanish f.) Anglican Church |
| Iglesia apostolica | (Spanish f.) Apostolic Church |
| Iglesia bautista | (Spanish f.) Baptist Church |
| Iglesia bautista fundamental | (Spanish f.) Fundamental Baptist Church |
| Iglesia católica | (Spanish f.) Catholic Church |
| Iglesia católica romana | (Spanish f.) Roman Catholic Church |
| Iglesia Congregaciona | (Spanish f.) Congregational Church |
| Iglesia episcopal | (Spanish f.) Episcopal Church |
| Iglesia evangélica | (Spanish f.) Evangelical Church |
| Iglesia hispana | (Spanish f.) Spanish Church (often used to distinguish the Catholic Church in Spain particularly during the period when Spain was rule by the Visigoths which ended by the defeat of the Visgoths at the Battle of Medina Sidonia in 711 CE) |
| Iglesia Luterana | (Spanish f.) Lutheran Church |
| Iglesia Menonita | (Spanish f.) Mennonite Church |
| Iglesia Ortodoxa Copta | (Spanish f.) Coptic Orthodox Church |
| Iglesia Ortodoxa griega | (Spanish f.) Greek Orthodox Church |
| Iglesia Ortodoxa rusa | (Spanish f.) Russian Orthodox Church |
| Iglesia Pentecostal | (Spanish f.) Pentecostal Church |
| Iglesia Presbiteriana | (Spanish f.) Presbyterian Church |
| Iglesia reformada | (Spanish f.) Reformed Church |
| Igloo | (Eskimo) a small dome-shaped hut built of compressed snow |
| ign. | abbrevation for ignotus (Latin: unknown) |
| Ignis fatuus (s.), Ignes fatui (pl.) | (Latin) a phosphorescent light seen flitting over marshy ground (hence, any false idea or delusory purpose) |
| Ignoramus | (Latin) an ignorant person |
| ignorantia juris non excusat | (Latin, literally 'ignorance of the law is no excuse') if committing an offence a guilty party cannot use as a defence the fact that they did so without knowledge that they were breaking the law |
| Ignoratio elenchi | (Latin) the fallacy of refuting a proposition different from that set forth by one's opponent (hence, any irrelevant argument) |
| ignorer tout de | (French) to know nothing about |
| Ignotum per ignotius | (Latin) an attempt to explain something about which little is known by reference to something about which even less is known |
| Ignotus | (Latin) (a person) unknown (used in catalogues of works of art where the authorship of a work is unknown) |
| iguales ante la ley | (Spanish) equal in the eyes of the law |
| Ihy | Ihy was a young god personifying the jubilation emanating from the sacred rattle. The name of Ihy was interpreted by the Egyptians as "sistrum-player", a cultic musical instrument used primarily (but not exclusively) in the worship of Hathor, mother of Ihy. At Dendera temple, Ihy is the child of the union of Hathor and Horus and is depicted as a naked young boy wearing the sidelock of youth and with his finger to his mouth. He can hold the sacred rattle and necklace (menat). In the temple complex the birth house or mammisi was a sanctuary where the mystery of the conception and birth of the divine child Ihy was celebrated. His name is rarely found outside the confines of Dendera temple, though for example, it is found occasionally in spells of the Coffin Texts or Book of the Dead where he is called "lord of bread...in charge of beer", a possible reference to the celebrations of Dendera deliberately requiring a state of intoxication on the part of the acolyte in order to communicate with Hathor |
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| IIMP | acronym for International Index to Music Periodicals. IIMP draws its current content from more than 375 international music periodicals from over 20 countries, and also indexes feature music articles and obituaries appearing in The New York Times and The Washington Post. IIMP covers nearly all aspects of the world of music, from the most scholarly studies to the latest crazes |
| II-V-I | in jazz, one of the most common progressions, which is more properly ii-V7-i (for example, in the key of C, Dmin7-»C7-»Fmaj7) |
| ij | also %, one of a number of idem or repetition signs used in modern editions of medieval music showing where, when the underlay in the source is ambiguous, the singable version has been filled out with repeats of words or syllables drawn from the original text or with neutral syllables |
| Ijachi | (Nigeria) an Igede iron spear identified with warrior musical groups. Clappers attached to the spear vibrate as it is plunged repeatedly into the ground |
| Ijexá | African-derived rhythm that sensuously underpins much of the music heard during Carnival in Brazil |
| Ikariotikos | a traditional dance and accompanying song originating in the Greek island of Ikaria |
| Ikko | a highly decorated goblet shaped Japanese drum |
| Ikon (s.), Ikones (pl.) | (from the Greek eikon or Latin icon) a sacred picture venerated in the Orthodox church |
| Ikonographie | (German f.) iconography |
| Iktus (s.), Ikten (pl.) | (German m.) ictus (English, Latin, Italian, Spanish) |
| il | (Italian, m. s.) the |
| il a des ennuis | (French) he's got problems |
| Ilahije | Muslim religious melodies, one of the ingredients of sevdalinka |
| il a la langue trop longue | (French) he talks too much, he can't keep his mouth shut |
| il apparaître que | (French) it appears that |
| Il a pris son temps! | (French) He took his time (about it)! |
| Ilarità | (Italian) hilarity, cheerfulness, mirth |
| Ilathalam | see elathalam |
| Il Cantilena | see cantilena |
| Il caro Sassone | (Italian, literally 'the great Saxon') a sobriquet associated with two composers, both born in Saxony, George Frideric Handel (1685-1759) and one of the greatest eighteenth-century composers of opera seria, Johann Adolf Hasse (1699-1783) |
| Il dito grosso | (Italian) the thumb |
| il doppio movimento | (Italian) the tempo to be doubled, twice as fast |
| i legni | (Italian) woodwind instruments |
| il est | (French) it is |
| Il est 3 heures sonnantes. | (French) It's 3 o'clock on the dot. |
| Il est 3 heures sonnées. | (French) It's past 3 o'clock. |
| Il est à souhaiter | (French) It's to be hoped |
| Il est bizarre | (French) It's odd |
| Il est bon | (French) It's good |
| Il est certain | (French) It's certain |
| Il est clair. | (French) It's clear. It's obvious. |
| Il est convenable. | (French) It's proper. It's fitting. |
| Il est difficile | (French) It's difficult |
| Il est dommage | (French) It's too bad |
| Il est douteux | (French) It's doubtful |
| Il est essentiel | (French) It's essential |
| Il est étonnant | (French) It's amazing |
| Il est étrange | (French) It's strange |
