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In music, number refers to an individual song, dance, or instrumental piece which is part of a larger work of musical theatre, opera, or oratorio. It can also refer either to an individual song in a published collection or an individual song or dance in a performance of several unrelated musical pieces as in concerts and revues. Both meanings ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
A variety of musical terms is encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
The music of Liszt. London: Williams & Norgate. pp. 155– 195. S Searle's catalogue, published in 1954 as The Music of Liszt, built upon the 1931 catalogue devised by Peter Raabe: Winklhofer, Sharon (2004). Ferenc Liszt (1811–1886): list of works : comprehensively expanded from the catalogue of Humphrey Searle as revised by Sharon Winklhofer ...
Lovebird or Love Bird, ... "Lovebird", a song from the musical Steel Pier "Lovebirds", song by the British indie group Dodgy from The Dodgy Album (1993)
A musical cryptogram is a cryptogrammatic sequence of musical symbols which can be taken to refer to an extra-musical text by some 'logical' relationship, usually between note names and letters. The most common and best known examples result from composers using musically translated versions of their own or their friends' names (or initials) as ...
A number opera (Italian: opera a numeri; German: Nummeroper; French: opéra à numéros) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work. [1] They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue.
According to Partch: "The number 9, though not a prime, is nevertheless an identity in music, simply because it is an odd number." [4] Partch defines "identity" as "one of the correlatives, 'major' or 'minor', in a tonality; one of the odd-number ingredients, one or several or all of which act as a pole of tonality". [5]