A
      B
      C
      D
      E
      F
      G
      H
      I
      J
      K
      L
      M
      N
      O
      P
      Q
      R
      S
      T
      U
      V
      W
      X
      Y
      Z
      Return to Glossary Index


      P

       

      Pandiatonicism

      The free use of diatonic pitches in composition.  That is, the pitches of the diatonic collection -- the major scale, for instance -- are employed in a way that downplays relations centering around triads and tonal harmony.  Pandiatonic passages are often characterized by secundal harmony and disjunct lines.

      The term was first used by Nicolas Slonimksy.  Composers cited include Prokofiev (Third Piano Concerto), Stravinsky (Pulcinella, Petrushka), and Copland (Appalachian Spring).
       

      Pantomime

      Although a pantomime in Britain has come to indicate a children’s Christmas entertainment, making use of traditional and topical elements in a mixture of fairy-story, comic routine and popular song, the word originally indicated a performance entirely in mime, in this sense having a long history. In this second and original sense pantomime is sometimes found as part of a descriptive title of a musical work or part of a work originally so intended.
       
       

      Part

      A part may indicate the line or music intended for a particular performer. Earlier choral music, for example, was written in separate part-books, one for each part, as is the modern practice with orchestral parts, rather than in the full vocal score now usual. The art of part-writing or, in American, voice-leading, is the art of writing simultaneous parts according to the established rules of harmony. A part-song is a vocal work in which different voices are used, as distinct from a song in which all sing the same melody.
       
       

      Partita

      Partita is another word for suite, used, for example, by Johann Sebastian Bach in the title of a set of keyboard suites or in the three Partitas for unaccompanied violin.
       
       

      Passacaglia

      The passacaglia is a baroque dance variation form on a short melodic formula usually occurring in the bass. It is similar in form to the chaconne, in which a recurrent bass pattern forms the basis of the composition, implying a recurrent harmonic progression. The two forms are sometimes confused by composers. Famous examples of the passacaglia include Johann Sebastian Bach’s C minor Passacaglia for the organ. Something of the form appears in the last movement of the Fourth Symphony of Brahms, and passacaglias occur in Berg’s opera Wozzeck and in Britten’s opera Peter Grimes.
       
       

      Passion

      The four accounts of the suffering and death of Christ, as given in the first four books of the New Testament, were customarily sung during the Catholic rites of Holy Week to plainchant, with a division of parts where direct speech is involved. It became customary in the 15th century to allow the singing of the parts of the crowd (= Latin: turba) in the biblical narrative in polyphonic settings, with a gradual extension of the polyphonic element in the next century. The best known settings of the Passion are the surviving Lutheran settings by Johann Sebastian Bach of the accounts of the Passion in the Gospels of St. Matthew and of St. John.
       
       
       

      Passing Tone

      A nonharmonic tone that connects two consonant pitches by stepwise motion and normally occurs in a metrically weak position.  When it occurs in a metrical position stronger than that of its resolution, it is called an accented passing tone.
       
       

      Pastorale

      Pastorale is a musical expression of a genre familiar in European literature from Hellenistic times or earlier, an idealisation of the rural, in literary form, in the lives and loves (often fatal) of shepherds and shepherdesses, and then, by extension, of the country in general. The word may be used as the title of a piece of music suggesting a rural idyll. In Italy it was associated particularly with the dance-form, the Siciliano, used to suggest the scene of shepherds in the fields near Bethlehem at the birth of Christ. Such pastoral movements formed part of the Christmas concertos of Corelli and his contemporaries and imitators. Adjectivally used, the Pastoral Symphony of Beethoven, in true Wordsworthian fashion, offers emotions experienced on a visit to the country, recollected in what passed for tranquillity in his life.
       
       

      Pavan

      The pavan (= French: pavane), a stately duple metre dance of the 16th and early 17th centuries, appears in various English spellings, paven, pavin and other forms. Coupled with the quicker triple metre galliard, it was among the most popular dances of the time. The origin of the word is attributed either to the Italian town of Padua or to the peacock (= Italian: pavone). Well known examples include the English composer John Dowland’s Lachrimae, or Seaven Teares Figured in Seaven Passionate Pavans or Ravel’s nostalgic Pavane pour une infante défunte, (Pavan for a Dead Infanta).
       