| Il est évident. | (French) It's clear. It's obvious |
| Il est facile | (French) It's easy |
| Il est faux | (French) It's false |
| Il est grand temps que | (French) It's high time that |
| Il est heureux | (French) It's fortunate |
| Il est honteux | (French) It's shameful |
| Il est important | (French) It's important |
| Il est impossible | (French) It's impossible |
| Il est improbable | (French) It's improbable |
| Il est indispensable | (French) It's essential |
| Il est injuste | (French) It's unfair |
| Il est inutile | (French) It's useless |
| Il est juste. | (French) It's right. It's fair. |
| Il est meilleur que moi. | (French) He's a better man than I. |
| Il est naturel | (French) It's natural |
| Il est nécessaire | (French) It's necessary |
| Il est normal | (French) It's normal |
| Il est obligatoire | (French) It's obligatory |
| Il est passé beaucoup d'eau sous le pont. | (French) A lot of water has passed under the bridge. |
| Il est peu probable | (French) It's not likely |
| Il est possible | (French) It's possible |
| Il est probable | (French) It's probable |
| il est question de | (French) it is about, there is talk of |
| Il est rare | (French) It's rare |
| Il est regrettable | (French) It's regrettable |
| Il est sûr. | (French) It's sure. It's certain. |
| Il est surprenant | (French) It's surprising |
| Il est temps | (French) It's time |
| Il est temps de | (French) It's time to |
| Il est temps que | (French) It's time that |
| Il est triste | (French) It's sad |
| Il est urgent | (French) It's urgent |
| Il est utile | (French) It's useful |
| Il est vrai | (French) It's true |
| Il était temps! | (French) About time! In the nick of time! |
| il fait chaud | (French) it is warm, it is hot |
| il fait jour | (French) it is (day)light |
| Il faut | (French) there is needed, there are needed, it's necessary to |
| Il faut bien passer le temps | (French) You've got to pass the time somehow |
| Il faut casser le noyau pour avoir l'amande. | (French) No pain no gain. |
| Il faut cultiver notre jardin | (French, literally 'we must cultivate our garden') we must attend to our own affairs (the last words of Voltaire's Candide (1758)) |
| Il faut être de son temps | (French) You have to move with the times |
| Il faut donnerdu temps au temps | (French) You have to give these things time |
| Il faut laisser du temps au temps | (French) You have to give these things time |
| Il faut laisser faire le temps. | (French) Let things take their natural course. Let things follow their (natural) course. |
| Il faut le détruire dans l'oeuf. | (French) We've got to nip this in the bud. |
| Il faut le tirer de là. | (French) We have to rescue him. We have to help him out. |
| Il faut le voir pour le croire. | (French) It has to be seen to be believed. |
| Il faut que | (French) It is necessary that |
| Il faut qu'une porte soit ouverte ou fermée. | (French) There can be no middle course. |
| Il faut rebrousser chemin. | (French) We have to turn back. |
| Il faut réfléchir avant d'agir. | (French) Look before you leap. |
| Il faut savoir donner un oeuf pour avoir un boeuf. | (French) Give a little to get a lot. |
| Il faut souffrir pour être belle | (French, literally 'one must suffer to be beautiful') a reference to the often painful means by which (usually) women seek to retain or improve upon their looks |
| Il faut toujours qu'il ramène sa fraise. | (French) He always has to put his two cents in. (colloquial) |
| Il faut voir. | (French) We'll (have to wait and) see. |
| il fine | (Italian) the end |
| Il l'a fait en dépit du bon sens. | (French) He did it anyway. |
| Ililta | in the Horn of Africa, ululation performed by worshippers at services in the Ethiopian Orthodox and Eritrean Orthodox rites |
| Ilimba | Tanzanian Gogo thumb piano, a lamellaphone with forty metal blades, one of the largest on the continent |
| Illbient music | an offshoot of the intelligent dance music (IDM) movement, similar in style to ambient music but far different in theme, illbient uses dissonant noises and dark, unsettling ("ill") samples to create controlled chaos. This is in contrast with ambient music that uses natural noises to represent almost a random pattern of music |
- Illbient from which this information has been taken
|
| Illiac Suite, The | in 1955, Lejaren Hiller, working with Leonard Isaacson at the University of Illinois at Urbana-Champaign, began a series of experiments in computer-automated musical composition. In 1957, they finished the Illiac Suite for string quartet, the first substantial musical composition created with a computer |
|
| Illation | the act of inferring or drawing conclusions, a conclusion drawn, a deduction |
| Illative | inferential, relating to or having the nature of illation or inference |
| illuminare con uno spot | (Italian) to spotlight |
| Illuminated manuscripts | books written by hand, decorated with paintings and ornament of different kinds. The word illuminated comes from a usage of the Latin word 'illuminare' in connection with oratory or prose style, where it means 'adorn'. The decorations are of three main types: (a) miniature, or small pictures, not always illustrative, incorporated into the text or occupying the whole page or part of the border; (b) initial letters either containing scenes (historiated initials) or with elaborate decoration; (c) borders, which may consist of miniatures, occasionally illustrative, or more often are composed of decorative motifs. They may enclose the whole of the text space or occupy only a small part of the margin of the page. Manuscripts are for the most part written on parchment or vellum. From the fourteenth century, paper was used for less sumptuous copies. Although a number of books have miniatures and ornaments executed in outline drawing only, the majority are fully colored. By the
fifteenth century, illumination tended more and more to follow the lead given by painters, and with the invention of printing the illuminated book gradually went out of fashion. During the 15th- and 16th-centuries illuminations were added to printed books |
