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MuZic Dictionary

˹ѧÊ×ͤÓÈѾ·ì´¹µÃÕ·Ò§ÍÔ¹àµÍÃì๷¤é¹ËÒ-ÈÖ¡ÉÒ¤ÓÈѾ·ì·Ò§´éÒ¹´¹µÃÕä´é·Õè¹Õè

[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]

 

A A (àÍ) ª×èÍÃдѺàÊÕ§ àÊÕ§ A ·ÕèÍÂÙèà˹×Í C ¡ÅÒ§ (â´) «×è§ÁÕ¤ÇÒÁ¶Õè 440 ÃͺµèÍÇÔ¹Ò·Õ ¤×ÍàÊÕ§ÁҵðҹÊÓËÃѺ´¹µÃÕáÅÐà¤Ã×èͧ´¹µÃÕ
AAA Music composed simply as music, with no references to emotions, stories, paintings or any other non-musical subject.
a battuta (It. ÍкҵٵÒ) 㹨ѧËÇФ§·Õèá¹è¹Í¹ ãËé¡ÅѺÁÒ»¯ÔºÑµÔ㹨ѧËÇФ§·Õè
a ber (Gr. ÍÐáºÃì) áµè
a cappella (It. ÍФÒà»ÅÅÒ) à´ÔÁËÁÒ¶֧à¾Å§âºÊ¶ì¢ÑºÃéͧËÁÙèÊÁÑÂâºÃÒ³ «Öè§äÁèãªéà¤Ã×èͧ´¹µÃÕ¤ÅÍ »Ñ¨¨ØºÑ¹ËÁÒ¶֧ à¾Å§¢ÑºÃéͧËÁÙè·ÕèäÁèãªéà¤Ã×èͧ´¹µÃÕ¤ÅÍàªè¹à´ÕÂǡѹâ´ÂäÁè¨Ó¡Ñ´ÇèÒ¨Ðà»ç¹à¾Å§âºÊ¶ìËÃ×ÍäÁè ÁÒ¨Ò¡¤ÓÍÔµÒàÅÕè¹ÁÕ¤ÇÒÁËÁÒÂÇèÒ chapel (ËÁÒ¶֧ âºÊ¶ì)
a capricio (It. ÍÐ ¤Ò»ÃÔT«) ãËéàÅè¹ÍÂèÒ§ÍÔÊÃÐ ÍÂèÒ§à¾éͽѹ ÍÂèÒ§ÅÇ´ÅÒ«Ѻ«é͹
a deux cordes (Fr.), a due corde (It.) On two strings.
a tempo (It. ÍÐ àµÁâ») µÒÁ¤ÇÒÁàÃçÇà´ÔÁ ãËé¡ÅѺ价ÕèÍѵÃÒ¤ÇÒÁàÃçǨѧËÇл¡µÔ¢Í§à¾Å§¹Ñé¹ËÃ×ͤÇÒÁàÃçÇà´ÔÁ
a volonta  (It. ÍÐâÇ⏵Ò) äÁèà¤Ã觤ÃÑ´ ·Ñé§¹Õé¢Öé¹ÍÂÙè¡Ñº¼ÙéàÅè¹
a volonte  (Fr. ÍÐâÇŧàµ) äÁèà¤Ã觤ÃÑ´ ·Ñé§¹Õé¢Öé¹ÍÂÙè¡Ñº¼ÙéàÅè¹
accompaniment ¤×Í´¹µÃÕ¤ÅÍ仡Ѻá¹Ç·Ó¹Í§·ÕèàÅè¹â´Â¹Ñ¡´¹µÃÕ ËÃ×Í Ãéͧâ´Â¹Ñ¡Ãéͧ ´¹µÃÕ·Õè¤Å͹ÕéÍÒ¨ãªéà»ÕÂâ¹ËÃ×Íǧ ÍÍÃìà¤ÊµÃéÒËÃ×Íǧ´¹µÃÕ»ÃÐàÀ·Í×è¹æ¡çä´é  ¹Í¡¨Ò¡¹ÕéÂѧËÁÒ¶֧´¹µÃÕ·Õè¹Ñ¡à»ÕÂâ¹ãªéàÅè¹´éÇÂÁ×Í«éÒÂ(µÒÁ»¡µÔ) ¤ÅÍ»ÃСͺ·Ó¹Í§·ÕèàÅè¹´éÇÂÁ×Í¢ÇÒ
acoustics ÇÔ·ÂÒÈÒʵÃì·ÕèÇèÒ´éÇÂàÊÕ§ «Ö觤Ãͺ¤ÅØÁà¹×éÍËÒà¡ÕèÂǡѺ¡ÒÃà¡Ô´àÊÕ§,¡ÒÃÊè§¼èÒ¹¢Í§àÊÕ§,¡Òüѹá»Ã¢Í§ àÊÕ§¸ÃÃÁªÒµÔ·Ò§ÇÔ·ÂÒÈÒʵÃì¢Í§àÊÕ§´¹µÃÕáÅÐÍ×è¹æ·Õèà¡ÕèÂǡѺàÊÕ§áÅÐàÊÕ§´¹µÃÕ
