Page:A Dictionary of Music and Musicians vol 4.djvu/963

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PIPPO. (See MATTEI, F.) PIRATA IL, ii. 755 b ; iv. 7490;

Bellini, i. 2126. PIRATES OF PENZANCE, The, ii.

756 a ; Sullivan, iii. 7626. PIRON ; Cl^ du Caveau, iv.

��PISARI, P., ii. 7560 ; Jannaconi, ii. 31 a ; Sistine Chapel, iv

794- PISARONI, B. R., ii. 7560;

Laporte, ii. 916; Mendels-

sohn, ii. 263 a; Singing, iii.

5106; Tamburini, iv. 560. PISCHEK, J. B., iii. 54; Jul-

lien, ii. 45 a, etc. ; Lindpaint-

ner, ii. 143 a; Nachbaur, ii.

440 a ; Philh. Soc., ii. 6996;

Schott (A.), iii. 3146 ; Song,

iii. 6146; Stark, iii. 690?;;

Staudigl, iii. 6916; Kuhe

(W.), iv. 6936. PISENDEL ; Graun (J. G.), i.

6206; Veracini (F. M.), iv.

2 39 a > Violin - playing, iv.

289. PISTOCCHI, F. ; Bass, i. 148 b;

Bernacchi, i. 2340; Bologna,

i. 2596; Fabri, i. 5oob;

Morigi (P.), ii. 366 a; Negri,

ii. 451 a; Nicolini, ii. 454a;

Opera, ii. 505 a ; Oratorio, ii.

5376; Burney, iv. 571 a. PISTON, ii. 7566; Cornet, i.

4036; Sax (C. J.), iii. 2320,

etc. ; Valve, iv. 2 15 a. PISTRUCCI; Barcarolle,!. 139 a. PITCH, ii. 7576 ; Bass, i. 148 a ;

Beats, i. 1590*; Clarinet, i.

364 a ; Concert-pitch, i. 3846;

Conservatoire de Mus., i. 393 a ;

Diapason, i. 442 b ; Griesbach,

1.6316; Helmholtz, i. 7266;

Hoffmann (G.), i. 742 a;

Horn, i. 750 a ; Interval, ii.

ii a ; Kneller Hall, ii. 67 a;

Monochord, ii. 3540 ; Organ,

ii. 5806, note, etc.; Partial

Tones, ii. 6536; Piston, ii.

7566; Proportion, iii. 42 a;

Scale, iii. 2356, etc. ; Schei-

bler, iii. 2440 ; String, iii.

745 a ; Temperament, iv. 706,

etc.; Tuning, iv. 189 a;

Tuning-fork, iv. igoa; Chor-

ton, iv. 591 a ; Ellis (A. J.),

iv. 627 a. PITCHPIPE, ii. 7586; Tuning,

iv. 1890. PITONI, G. 0., ii. 759 a; Feo, i.

Siib; Leo, ii. 121 a; Mus.

Divina, ii. 41 1 a ; Palestrina,

ii. 6356, note; Requiem, iii.

1096 ; Schools of Comp., iii.

2870; Sketches, iii. 5266 ;

��INDEX.

Dies Irae, iv. 6140; Rome iv. 7 74 a. PITTERLIN ; Fesca (F. E.), i

��PITTMAN, J., ii. 759 a; iv. 749 a

Rea, iii. 790. PIUTTI, M. ; United States, iv

2040.

PlVA,G. ; Steffani, iii. 6976. Pms, F., ii. 7596. Pixis,F.W., ii. 7596; Booklet,

i. 2526; Kalliwoda (J. W.),

ii. 47 a ; Violin-playing, iv.

2986. Pixis, J. P., ii. 759?) ; iv. 749 a ;

Gabriel (V. A.), i. 571 &;

Mendelssohn, ii. 257??; Os-

borne, ii. 615 a ; PF. Mus., ii.

7276; PF.-playing, ii. 744;

Vaterlandische Kunstlerve-

rein, iv. 808 a. PIZZICATO, ii. 7596 ; iv. 749 a ;

Instrument, ii. 65 ; Opera, ii.

501 b; Paganini, ii. 632 a.

Violin- playing, iv. 2 88 a. PLACH Y, W. ; PF. Mus., ii. 7 2 7 a ;

Vaterlandische Kiinstlerve-

rein, iv. 803 a. PLAGAL CADENCE, ii. 760 a ;

Cadence, i. 291 a; Harmony,

i. 676 b; Imperfect, i. 7686;

Subdominant, iii. 747 b. PLAGAL MODES, ii. 760 a; Mode, i. 40 a ; Au-

��thentic, i. 1056; Gregorian Modes, i. 626 a; Hyper-, i. 7646 ; Modes Eccles., ii. 341 b, etc.; Participant, ii. 655?); Plain Song, ii. 764^1, etc.