| the illumination of books was soon industrialized at Florence and became an art-export that reached all parts of Europe. Medici himself placed his massive orders with Vespasiano da Bisticci, the bookseller who deluged the European market while he supplied to his own prince two hundred manuscripts in two years. The great Florentine illuminators, Cherico, Gherardo, Monte di Giovanni del Fora, and Attavante also served the cause of art-export and they too supplied several magnificent works to the Hungarian king Matthias Corvinus (1458-1490). Renaissance book-painting dependent on a sovereign's personal patronage flourished rather at Milan, but still more profusely at Ferrara and Naples. The world-famous library of Ferrara, in one of Italy's most impressive princedoms and the illumination done at the court there, would influence other Renaissance courts. The learned humanist Leonello d'Este was already a Renaissance ruler in the true sense of the word. He was surrounded by a host of philosophers, scholars and artists, his palace and treasures were celebrated and his library was almost unequalled in his time. The best miniature painters, Jacopino d'Arezzo, Giorgio d'Alemagna, Guglielmo Giraldi, Magnanino, Matteo di Pasti da Verona and Marco dell'Avogaro worked at his court. The famous riches of the court of Ferrara attracted crowds of foreign artists. The miniaturists of Milan were the first to arrive at Ferrara, among them Guiniforte da Vimercate. During the brief nine-year reign of Leonello d'Este manuscripts of growing magnificence were produced. His successor, Borso d'Este, maintained in his court the high standards set up by Leonello. During his reign the art of Ferrara rivalled the best in Italy: for many decades Ferrara illumination equalled that of Florence and Naples |
|
| Illumination | as it refers to medieval manuscripts, the decoration of a manuscript with gold leaf; the term is used loosely, but not strictly correctly, to refer to any illustrated manuscript |
| Illuminato (s.), Illuminati (pl.) | a person claiming to possess special enlightenment or knowledge |
| the name given originally to those who submitted to Christian baptism. Those who were baptized were called illuminati or 'illuminated ones' by the Ante-Nicene clergy, on the assumption that those who were instructed for baptism in the Apostolic faith had an enlightened understanding. The Alumbrados, a mystical sixteenth-century Spanish sect, were among the societies that subsequently adopted the name illuminati. Later, the title of illuminati was used by a secret society founded by Adam Weishaupt (the Bavarian Illuminati) that aimed to combat religious thinking and encourage rationalism. In 1779 the Masonic Lodge in Munich succumbed to the Illuminati, and this branch was given authority by the English-authorized Frankfurt Lodge to set-up daughter Lodges, which it did. By mid-1782 the Order numbered about 300 men, said to have included Goethe & Mozart |
|
| Illuminator von Handschriften | (German m.) illuminator, limner (of a manuscript) |
| Illuminazione | (Italian f.) illumination, lighting |
| Illuminé (s.), Illuminés (pl.) | (French) Illuminato (s.), Illuminati, a true devotee of eighteenth-century rationalism |
| Illuminierung alter Handschriften | (German f.) illumination (in a manuscript) |
| Illuminismo | (Italian m.) or Secolo dei Lumi (Italian m.), Enlightenment, Age of the Enlightenment |
| Illusion | (English, French f.) an erroneous mental representation |
| illusionner | (French) to delude |
| Illusionniste | (French m./f.) conjuror, illusionist |
| illusoire | (French) illusory |
| Illusory continuity of tones | the auditory illusion caused when a tone is interrupted for a short time (approximately 50ms or less), during which a narrow band of noise is played. Whether the tone is of constant, rising or decreasing pitch, the ear perceives the tone as continuous if the 50ms (or less) discontinuity is masked by noise. Because the human ear is very sensitive to sudden changes, however, it is necessary for the success of the illusion that the amplitude of the tone in the region of the discontinuity not decrease or increase too abruptly |
|
| illustrare | (Italian) to make clear, to illustrate |
| Illustrated | (English) decorated with pictures or other features usually for the purpose of clarifying the context |
| Illustration | (English, French) exemplification, example, a visual representation (often designed to make something clear or attractive) |
| Illustrative music | music that evokes a poem, scene, mood, idea or experience |
| illustrativo | (Italian) illustrative |
| illustrato | (Italian) illustrated, supplemented with notes |
| Illustratore | (Italian m.) illustrator |
| Illustrazione | (Italian f.) illustration |
| illustre | (French, Italian) distinguished, illustrious |
| Illustré | (French m.) illustrated magazine |
| illustré | (French) illustrated |
| illustrer | (French) to illustrate |
| il m'a tiré la langue | (French) he stuck his tongue out at me |
| il medesimo tempo | (Italian m.) the same time |
| Il me faut | (French) I need |
| Il me le paiera! | (French) He'll pay for this! |
| Il me reviendra. | (French) It'll come back to me. |
| Il me tape sur les nerfs. | (French) He gets on my nerves. |
| Il m'est impossible de donner un avis (définitif) sur | (French) I can't express a (definite) opinion on |
| Il m'incombe de | (French) It falls to me to |
| il n'a pas la langue dans sa poche | (French) he's never at a loss for words |
| Il n'a pas la main douce. | (French) He doesn't wear kid gloves. |
| Il n'a que ... à la bouche. | (French) ... is all he ever talks about. |
| Il ne casse pas des briques | (French) That's no great shakes. |
| Il ne casse pas trois pattes à un canard. | (French) He's, It's nothing special, nothing to get excited about |
| Il ne casse rien. | (French) He's, It's nothing special, nothing to get excited about |
| Il ne faut jamais courir deux lièvres à la fois. | (French) Don't try to do two things at once. |
| Il ne faut jamais dire « Fontaine, je ne boirai pas de ton eau! » | (French) Never say never. |
| Il ne faut jamais jeter le manche après la cognée. | (French) Never say die. |
| Il ne faut jamais mettre la charrue avant les boeufs. | (French) Don't put the cart before the horse. |
| Il ne faut pas juger les gens sur la mine. | (French) Don't judge a book by its cover. |
| Il ne faut pas se fier aux apparences. | (French) you can't judge a book by its cover. |
| Il ne faut pas vendre la peau de l'ours avant de l'avoir tué. | (French) Don't count your chickens before they're hatched. |
| Il ne faut rien laisser au hasard. | (French) Leave nothing to chance. |
| il ne l'a pas volé | (French) he deserved it |
| Il ne m'a pas quitté des yeux. | (French) He never took his eyes off me. |