       

      Pedal Point

      A sustained tone in the lowest register, occurring under changing harmonies in the upper parts.  In tonal music, pedal points may occur on any scale degree (and are often identified by the name of the scale degree), but the most common are those on the dominant, preparing a climactic return to the tonic, and on the tonic, as the final, summarizing statement of the tonic at the conclusion of a work.  In organ music, where some of the most characteristic examples occur, such tones are typically played on the pedalboard.  A similarly sustained tone in an upper register is sometimes termed and inverted or internal pedal.  Sustained tones in the lowest voice are a salient feature of certain types of organum, an in the form of the drone, sustained tones used in conjunction with moving parts are widely distributed geographically and historically.
       
       

      Pentatonic

      The pentatonic or five-note scale is formed by the black notes of the keyboard, or the white notes C, D, E, G and A - two whole tones, a minor third and a whole tone. This form of scale is the basis of folk melodies in many countries, from China to Scotland, and occasionally occurs, in passing at least, in the work of 20th century composers. It is an important element in the educational music of Carl Orff and in the choral method of the Hungarian composer Zoltán Kodály.
       
       

      Percussion

      The percussion section of the orchestra includes all instruments that are played by being struck, including the piano and celesta. Originally consisting of a pair of kettledrums or timpani, appearing normally with a pair of trumpets, in the orchestra of the later 18th century, a military importation, the percussion section was significantly enlarged with the allegedly Turkish fashion of the later 18th century, involving the occasional use of bass drum, cymbals and triangle in an imitation of the Janissary band. Liszt shocked audiences by including a triangle in the orchestration of a piano concerto, dubbed a triangle concerto by a hostile critic, and gradually other percussion instruments were added for occasional effects, including even, by Erik Satie, the typewriter.
       
       

      Performance practice

      Performance practice or performing practice (= German: Aufführungspraxis) indicates the attempt to perform music in the way envisaged originally by the composer. The second half of the 20th century has brought a significant interest in musicology and the technology and scholarship necessary to the construction of copies of earlier instruments and to the study of methods of performance on these instruments. The study of performing practice extends from the study of music of the earliest periods to that of relatively recent periods of the 19th and early 20th centuries.
       
       

      Period

      A complete musical utterance, defined in tonal music by arrival at a cadence on some harmony that does not immediately require further resolution.  In this sense, which is necessarily somewhat flexible, the musical term corresponds to the sentence (or period) in language.  In the music of the late 18th and early 19th centuries especially, a period usually consists of two phrases (an antecedent and consequent), each of which may be made up of still shorter sub-phrases.  Periods may be joined to form larger periods (perhaps constituting a section of a movement) and whole movements or forms.  The term was used in a much broader way by Wagner, who regarded the musico-poetic period governed by a central tonality as the fundamental component of form in the music drama.
        Parallel Period
          This term is used if both phrases begin with similar or identical material.
        Contrasting Period
          This is used when the phrase beginnings are not similar.
        Double Parallel Period
          Consists typically of four phrases in two pairs, the cadence at the end of the second pair being stronger than the cadence at the end of the first pair.  Double periods are called parallel or contrasting according to whether or not the melodic material that begins the two halves of the period is similar.

      Philharmonic

      The adjective Philharmonic and noun Philharmonia are generally used as adopted titles by orchestras or by music-loving societies of one sort or another. The words have no other technical meaning.
       
       

      Phrase

      A phrase in music, on the analogy of syntactical use, is a recognisable musical unit, generally ending in a cadence of some kind, and forming part of a period or sentence. Phrasing in performance has a less precise use, indicating the correct grouping of notes, whether as phrases in the technical sense or in smaller distinct units, corresponding to the various possible syntactical uses of punctuation.
       
       

      Piano

      Piano (Italian: soft) is generally represented by the letter p in directions to performers. Pianissimo, represented by pp, means very soft. Addition of further letters p indicates greater degrees of softness, as in Tchaikovsky’s Sixth Symphony, where an excessive pppppp is used.
       
       

      Pianoforte

      The pianoforte, known generally as the piano, was developed during the 18th century. A keyboard instrument, it is distinguished from the harpsichord by its hammer action, with hammers striking the strings when keys are depressed. Dynamic change is possible by applying more or less force to the keys. The instrument underwent a number of technical changes during the century and in the years following became the most popular instrument of domestic entertainment.
       
       

      Piano trio

      Piano trio, piano quartet and piano quintet indicate works for the piano with varying numbers of string instruments. The piano trio is scored for piano, violin and cello, the piano quartet for piano, violin, viola and cello, and the piano quintet for piano, two violins, viola and cello.
       