PLAIDY, L., ii. 763 a ; Bache (E.), i. I2O&; Leipzig, ii. 115^; O'Leary, ii. 4966 ; Paul (0.), ii. 675 b; Riedel, iii. 1296; Rontgen, iii. I44a; Smith (Sydney), iii. 5416; Studies, iii. 7466 ; Sullivan, iii. 761 b; Taylor(F.),iv.66b; Bache(W.), iv. 5296 ; Beringer, iv. 545 a.

PLAIN CHADNT. (See PLAIN SONG, ii. 7630.)

PLAIN SONG, ii. 763 a ; Accents, i. iSb, etc. ; Accidentals, i. 19 a ; AmbrosianChant,i.6oa, etc. ; Anthem, i. 71 a ; Anti- phon, i. 73&; Bar, i. 1366; Canto fermo, i. 306 a, etc. ; Cathedral Mus., i. 3 24 a ; Chant, i. 337 b ; Counterpoint, i. 4076; Discant, i. 4486; Faux-bourdon,i. 50901 ; Fe'tis, i. 5170; Gradual, i. 6156; Gregorian Modes, i. 6270; Helmore, i. 7276; Hymn, i. 7606, etc. ; Imperfect, i. 767 a ; Improperia, ii. ia;

��123

Initials, Absolute, ii. 3*1; In- tonation, i. 1 2 a ; Iritroit, ii. 150; Ionian Mode, ii. i8a; Kyrie, ii. 776, etc. ; La Fage, ii. 836, etc.; Lamentations, ii. 86 &; Large, ii. 920; Lauda Sion, ii. IO4, etc. ; Lauds, ii. 1056; Lesueur, ii. 1246; Ligature, ii. I36&; Litania? Lauretanse, ii. 1516; Litany, ii. 152 a; Long, ii. 1656; Macicotaticum, ii. iS6b, etc. ; Magnificat, ii. 1956, etc.; Maneria, ii. 206 a, etc.; Mass, ii. 226 a ; etc.; Medial Cadence, ii. 2430; Mediant, ii. 2446; Mer- becke, ii. 312 a ; Micrologus, ii. 327 a; Miserere, ii. 3356, etc. ; Mixed Modes, ii. 3386 ; Modes Eccles., ii. 3430, etc. ; Modulations, ii. 351 &; Motet, ii. 372 &; Mus. Ficta, ii. 41 2 b ; Mus. Mensurata, ii. 4156; Mutation, ii. 439 a ; Niedermeyer, ii. 4556; Ni- sard, ii. 6140, note; Nota- tion, ii. 470 a, etc ; Ochetto, ii. 491 a; Offertorium, ii. 494 a ; Oratorio, ii. 5336, etc. ; Organ, ii. 5816, etc. ; Orga- num, ii. 608 &, etc. ; Ortigue, ii. 6i4; O Salutaris Hostia, ii. 6146; Participant, ii. 656 a; Passion Mus., ii. 6636; Perielesis, ii. 6916; Phrygian Mode, ii. 7 09 a; Plagal Modes, ii. 7600; Pneuma, iii. 46 ; Podatus, iii. 5 a ; Prick Song, iii. 30 a ; Prime, iii. 30 b; Requiem, iii. loga, etc.; Response, iii. 1 16 a; Responsorium, iii. 1186; Rhythm, iii. 12301; Salve Regina, iii. 222 a; Sanctus, iii. 2236; Schools of Comp., iii. 3i2a; Score, iii. 4276; Sequentia, iii. 466 a; Serpent, iii. 4700 ; Singing, iii. 497 b; Sistine Choir, iii. 5 20 a ; Stabat Mater, iii. 6840; Stave, iii. 6926; Sub- ject, iii. 747 b, etc. ; Tantum Ergo, iv. 586; Te Deum, iv. 68 a; Tenebrse, iv. 86 a; Tenor, iv. 86b ; Use, iv. 2106; Variations, iv. 2 1 7 a ; Veni Creator Spiritus, iv. 2 37 a; Vesperale,iv. 2570 ; Vesper?, iv. 2576; Vroye, iv. 341 a; Westminster, iv. 4496 ; Al- fieri, iv. 5 20 a ; Burney, iv. 5706; Gregorian Tones, iv. 6556, etc. ; Missa de Angelis, iv. 7 19 a; Tractus, iv. 800 a.

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