| il n'en est pas question | (French) it is out of the question |
| il n'en fait qu'a sa tête | (French) he does just as he pleases |
| il ne sait pas tenir sa langue | (French) he can't hold his tongue, he doesn't know when to hold his tongue |
| Il ne sert à rien de déshabiller Pierre pour habiller Paul. | (French) Robbing Peter to pay Paul. |
| Il ne s'est jamais mieux porté. | (French) He's never been better. |
| Il ne s'est pas cassé la nénette | (French) He didn't do much, try very hard. (colloquial) |
| Il ne s'est pas cassé la tête. | (French) He didn't overtax himself. He didn't put any effort into it. |
| Il ne s'est pas cassé le tronc | (French) He didn't do much, try very hard. (colloquial) |
| Il n'est pas donné à tout le monde de... | (French) Not everyone in the world is lucky enough to... |
| Il n'est pas mal! | (French) He's not bad looking! |
| Il n'est plus temps de | (French) The time for ... is over |
| Il n'est que les os et la peau. | (French) He's nothing but skin and bones. |
| Il n'est que temps de | (French) It's high time to |
| Il n'est si méchant pot qui ne trouve son couvercle. | (French) Every Jack has his Jill. |
| Il nous les casse! | (French) He's a pain in the neck! (colloquial) |
| Il n'y a pas à dire | (French) There's no doubt about it. |
| Il n'y a pas de fumée sans feu. | (French) Where there's smoke, there's fire. |
| Il n'y a pas de quoi être fier. | (French) It's a poor show. |
| Il n'y a pas de quoi fouetter un chat. | (French) It's nothing to make a fuss about. |
| Il n'y a pas de temps à perdre | (French) There's no time to lose |
| Il n'y a que les montagnes qui ne se rencontrent jamais. | (French) There are none so distant that fate cannot bring together. |
| Il n'y a rien à faire. | (French) It's hopeless, no use insisting |
| Il n'y avait pas un chat! | (French) There wasn't a soul! |
| Il peut faire mieux. | (French) He can do better. |
| il più | (Italian m.) the most |
| il più forte possibile | (Italian) as loud as possible |
| il più piano possibile | (Italian) as soft as possible |
| il più presto possible | (Italian) as quick as possible |
| Il revient à moi de | (French) It falls to me to |
| Il se fit jour dans mon esprit | (French) The light dawned on me |
| il seguente | (Italian) the following, the next |
| Il serait (grand) temps que | (French) It's (high) time that |
| Ils m'ont ri au nez. | (French) They laughed in my face. |
| Ils ne peuvent pas se voir | (French) They can't stand each other. |
| Ils ne valent pas mieux l'un que l'autre. | (French) They're two of a kind. One's as bad as the other. |
| il tempo crescendo | (Italian) increasing, or accelerating the tempo |
| il tient que | (French) it depends on |
| Il vaut mieux aller au moulin qu'au médecin. | (French) An apple a day keeps the doctor away. |
| Il vaut mieux être marteau qu'enclume. | (French) It's better to be a hammer than a nail. |
| Il vaut mieux s'adresser à Dieu qu'à ses saints. | (French) It's better to talk to the organ-grinder than the monkey. |
| Il violino | (Italian m.) the violin |
| Iluminación | (Spanish f.) lighting (for example, lighting engineers in a theatre, etc.) |
| ILWC | abbreviation of 'International League of Women Composers' |
| il y a beau temps | (French) for a long time |
| il y a combien de temps? | (French) how long ago? |
| Il y a du mieux. | (French) There's been some improvement. |
| Il y a du monde ici | (French) There are a lot of people here |
| Il y a mis le temps! | (French) He's taken his sweet time doing it! |
| Il y a plus d'un âne à la foire qui s'appelle Martin. | (French) Don't jump to conclusions. |
| Il y a qqch qui cloche. | (French) Something's not quite right. |
| Il y a un ange qui passe. | (French) There's an awkward pause in the conversation. |
| Il y a un mieux. | (French) There's been some improvement. |
| Il y a un temps pour tout | (French) There's a right time for everything |
| im | (German) in the |
| IMA | Institute for the Musical Arts |
| im Abzug | see Abzug |
| Image musicale | (French f.) musical imagery |
| Imagery | a common term of variable meaning, imagery includes the "mental pictures" that readers experience with a passage of literature. It signifies all the sensory perceptions referred to in a poem, whether by literal description, allusion, simile, or metaphor. Imagery is not limited to visual imagery; it also includes auditory (sound), tactile (touch), thermal (heat and cold), olfactory (smell), gustatory (taste), and kinesthetic sensation (movement) |
|
| Imagism | an early twentieth-century artistic movement in the United States and Britain. Imagists believed poets should use common, everyday vocabulary, experiment with new rhythm, and use clear, precise, concentrated imagery. Ezra Pound, Richard Aldington, Amy Lowell, Carl Sandburg, and T. E. Hulme are all poets who were adherents of imagism and were known as imagists |
|
| Imagist | see 'imagism' |
| Imago | (Latin) portrait, illustration (describing something that is a perfect or typical example of some concept) |
| (Latin) the idealized image of a person, usually a parent, formed in childhood and persisting unconsciously into adulthood |
| (Latin) entomological term for the last (or adult) stage of development of an insect |
| Imago clipeata | (Latin, literally 'framed portrait') the images of heroes on Roman shields |
| Imago Dei | (Latin, literally 'Image of God') the concept that human beings are created in God's image |
| im alten Stil | all'antico (Italian) in the ancient style, in a former style, in an old style (usually a reference to the style associated with classical Greek or ancient Roman), dans le style ancien (French) |
| im Alter | (German) in old age |
| im Alter von | (German) at the age of |
| Imam | (Arabic) a Moslem priest, a title given to the Caliph and certain other Moslem leaders |
| im Anzug sein | (German) be imminent (figurative) |
| im Auftrag | (German) on behalf of |
| im Auge behalten | (German) keep in sight, bear in mind (figurative) |
| Imayoo | (Japanese) a medieval genre of popular song |
| Imbal | (Javanese) or imbalan, a technique used in Javanese gamelan. It refers to a rapid alternation of a melodic line between instruments, in a way similar to hocket in medieval music or kotekan in Balinese gamelan |
|
| imbarazzato | (Italian) embarrassed |
| imbarcare | (Italian) to embark |
| imbarcarsi | (Italian) to go on board |
| Imbarcazione | (Italian f.) boat |
| Imbarcazione da diporto | (Italian f.) pleasure craft |