       

      Piccolo

      The piccolo (Italian: small) is the small flute, pitched an octave higher than the ordinary flute. Adjectivally the word may be applied to other instruments or groups, as in coro piccolo, small chorus. The violino piccolo, a smaller violin, is used by Johann Sebastian Bach in the first Brandenburg Concerto, where it is to be tuned a third higher.
       
       

      Pitch

      The pitch of a note is the frequency of its vibrations. The exact pitch of notes has varied over the years and nowadays differs to some extent between continent and continent or even between orchestra and orchestra. Earlier pitches were generally lower, but not necessarily standardised. Perfect pitch is the ability to distinguish the pitch of a note, according to generally accepted nomenclature. Relative pitch is the ability to distinguish the pitch of one note with relation to another, given note.
       
       

      Pitch Centricity

      The harmonic tendencies outlining the tonic in the major/minor system, tendencies presumably confirmed perceptually through repetition, do not occur in many 20th-century compositions.  However, it is possible to create the sense that one pitch prevails over others by repeating that pitch often enough to establish it as the most prominent pitch in a passage.  We refer to this technique as pitch centricity.  There may be more than one centric pitch in a passage.
       
       

      Pitch Class

      A pitch without reference to the octave or register in which it occurs, e.g., the class of all C's as distinct from the pitch c'.  Western tonal music uses twelve pitch classes, each of which is represented in each octave of the entire range of pitches.  The term is used particularly (though not exclusively) with respect to twelve-tone and serial music, having been coined in this context by Milton Babbitt.
       
       

      Pitch Class set (PC-Set)

      Collections of discrete pitch classes ranging from three (3) to nine (9) elements.  PC-Sets may be ordered (as in serial compositions) or unordered (as in most other nontonal music).
       
       

      Pitch space

      A musical span filled by pitches.
       
       

      Pitch Stasis

      When tonal relationships are lacking, the listener can not rely on chord progressions to delineate endings or cadences in music.  Rather, endings must be outlined in other ways.  One of the way composers establish the ending of a section is through the repetition or sustaining of the ending pitch, a technique called pitch stasis.
       
       

      Più

      Più (Italian: more) is found in directions to performers, as in più forte, louder, or più lento, slower.
       
       

      Pizzicato

      Pizzicato (Italian: plucked) is a direction to performers on string instruments to pluck the strings. A return to the use of the bow is indicated by the word ‘arco’, bow. Pizzicato notes on the violin, viola and cello are normally plucked with the index finger of the right hand. The great violinist Paganini, however, introduced the technique of left-hand pizzicato for occasional use, notably in one of the variations of his 24th Caprice, where it produces a very special effect.
       
       

      Plagal Cadence

      (see Cadence)
       
       

      Plainchant

      Plainchant is the traditional monodic chant of the Catholic and Eastern Christian liturgies. In Western Europe plainchant was largely but not completly standardised under Pope Gregory the Great at the end of the sixth century. This form of chant is free in rhythm, following the words of the liturgical texts, and is modal, using the scales of the eight church modes. In its long history it has undergone various reforms, revisions and attempts at restoration.
       
       

      Planing

      Also known as parallelism.  A succession of chords all having the same interval structure and number of parts, the parts thus moving parallel to one another.  The repeated or extended use of parallel chords of any type can serve to disrupt the structural hierarchy that is the basis of classical tonality, replacing it with a succession of equally weighted harmonies, none of which may be perceived as the tonic.  The music of Debussy, and thus of impressionism generally, is frequently associated with this phenomenon, as is that of Satie.  It is also encountered in some works of Bartok and of early and middle-period Stravinsky.  Some 20th-century music has exploited parallel chords for their percussive effect when used in rapid succession.  Jazz and rock music have also used parallel chords, often as a result of repeated reliance on characteristic keyboard or fingerboard idioms.  They are a widespread feature of polyphony outside the tradition of Western art music, occurring in some European folk music and in some music of Africa and Oceania.
       
       

      Poco

      Poco (Italian: little) is found in directions to performers, as in poco allegro, although un poco allegro, a little fast, would be more accurate. Poco, in fact, is commonly used meaning un poco, a little.
       
       

      Pointillism

      By analogy with the technique of this name employed by painters such as Georges Seurat (1859 - 1891), a musical texture in which pitches are presented in varying timbres and largely in linear isolation from one another rather than is successions to be perceived as melodies.  Some of Webern's music would be considered pointillistic.
       
       

      Polacca

      Polacca, Polish, appears often in the phrase Alla polacca, in the Polish manner, as in the last movement of the first Brandenburg Concerto of Johann Sebastian Bach.
       
