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lin, cello, guitar, etc., a small piece of wood on the instrument’s belly that supports the strings and car- ries their vibrations to the body of the instrument. In guitars, lutes, and other plucked stringed instru- ments, the bridge is glued to the belly and the strings are attached to it. In the violins and viols the bridge is held in place by the pressure of the strings, which are attached to a tailpiece. The bridge of a violin or viol has two feet. The right foot (the one near the highest-pitched string) rests almost over the soundpost, which greatly restricts its vibrations. It is the left foot, therefore, that passes most of the string’s vibrations to the belly of the instrument. The vibrations of the left foot are amplified (strengthened) by the bass-bar, which helps transmit them to the entire belly. The drawing below is a cross-section view showing the bridge and sound- post of a violin. 2 A musical passage that connects two themes (melodies), often including a modula- tion (change of key) from the key of the first theme to that of the second. The first and second themes of a movement in SONATA FORM are commonly con-
nected by a bridge. 3 In popular music, the third, contrasting eight-measure section of a thirty-two- measure chorus.
brillante (bril län′te) Italian. A direction to per- form in a showy, brilliant manner.
brindisi (brin′de¯ ze¯) Italian: “health, toast.” A drinking song, usually set as a solo with a choral refrain. It is commonly found in nineteenth- century opera, for example, in Mascagni’s Caval-
leria Rusticana and in Verdi’s Macbeth and La Traviata.
brio, con (kôn bre¯′ô) Italian. Also, brioso (bre¯ ô′sô) A direction to perform in a vigorous, spirited manner.
brioso See BRIO,CON.
Britten (brit′ən), Benjamin, 1913–1976. An English composer who became known particularly for his operas and other vocal music. Britten began his studies in both piano and composition at an early age. Although his earliest works are mainly instrumental and one of his most popular composi- tions is The Young Person’s Guide to the Orchestra, which helps the listener identify the various instru- ments, most of his finest works are vocal. Among them are the operas Peter Grimes (considered his best), The Rape of Lucretia, Albert Herring, Billy
Budd, The Turn of the Screw, A Midsummer Night’s Dream, and Death in Venice; Serenade for tenor
voice, horn, and string orchestra; Spring Symphony, for soloists, chorus, and orchestra; A War Requiem, to the text of the Roman Catholic Requiem Mass and nine poems by the English poet Wilfred Owen;
A Ceremony of Carols; and many settings of folk
songs as well as many original songs. His instru- mental works include a cello sonata and piano, vio- lin, and cello concertos. Britten’s music is largely traditional in rhythm and melody but makes free use of dissonant harmonies.
broken chord A group of notes played one after another that would make a chord if they were played simultaneously. For example, the notes C–E–G make up the tonic triad in the C-major scale; played together, they form a chord; played in succession (in any order) they form a broken chord. A common kind of broken chord is the
arpeggio, in which the notes are played in order, beginning with the lowest pitch. Another kind of broken chord is the ALBERTI BASS. Broken chords appear most often in music for keyboard instruments, especially in accompaniments. See also ARPEGGIO.
broken consort See under CONSORT.
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Bull, John 51 Bruch (brooàKHà ), Max (mäks), 1838–1920. A
German composer remembered primarily for the first of his three violin concertos (Concerto no. 1, in G minor, op. 26), Scottish Fantasy for violin and orchestra, and Kol Nidrei, op. 47, a setting of a Hebrew melody for cello and orchestra. A renowned teacher, Bruch also wrote three sym- phonies, two operas, and numerous choral and chamber works. His music is quite traditional and technically sound. His pupils included Vaughan Williams and Respighi.
Bruckner (brooàk′nər), Anton (än′to¯n), 1824–1896. An Austrian composer and organist whose sym- phonies and choral works won widespread recogni- tion only after his death. Born in the village of Ans- felden, Bruckner earned a living by teaching and playing the organ. In 1867 he went to Vienna as court organist and taught organ and theory at the Conservatory there for the next twenty-four years. Most of his major works—nine symphonies (the last unfinished), a Requiem Mass, three Masses, and a Te Deum—were written quite late in life and were not well received by the public. Bruckner greatly admired Wagner, whose methods of orchestration and harmony he tried to apply in his own works. Bruckner’s symphonies, which tend to be very long, contain some simple, charming melodies reminis- cent of peasant songs and also give evidence of the composer’s profound religious sentiment.
bruscamente See BRUSCO.
brusco (broo— s′kô) Italian. Also, bruscamente (broo— s′′kä men′te). A direction to perform in a brusque, abrupt manner, with harsh accents.
B-sharp One of the musical tones (see PITCH NAMES), one half tone above B and one half tone
below C-sharp. On the piano, B-sharp is identical with C (see ENHARMONICfor an explanation; for the location of B-sharp on the piano, see KEYBOARD).
Buchla (buk′lə). A kind of SYNTHESIZER. buffa (boo— ′fä) Italian: “comic.” A word used in such terms as OPERA BUFFA(“comic opera”).
buffo (boo— ′fô) Italian: “comic.” A word used in such terms as basso buffo (“comic bass”).
bugle (byoo— ′gəl). A simple brass instrument that can produce only the overtones of a single tone. A B-flat bugle, for example, might sound the notes B
b
- bb
-f′-bb
′′-d′′, as shown in the accompanying exam- ple. It could not, however, sound any of the notes in between. For this reason, bugles long were used largely for signaling (bugle calls) in the armed forces, although sometimes they were included in brass bands. In the United States today, however, this simple bugle has been largely replaced by a more trumpetlike instrument pitched in G and pro- vided with one valve or piston and one rotary valve, enabling it to produce almost all notes from the A below middle C to the G above high C. (See alsoDRUM AND BUGLE CORPS.) Further, such bugles are available in numerous sizes.
Like the other brass instruments, the bugle is made of metal, usually brass or copper but sometimes sil- ver, and has a cup-shaped mouthpiece; its bore is conical. Most bugles are keyed in B-flat or C. In the early nineteenth century the bugle was given valves or keys (see KEY BUGLE) in order to permit playing
the complete scale.
bugle à pistons (bY′ glə Ape¯s tôN′). The French term for FLUGELHORN.
Bull (booàl), John, c. 1562–1628. An English composer who, like Sweelinck, whom he knew, had great influence on the development of contrapuntal keyboard music (in which several melodies or frag- ments of melodies are played at the same time). Bull
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52 burden
lived in the Netherlands from 1613 on. His music for organ and harpsichord reflects his own great virtuos- ity (technical skill) as a performer, with its cross rhythms, rapid runs and scales, arpeggios, and wide leaps from note to note.