| Imbarcazione di salvataggio | (Italian f.) lifeboat |
| Imbarco | (Italian m.) embarkation, landing-stage |
| imbattersi in | (Italian) or accordarsi con (Italian) to fall in with |
| im Bau | (German) under construction |
| im Bedarfsfalle | (German) in case of need |
| im Begriffsein zu | (German) be about to |
| im Bett | (German) in bed |
| Imboccatura | (Italian f.) the mouthpiece of a wind instrument |
| (Italian f.) embouchure, mouth-hole, Mundloch (German n.), Ansatz (German m.), embouchure (French f.), embocadura (Spanish f.) |
| Imbongi | Zulu musician storytellers |
| im Brennpunkt des Interesses stehen | (German) be the focus of attention |
| Imbroglio | (Italian m.) embroilment, confusion, difficult situation, complicated misunderstanding, intricate rhythm, want of distinct ideas |
| (Italian m.) a term applied specifically in opera when several groups of singers or instrumental ensembles perform at the same time but to serve different, even conflicting, dramatic purposes |
| IMC | abbreviation of 'International Music Council' |
| im Dunkeln | (German) in the dark |
| im Durchschitt | (German) on average |
| Imdyazn | professional musicians of the Berbers |
| Imene metua | a form of unaccompanied vocal music known for a uniquely Polynesian drop in pitch at the end of the phrases, as well as staccato rhythmic outbursts of nonsensical syllables (tuki) |
| Imene tuki | a form of unaccompanied vocal music known for a uniquely Polynesian drop in pitch at the end of the phrases, as well as staccato rhythmic outbursts of nonsensical syllables (tuki) |
| im ersten Zeitmass | (German) tempo primo, at the original speed |
| IMF | an audio file format created by Apogee Software for the AdLib sound card for use in their video games. The default filename extension is also "imf" |
|
| Im Falle | (German) in case |
| im Film | (German) on the screen |
| im Fluß | (German) in a state of flux (figurative) |
| im Fluss | (German) in a state of flux (figurative) |
| im gleichen Tempo | (German) the same speed |
| im Handumdrehen | (German) in a flash, in no time, in the twinkling of an eye, in the wink of an eye |
| Image plane | the plane at right angles to the optical axis at the image point |
| Imitación | (Spanish f.) imitation |
| Imitación libre | (Spanish f.) free imitation |
| imitando | (Italian) imitating |
| imitando la voce | (Italian) imitating the inflections of the voice |
| imitando la voce femminile | (Italian) imitating the feminine voice |
| Imitatio | (Latin, literally 'imitation') a technique prescribed by fifteenth-century rhetoriticians. Literary imitatio had as its goal the restoration of classical rhetoric through 'emulation'. The great seventeenth-century dramatist, poet, and wit, Ben Jonson (1572-1637), writes about 'imitation', saying that it allows the poet, "to convert the substance, or Riches of an other Poet, to his owne use. To make choice of one excellent man above the rest, and so to follow him, till he grow very Hee: or so like him, as the Copie may be mistaken for the Principall." The author was drawing from a "cultural cache" thereby invoking the authority of the classical tradition; a tradition in which what we call plagiarism would be admired. Imitating great men was a way to make oneself great |
| as modern scholars have attempted to translate literary rhetorical ideas to musical composition, imitation could be 'emulation' (for example, a student learning his craft by studying and emulating the works of the masters), or as a form of 'homage' (one composer using elements from another composer's work as a way of paying homage to him or her) |
| from recovered sixteenth-century compositional drafts, it appears that students of composition were still being taught to compose one line at a time, learning their craft by imitating older masters, and modeling new pieces directly on old ones. Emulation was not only pedagogical but may have also been used as a means of competition or of paying homage to other composers. Composers of chansons in the fifteenth century imitated one another in various ways. All of these kinds of emulation in composition seem to relate directly to the late medieval and Renaissance concept of imitation, known to Tinctoris and applied to music possibly as early as the late fourteenth or early fifteenth centuries. Presumably it was taught as well. Before the advent of syntactic imitation, there were two principal methods of composition, which continued through the sixteenth century. The first consisted of the addition of new lines around a cantus firmus, the medieval contribution to polyphony. The second relied on the newer techniques of imitatio beginning in the late 14th- and early 15th-centuries |
|
|
| Imitatio aequalis motus | (Latin) imitation by similar melodic motion |
| Imitatio cancrizans in moto contrario | (Latin) imitation by inverted retrograde melodic motion |
| Imitatio canonica | (Latin) canonic imitation |
| Imitatio homophonia | (Latin) imitation at the unison, the first species of imitation |
| Imitatio inaequalis motus | (Latin) imitation by dissimilar or inverted melodic motion |
| Imitatio inaequalis motus al contrario riverso | (Latin) imitation by strict dissimilar or inverted melodic motion |
| Imitatio inaequalis motus al rovescio | (Latin) imitation by free dissimilar or inverted melodic motion |
| Imitatio in secundo superiori ossia inferiori | (Latin) imitation at the upper or lower second, the second species of imitation |
| Imitatio in hyperitono ossia in hypoditono | (Latin) imitation at the upper or lower third, the third species of imitation |
| Imitatio in hyperdiatessaron ossia in hypodiatessaron | (Latin) imitation at the upper or lower fourth, the fourth species of imitation |
| Imitatio in hyperdiapente ossia in hypodiapente | (Latin) imitation at the upper or lower fifth, the fifth species of imitation |
| Imitatio in hexacordo superiori ossia inferiori | (Latin) imitation at the upper or lower sixth, the sixth species of imitation |
| Imitatio inheptacordo superiori ossia inferiori | (Latin) imitation at the upper or lower seventh, the seventh species of imitation |
| Imitatio in hyperdiapason ossia in hypodiapason | (Latin) imitation at the upper or lower octave, the eighth species of imitation |
| Imitatio interrupta | (Latin) interrupted imitation, one of the rhythmic proportions of imitation |
| Imitatio invertibilis | (Latin) invertible imitation, imitation in double counterpoint |