       

      Polka

      The polka, a Bohemian dance, became one of the most popular ball-room dances of the 19th century, its title a possible reference to Poland. It is used by Smetana in his Czech opera The Bartered Bride and elsewhere and in William Walton’s jeu d’esprit Façade.
       
       

      Polonaise

      The polonaise is a Polish dance in triple metre. Although the title is found in French Suite No. 6 of Johann Sebastian Bach and elsewhere in the earlier 18th century, the form is best known from the piano pieces written by Chopin a hundred years later, works that elevated the original dance to a higher level, while capturing the current spirit of Polish nationalism.
       
       

      Polyphony

      Polyphony is the writing of music in many parts or in more than one part, with reference in particular to contrapuntal practices. Monody or monophony are possible opposites.
       
       

      Polyrhythm

      The simultaneous use of strikingly contrasted rhythms in different parts of the musical fabric.  In a sense, all truly contrapuntal or polyphonic music is polyrhythmic, since rhythmic variety in simultaneous parts more than anything else gives the voice-parts the individuality that is essential to polyphonic style.  Generally, however, the term is restricted to cases in which rhythmic variety is introduced as a special effect that is often called "cross rhythm."   Two types can be distinguished:  1) contrasting rhythms within the same scheme of accents;  2) contrasting rhythms involving a conflict of meter or accents.  The latter is sometimes termed "polymetric."
       
       

      Polytonality

      The simultaneous combination of different melodic or harmonic patterns, each being characteristic of a different key.  Polytonal passages were used on rare occasions in earlier centuries, either as curiosities or for humorous effect.  They occur more frequently in 20th-century music, and are often a means to powerful expression.  In most instances, bitonality is involved.  Some writers prefer to reserve the term polytonality for those few instances in which more than two keys are combined simultaneously.
       
       

      Post Horn

      The post horn is a relatively simple kind of horn once played by postilions as a signal of the departure, arrival or approach of a coach. Mozart made brief use of the instrument in his Post Horn Serenade, and its sound was imitated by various composers, including Johann Sebastian Bach in his harpsichord Capriccio on the Departure of His Beloved Brother, which includes a Postilion Aria and a fugue on the sound of the post horn.
       
       

      Postlude

      A postlude is played at the end of a piece and indicates, in particular, the additional piano phrases that may appear at the end of a song, after the singer has stopped. The word is more widely used to describe the closing section of a work or to indicate a piece of music to be played as the conclusion of some ceremony, the opposite of a prelude.
       
       

      Prelude

      A prelude (= Latin: praeludium, praeambulum; French: prélude; German: Vorspiel) is a movement or section of a work that comes before another movement or section of a work, although the word also has been used for short independent pieces that may stand alone, or even for more extended works, such as Debussy’s Prélude à l’après-midi d’un faune.
       
       

      Presto

      Presto (Italian: quick) is used frequently as a direction to performers. An even faster speed is indicated by the superlative prestissimo or even il più presto possibile, as fast as possible.
       
       

      Programme music

      Programme music is music that has a narrative or descriptive extra-musical content. Music of this kind has a long history, but the term programme music was coined by Liszt, whose symphonic poems principally attempt to translate into musical terms works of literature, such as Goethe’s Faust or Dante’s Divina Commedia. It seems preferable that the term should be limited to instrumental music for concert use and should not include either incidental music or ballet music.
       
       

      Proslambanomenos

      The lowest tone, A (not G), of the Greek scale, so called because it was added below the lowest tetrachord,  e-d-c-B.
       
       

      Psalm

      Psalms are the texts included in the biblical Book of Psalms and retaining an important place in the services of the Catholic Divine Office, sung to plainchant. The biblical texts are not metrical and therefore use a relatively simple form of chant that can be expanded by the use of a longer reciting note, the final syllables sung to a short syllabic formula. After the Reformation of the early 16th century metrical versions of the Psalms became current, with texts that could be sung to hymn-tunes. Harmonized settings of the biblical and metrical Psalms have been current in Protestant churches and chapels since the 16th century.
       
       
       

      Pythagorean tuning/temperament

      The second of the "natural" methods of tuning, is based on our ability to distinguish when a perfect fifth is in tune (i.e., when the frequency ratio of 3:2 exists).  The various tones of the scale are obtained by proceeding around a spiral of fifths.  Although the Pythagorean system is reasonably satisfactory for diatonic melodies, difficulties are encountered when chromatic notes are introduced.  (See Article - Enigmatic Duo)