. MUS 
tlhiforza, or rf, or ri/if, to reinforce that 
particular note. 
Assai, enough, as allegro assai, rather 
more than less than allegro. 
Staccato, means to sound each note dis- 
tinctly. 
Loco, we sometimes see music marked to 
he played an octave higher or lower than 
octave minim ; with a waved line over the 
passage to be thus raised or depressed, when 
the word loco, or a loco, directs the music 
to be played at that exact pitch wherein it is 
written. 
Arpeggio is a mode of playing the notes 
of a chord in succession, so as to imitate 
the sounds of a haip ; of this a specimen is 
given in Example 33, where the chord of C 
natural is arpeggioed in various ways. 
Syncopation is a peculiar manner of diving 
(as it is termed) one note into another ; 
thus, at Example 34, a bar appears to be 
made of one quaver, three crotchets, and 
one quaver ; if these be all played as they 
are written, at the same time giving the 
whole a kind of half-slurj the syncopeted 
effect will be produced. 
Appoggiatura is the introduction of a 
grace, not included in the amount of the 
measure in a bar ; but which is to be de- 
ducted from the note to which it is con- 
nected by a little curved line, as seen at 
Example 35 ; the performance of which is 
explained at 36. In this example it much 
resembles a brief syncopation ; the ap- 
pogiaturas, and indeed all graces, are 
usually in very small notes. 
Tempo, or tempo piano, after accelerando, 
or retardando, or rellentando, this directs 
the music to be resumed in its original 
time. 
Pause, or point d’orgue, marked by a semi- 
circle, see Example 25, (above or below a 
note), with a dot in its centre, implies a rest 
of all the parts, ora cadence. 
Tutti means that the whole band should 
join; as in the reinforcing parts of con- 
certos, &c. Tutta forza means “ with all 
your force.’’ 
Fin, or fine, shews where the piece, or that 
division of it, ends. 
Da capo, or D C, means that you should 
begin again at the head of the piece, and 
proceed until you come to fine. This is 
one of the signs of a repeat, and is usually 
accompanied by a figure, resembling an S, 
with a stroke through it, perpendicularly, 
and with two large dots on each side, see 
31 ; so often as you see this mark, it refers 
you to the beginning, or subject, or to 
VOL. IV. 
MUS 
such part as has a similar figure prefixed, 
and terminates either with fine, or with ai 
point d’orgue, which in such case is a final. 
There are various kinds of repeats, as 
follow ; the single preceding repeat, see 28, 
is known by a strong double bar, crossing 
the stave, in the same manner as those single 
bars which divide the measure into ecjual 
portions, and dotted with two or more large 
dots to the left The single succeeding re- 
peat, is known by two or more dots to tlie 
right of the double bar, see 29. The dou- 
ble repeat is dotted on both sides of the 
double bar, see 30, and directs, that both 
the preceding and the following parts 
should be repeated. Whereas wdiere the 
bars are dotted only to the left, only the 
preceding part is to be repeated ; and vice 
versa. 
Mostra, or direct, is placed in a half bar 
ending a line, to shew what is the first note 
in the next line, see 32. 
Bravura means a highly worked compo- 
sition, in which the vocal performer is ex- 
pected to execute difficult passages, with 
great skill and propriety of expression. 
MUSICAL instruments. Notwithstand- 
ing the great number of instruments in use, 
and the vast alterations that have within 
these' few years taken place in their con- 
struction,- yet we cannot boast of much ori- 
ginality ; nor can we assert, that so much 
improvement has been made in this branch 
of mechanism, as the theory and practice of 
music have received since the time of Guido, 
or even of the justly famous John de Murio. 
A retrospect to ancient dates will convince 
the inquisitive reader, that what we now 
term inventions are, with very few excep- 
tions, plagiarisms from the common prac- 
tices of musicians, &c. at a very remote 
period; some may be correctly traced to 
several centuries before the Christian era. 
In describing the instruments in modern 
use, we shall deduce their respective gene- 
alogies, and shew that many, which by the 
best accounts we can obtain were in high 
reputation among the Greeks and other 
nations, have, like the secret of rendei ing 
glass malleable, been altogether committed 
to oblivion. Of a few we have, indeed, 
an imperfect idea, furnished to us by some 
antique medals, bearing figures of musical 
instruments now unknown; but of which 
only the form can be thus understood, then- 
intonations remain concealed. 
We shall endeavour to detail the various 
instruments, of which we are about to fur- 
nish a concise description, in such a man- 
P p 