| Imitation | (English, French f., German f.) imitación (Spanish), imitazione (Italian), Nachahmung (German), the repetition of a phrase, usually at a different pitch, by another voice or part (that is fugal writing, which in this sense means writing of a fugal nature but which is not necessarily in accordance with the strict laws of fugue or canon). The original statement is called the 'antecedent' while the repetition is called the 'consequent' |
| if the consequent is an exact reproduction of the antecedent, the imitation is said to be 'strict' or 'canonic'; however if only the general outline is preserved, the imitation is said to be 'free' |
| the term may be applied to the representation of extra-musical sounds within musical works, for example, train whistles, birdsong, and so forth |
| Imitation mass | masses based on a polyphonic source, as distinct from cantus firmus masses which are based on a monophonic source. The term 'parody mass' is sometimes applied to what might be better described as an 'imitation mass' |
| Imitation, pervading | see 'pervading imitation |
| Imitatio per arsin et thesin | (Latin) imitation in contrary rhythm, one of the rhythmic proportions of imitation |
| Imitatio per augmentationem | (Latin) augmentation, one of the rhythmic proportions of imitation |
| Imitatio per diminutionem | (Latin) diminution, one of the rhythmic proportions of imitation |
| Imitatio periodica | (Latin) incidental or formal periodic imitation |
| Imitative | see 'imitation' |
| Imitative counterpoint | a polyphonic musical texture in which the various melodic lines use approximately the same themes |
| Imitative stops | organ stops that are designed to sound as close as possible to their orchestral namesake. The 'Clarinet' is one such stop |
| Imitazione | (Italian f., from the Latin imitatio) imitation, as, for example, in counterpoint |
| in the Renaissance, imitazione can describe three distinct types of borrowing: |
| following, exemplified in the cantus-firmus technique |
| imitation proper |
| emulatio (emulation) implying a critical reflection on the model itself |
|
|
| imitieren | (German) to imitate |
| im lebhaftesten Tempo | (German) in a very animated tempo |
| im lebhaftesten Zeitmaße | (German) in the quickest time possible |
| im Legendenton | (German) in the style of a legend |
| immaginare con anticipo | (Italian) to prefigure |
| Immagine con ragazza | (Italian f.) pin-up (poster) |
| Immagine musicale | (Italian f.) musical imagery |
| immedesimarsi con | (Italian) to empathise with |
| immer | (German) ever, always, continuously, still (continuing) |
| immer belebter | (German) ever more quickly, still more lively
[corrected by Brian A. Jefferies] |
| immer bewegter | (German) still moving more (i.e. faster) |
| immer dasselbe getragene Zeitmass | (German) still the same solemn tempo |
| immer fern und ferner | (German) still distant and more distant |
| immer gest. | (German) or immer gestopft (German), always stopped, alway muted |
| immer gestopft | (German) always stopped, always muted
[addition to entry provided by Brian A. Jefferies] |
| immer langsam | (German) slowly throughout |
| immer langsamer | (German) slower and slower |
| immer leiser | (German) softer and softer |
| immer mehr und mehr zurückhaltend | (German) still holding back more |
| immer mit Dämpfer | (German) always muted |
| immer mit Sord. | (German) always muted |
| immer mit Verstärung bis zum Schluss | (German) with reinforcement (i.e. doubling) to the end |
| immer noch (etwas) drängend | (German) always pressing forward more |
| immer noch etwas vorwärts | (German) always still somewhat forward |
| immer noch mehr zurüchhaltend | (German) ever more holding back |
| immer noch unmerklich zurückhaltend | (German) always imperceptibly holding back |
| immer offen | (German) always open |
| immer schnell | (German) still quick |
| immer springend. Bog. | (German) always spiccato |
| immer stärker werdend | (German) continually growing louder, crescendo |
| immer vorwärts (drängend) | (German) always forward (as in 'pressing forward') |
| immer wuchtig | (German) always weighty |
| immobile | (Italian) motionless |
| Immobiliste | (French m./f.) (a person) who opposes progress or reform, an obscurantist |
| Immortelle | (French f., literally 'ever-lasting') a flower of papery texture which retains its colour and shape when dried |
| Immortelles, Les | (French f. pl.) the members of the Académie Française |
| Immutabilis | (Latin) one of the accentus ecclesiastici |
| im Orchester | (German) in the orchestra (as opposed to back stage) |
| imp. | abbreviation of impressit (Latin: printed by, after which is written the printer's name), impresserunt (Latin: printed by, after which is written the printer's name), impressé (French: printed by, after which is written the printer's name) |
| impair | (French) odd (numbers) |
| imparare con la pratica | (Italian) to learn by doing |
| imparfait (m.), imparfaite (f.) | (French) imperfect |
| Impasse | (French) a situation from which there is no escape, an insoluble difficulty |
| Impassioned | filled with passion, ardent, appassionato (Italian), con abbandono (Italian), leidenschaftlich (German), avec passion (French) |
| Impasto | (Italian m.) the application of thick layers of opaque pigment |
| Impayable | (French) 'priceless', impossible to equal |
| impazientandosi | (Italian) impatiently |
| impaziente | (Italian) impatient, hurried |
| impazientemente | (Italian) impatiently, hurriedly |
| Impazienza | (Italian f.) impatience |
| Impedimenta | (Latin pl.) encumbrances (for example, when travelling, baggages, parcels, etc.) |
| impegnarsi con una somma di denaro | (Italian) to pledge (to pledge a sum of money) |
| impelagarsi con | (Italian) to get stuck with |
| impennato | (Italian) requilled (jacks) |
| impensis | (Latin) at the expense |
| imper. | abbreviation of 'imperative' (of a mood, expressing a command, for example, sing this!) |
| imperat. | abbreviation of 'imperative' (of a mood, expressing a command, for example, sing this!) |
| Imperative | urgent, obligatory, commanding, peremptory |
| Imperator (m.), Imperatrix (f.) | (Latin) Emperor, Empress |
| imperf. | abbreviation of 'imperfect' (of a tense, denoting action in progress but not completed, for example, they were singing) |
| Imperfect | not perfect, less than perfect (particularly when speaking of intervals or chords) |
| Imperfect authentic cadence |
