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A centering diphthong is one that begins with a more peripheral vowel and ends with a more central one, such as [ɪə̯], [ɛə̯], and [ʊə̯] in Received Pronunciation or [iə̯] and [uə̯] in Irish. Many centering diphthongs are also opening diphthongs ([iə̯], [uə̯]). Diphthongs may contrast in how far they open or close.
A variety of musical terms are 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.
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 ...
Definition Lacuna: gap: A silent pause in a piece of music Ossia: from o ("or") + sia ("that it be") A secondary passage of music which may be played in place of the original Ostinato: stubborn, obstinate: A repeated motif or phrase in a piece of music Pensato: thought out: A composed imaginary note Ritornello: little return
Diphthongs are typically specified with a non-syllabic diacritic, as in ui̯ or u̯i , or with a superscript for the on- or off-glide, as in uⁱ or ᵘi . Sometimes a tie bar is used: u͜i , especially when it is difficult to tell if the diphthong is characterized by an on-glide or an off-glide or when it is variable. Notes
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
In Greek synaeresis, two vowels merge to form a long version of one of the two vowels (e.g. e + a → ā), a diphthong with a different main vowel (e.g. a + ei → āi), or a new vowel intermediate between the originals (e.g. a + o → ō). Contraction of e + o or o + e leads to ou, and e + e to ei, which are in this case spurious diphthongs.
In Old English, two forms of harmonic vowel breaking occurred: breaking and retraction and back mutation.. In prehistoric Old English, breaking and retraction changed stressed short and long front vowels i, e, æ to short and long diphthongs spelled io, eo, ea when followed by h or by r, l + another consonant (short vowels only), and sometimes w (only for certain short vowels): [3]