| a perfect cadence (or, according to some sources, a plagal cadence) where: |
| inverted imperfect authentic cadence | one or both chords are inverted |
| root position imperfect authentic cadence | the highest voice is not the tonic |
leading tone imperfect authentic cadence
leading note imperfect authentic cadence | the V chord is replaced with the vii° chord but the cadence still ends on a tonic chord |
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| Imperfect cadence | or 'half close', cadenza imperfetta (Italian f.), cadéncía imperfecta (Spanish f.), Halbschluss (German m.), unvollkommener Schluss (German m.), unvollkommener Ganzschluss (German m.), cadence imparfaite (French f.), a cadence that ends not with the tonic but with a dominant or some other chord |
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| Imperfect consonances | or 'imperfect concords', intervals such as the major and minor thirds and sixths, whose ratios are less simple than those of the fifth and fourth |
| Imperfect enjoyment | readers commonly associate this motif or poetic genre with 17th-century male poets in France, but it derives ultimately from Latin poetry such as Ovid's Amores 3.7. Typically, the motif in French literature deals with a proud or arrogant male lover who discovers in the midst of a seduction that for one reason or another he is unable to sustain his desire |
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| Imperfect foot | a metrical foot consisting of a single syllable, either heavily or lightly stressed |
| Imperfect interval | diminished interval, particularly those one chromatic semitone (half-step) smaller than a perfect interval |
| any non-perfect interval, that is, 2nd, 3rd, 6th or 7th |
| Imperfection | in music of the Renaissance, the reduction of a trinary note value to binary. Therefore, in tempus perfectum, the breve will be normally trinary (i.e. taking three semibreves) but under certain specific circumstances it may be 'imperfected' so that it takes only two semibreves |
| Imperfect measure | an old term for the time of only two in a bar, also called 'binary measure' |
| Imperfect narrator | see 'unreliable narrator' |
| Imperfect rhyme | another term for inexact rhyme or slant rhyme |
| Imperfektion (in der Mensuralnotation) | (German f.) imperfection (in mensural notation) |
| Imperial quarto | see 'quarto' |
| imperiosamente | (Italian) imperiously, pompously, haughtily, stately |
| Imperiosità | (Italian) stateliness, pomposity |
| imperioso | (Italian) imperious, pompous, lofty, haughty |
| Imperium | (Latin) supreme power, sovereignty |
| impers. | abbreviation of 'impersonal' (of a verb, used especially with it as a subject (for example, it is snowing); of a pronoun, synonymous with 'indefinite') |
| Impersonal | without personal reference, objective, impartial |
| without human attributes, cold, unfeeling |
| Impersonal verb | a verb without a real subject |
| Impersonal verb construction | a verb used without a subject or with a largely non-referential "it" as the subject. For instance, "It is raining" |
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| imperturbabile | (Italian) quietly, easily |
| Impeto | (Italian m.) impetus, impetuosity, vehemence |
| impétueusement | (French) impetuously |
| impétueux (m.), impétueuse (f.) | (French) impetuous, in a boisterous manner |
| impetuosamente | (Italian) impetuously |
| Impetuosità | (Italian f.) impetuosity |
| impetuoso | (Italian) impetuous, vehement, boisterous, impetuously, vehemently, boisterously |
| Impetuous, Impetuously | acting with sudden energy, moving forcefully or rapidly, impetuoso (Italian), heftig (German), impétueux (French m.), impétueuse (French f.), impétueusement (French) |
| Impetus | (Latin) the force with which a body moves, motive power, moving force, a stimulus, an incentive |
| Implied audience | the "you" a writer or poet refers to or implies when creating a dramatic monologue |
| Implied intervals | intervals not expressed in a figured bass, but which are understood to be a component part of any chord |
| Impluvium | (Latin) the square water-cistern in the centre of the atrium of a Roman house |
| Imponderabilia | (pseudo-Latin) factors the influence of which on some project it is not easy to evaluate in concrete terms |
| imponente | (Italian) imposing in style, haughtily, emphatic |
| Imponenza | (Italian f.) an imposing style, haughty |
| imponierend | (German) imposing in style, haughtily |
| imporre con la forza | (Italian) to force feed |
| Impossible n'est pas français. | (French) There is no such word as "can't." |
| Impost | a projecting moulding supporting an arch |
| Imposta sul Valore Aggiunto | (Italian) or IVA, valued added tax, VAT |
| Impostazione | (Italian f.) placing of the voice |
| Imprenta | (Spanish f.) press |
| Impresario (s.), Impressarii (pl.) | (Italian m., from impresa, meaning 'undertaking') the agent, organiser or manager of an opera or concert company |
| Impresion | (Spanish f.) impression, edition |
| Impresor | (Spanish m.) printer |
| Impressionism | an idea borrowed from art, where a work's 'colour' describes, or gives an impression of an experience |
| in jazz, the term has a particular meaning, namely, a form of jazz centred around collective improvisation and the concept, expressed by saxophonist Ornette Coleman (born 1930), of 'harmolodics' |
| Impressionisme | (French m.) impressionism |
| Impressionismo | (Spanish m.) impressionism |
| Impressionismus | (German m.) impressionism |
| Imprimante | (French f.) printer |
| Imprimatur | (Latin, literally 'let it be printed') the formula licensing the publication of a book, an official license to publish |
| the term is now restricted to the license granted by a bishop for the publication of a religious work. Such a license is also called a nihil obstat (Latin, "let nothing stand in the way") |
| Imprimatura | (Italian) coloured wash laid over a panel or canvas, either before or after the preliminary drawing is made |
| Imprimé | (French) printed dress-fabric (usually of linen or cotton), printed form |
| imprimé | (French) printed |
| imprimer | (French) to print, to imprint, to impart |
| imprimere | (Latin) print |
| Imprimerie | (French f.) printing (art), printing works |
| Imprimeur | (French m.) printer |
| Imprimis | (Latin) in the first place (introducing the first is a sequence of items) |
| Impromptu | (English, French, Spanish m. from the Latin in promptu, 'in readiness') an improvisation, an extempore performance |
| common in the nineteenth century, an instrumental piece that is designed to give the impression of having been improvised on the spur of the moment, for example, a fantasia |
| a term used by some composers, notably Frédéric Chopin (1810-49), to express a piece of music of a lyrical nature |
| Impromtü | (German n.) impromptu |
| Impronta (s.), Impronte (pl.) | (Italian f.) mark, impression, stamp, impress, imprint, print, trace |
| Impronta del piede | (Italian f.) foot-print |
| improntare | (Italian) to impress, to imprint, to mark, to prepare |
| Impronte digitali | (Italian f. pl.) finger-prints |
| impronunziabile | (Italian) unpronounceable |
| Improperia | a series of antiphons and responses sung on the morning of Good Friday in place of the usual daily Mass of the Roman rite |
| impropre | (French) incorrect |
| impropre à | (French) unfit for |
| Impropriété | (French f.) incorrectness, error |
| Improv | an abbreviation of 'improvisation', used in jazz to describe the improvisational section of a work |
| Improvisação | (Portuguese) improvisation |
| Improvisação coletiva | (Portuguese) group improvisation |
| Improvisación | (Spanish f.) improvisation, impromptu |
| improvisadamente | (Spanish) suddenly |
| improvisado | (Spanish) improvised |
| improvisado (m.), improvisada (f.) | (Italian) improvised |
| Improvisador (m.), Improvisadora (f.) | (Spanish) an improviser |
| improvisando | (Italian) with improvisation |
| improvisar | (Spanish) to improvise |
| Improvisateur (m.), Improvisatrice (f.) | (French) an improviser |
| Improvisatie | (Dutch) improvisation |
| Improvisation | (English, German f., French f.) in acting, when an actor remains 'in character' but makes up action or dialogue without prior scripting |
| or extemporization, to compose or perform (music, verse, etc.) extempore, that is, spontaneously |
| an impromptu is a musical work that, although composed in advance, should be played in such a way as to give the impression that is being improvised |
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| Improvisational comedy | also called 'improv' or 'impro', comedy that is performed with a little to no predetermination of subject matter and structure. The performers discover their lines and actions spontaneously, typically following a general theme and format, often in response to audience suggestions. Improvisational comedy is a form of improvisational theatre |
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| Improvisational theatre | a form of theatre in which the actors perform spontaneously, without a script. Improvisation has been employed in live theatre at least since sixteenth-century Commedia Dell'arte. Modern improvisation began in the classroom with the theatre games of Viola Spolin and Keith Johnstone in the 1950s, then evolved quickly to become an independent artform worthy of presentation before a paying audience |
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| improvisato | 'improvised', found in the titles of Dmitri Kabalevsky's Op.21 No. 1 (1934) Improvisato for violin and piano, Adrej Tchulovsky's Recitando improvisato and Hans Werner Henze's Rondo improvisato |
| Improvisator | (German m.) one who improvises |
| Improvisatrice | (French f.) a poetess, a female improviser |
| Improvise | improvvisare (Italian), improvisieren (German), improviser (French), to compose or perform (music, verse, etc.) extempore |
| improvise | (French) extemporaneous |
| improviser | (French) to improvise |
| improvisieren | (German) to improvise |
| improvisierte Vorstellung | (German f.) ad lib performance, improvisation |
| improviso | (Portuguese) improvise |
| improviso, de | (Spanish) suddenly |
| improvvisamente | (Italian) extemporaneously, suddenly, unexpectedly |
| improvvisando | (Italian) improvising |
| improvvisare | (Italian) to improvise, to perform or sing extemporaneously |
| Improvvisata (f.) | (Italian) an agreeable surprise |
| Improvvisato (m.), Improvvisata (f.) | (Italian) an impromptu, a work that has been improvised
[information supplied by Sabrina Mudd] |
| Improvvisatore (m.), Improvvisatrice (f.) | (Italian) one who sings, or declaims, in verse, extemporaneously |
| Improvvisazione | (Italian f.) improvisation |
| improvviso | (Italian) sudden, unexpected, unforeseen, extemporaneous |
| Improvvissatore (s.), Improvvissatori (pl.) | (Italian) one who sings, or declaims, in verse, extemporaneously |
| Imprudencia | (Spanish f.) imprudence |
| imprudente | (Spanish) imprudent |
| Impudencia | (Spanish f.) impudence |
| impudente | (Spanish) impudent |
| impúdico | (Spanish) immodest, shameless |
| Impudor | (Spanish m.) immodesty,shamelessness |
| impuesto | (Spanish) imposed |
| impuesto sobre el valor añadido | (Spanish m.) VAT, value added tax |
| impugnar | (Spanish) to contest,to refute |
| Impuls | (German m.) impulse |
| impulsar | (Spanish) to impel |
| Impulsion | (French f.) impulse |
| Impulsividad | (Spanish f.) impulsiveness |
| impulsivo | (Spanish) impulsive |
| Impulso | (Italian m., Spanish m.) impulse |
| impune | (Spanish) unpunished |
| Impunidad | (Spanish f.) impunity |
| Impureza | (Spanish f.) impurity |
| impuro | (Spanish) impure |
| Imputación | (Spanish f.) charge |
| imputar | (Spanish) to attribute, to charge (the accused) |
| IMS | abbreviation of 'International Musicological Society' |
| im Schnitt darstellen | (German) to profile |
| imshi! | (Arabic) go away!, be off! |
| im Stil der Janitscharen-Musik | (German) alla turca (Italian), à la turque (French), nach türkischer Art (German), in the Turkish style |
| im Stile einer ... | (German) in the style of ... |
| im Sprechchorrufen | (German) chant |
| im Takt | (German) a tempo, in time (to the music) |
| im Tempo | (German) a tempo, return to the original pace |
| im Tempo des Scherzo | (German) in the tempo of the Scherzo |
| im Tempo I zurückkehren | (German) returning to Tempo I |
| im tiefsten Winter | (German) in the depths of winter |
| im übrigen | (German) besides, apart from |
| im ungewissen lassen | (German) to leave in the dark |
| im unklaren sein | (German) to be in the dark |
| im Unterbewußtsein | (German) subconsciously |
| im Volkston | (German m.) in the style of a German folk song, in a popular (German) style |
| Imzad | or imzhad, a one-stringed Tuareg fiddle, played by women |
| im Zeitmaß | (German) in time, a tempo |
| Imzhad | see imzad |