abend (Ger.) Evening.
abendlied (Ger.) Evening song.
absolute music (áÍçºÊÅÙ· ÁÔÇÊÔ¡) ´¹µÃÕ·Õèáµè§¢Öé¹à¾×èÍÅѡɳзҧ´¹µÃÕÍÂèÒ§à´ÕÂÇ â´ÂäÁèä´éàÅèÒàÃ×èͧÃÒÇ ÃÒ¡ÒõèÒ§æ ÏÅÏ à»ç¹¤ÓµÃ§¢éÒÁ¡Ñº¤ÓÇèÒâ»Ãá¡ÃÁÁÔÇÊÔ¡ (program music)
abstract music Same as absolute music.
accelerando (It. ÍÑ´à«àÅÃÒ¹â´) àÃçÇ¢Öé¹ ¡ÒÃàÃè§àÃçÇ¢Öé¹ ¤ÓÂèͤ×Í accel.
accent (áÍç¤à«ç¹·) ¡ÒÃà¹é¹ ¡ÒÃÂéÓ (ÀÒ¾»ÃСͺ)
acciaccatura (It. ÍÑ´ªÐ¤ÐµÙÃÒ) ¡ÒûÃдѺ»Ãдҷҧ´¹µÃÕ à»ç¹â¹éµ·Õè »¯ÔºÑµ ÍÂèÒ§ÃÇ´àÃçÇ¡è͹˹éÒâ¹éµµÑÇËÅÑ¡ áµèäÁè¹Ñº¤èÒÍѵÃҢͧµÑÇâ¹éµ¹Õé ÁÑ¡àÅè¹ä»´éÇ¡ѹ¡Ñºâ¹éµ µÑÇËÅÑ¡´Ñ§¡ÅèÒÇ ÍÑ´ªÐ¤ÐµÙÃÒ ÁÒ¨Ò¡¤ÓÍÔµÒàÅÕ¹ ÁÕ¤ÇÒÁËÁÒÂÇèÒ º´ ¡ÃÐá·¡ (´Ù·Õè¤Ó ornaments.)
accidental (áÍç¡«Ôà´¹·ÑÅ) ¡ÒÃà»ÅÕè¹á»Å§ã¹ÅѡɳФÃ×è§àÊÕ§â¤ÃÁÒµÔ¡ (chromatic) ·ÕèãÁ辺 ã¹à¤Ã×èͧËÁÒµÑ駺ѹä´àÊÕ§ (ÀÒ¾»ÃСͺ)
accordian (áÍ硤Íà´Õ¹) à¤Ã×èͧ´¹µÃÕ·Õ辡¾Òä»ã˹ÁÒã˹ä´éª¹Ô´Ë¹Öè§ »ÃСͺ´éǶا (bellows) ÊÓËÃѺ»ÑéÁÅÁ¼èÒ¹ÅÔé¹ (reeds) ÁÕá¼§¤ÕÂìºÍÃì´µÒÁÅѡɳТͧà»ÕÂâ¹ ÊÓËÃѺ¡ÒÃàÅ蹷ӹͧà¾Å§ áÅлØèÁÃÙ»¡ÃдØÁÊÓËÃѺ¡ÒÃàÅè¹â¹éµ àºÊ áÅФÍÃì´ ÁÕÅÔé¹ 2 ªØ´ ª¹Ô´Ë¹×è§àÅè¹¢³Ð·Õè¶Ø§ÅÁ¶Ù¡ºÑ§¤ÑºâËéà»Ô´ ÍÕ¡ª¹Ô´Ë¹Öè§àÅè¹àÁ×èͶاÅÁ¶Ù¡ºÑ§¤ÑºãËé»Ô´ (´Ù·Õè¤Ó concertina áÅÐ wind instruments.
acoustics (ÍФÙʵԡ) ÊǹÈÒʵÃì ÇÔ·ÂÒÈÒʵÃìáËè§àÊÕ§
adagio (It. ÍдҨÔâÍ) ÍÂèÒ§àª×èͧªéÒ ªéÒ¡ÇèÒÍѹ´Ò¹àµ áµèàÃçÇ¡ÇèÒÅÒÃâ¡
ad libitum (L. áÍç´ÅÔºÔµØÁ) µÒÁ㨼ÙéàÅè¹ ËÁÒ¤ÇÒÁÇèҹѡáÊ´§ÍÒ¨¨Ð»¯ÔºÑµÔ ´Ñ§¹Õé
1. à»ÅÕè¹á»Å§¨Ñ§ËÇÐ
2. à¾ÔèÁËÃ×ÍÅ´á¹Ç¢Í§¡ÒÃÃéͧËÃ×Íá¹Ç¢Í§à¤Ã×èͧ´¹µÃÕá¹Çã´á¹Ç˹Öè§¡çä´é
3. à¾ÔèÁËÃ×ÍÅ´¢éͤÇÒÁ·Ò§´¹´ÃÕ «×è§ÁÑ¡¨Ðà»ç¹Êèǹ¤Òà´¹«Ò(cadenza)
4. à¾ÔèÁÊèǹ¤Òà´¹«Ò (¤ÓÂèͤ×Í ad lib.)
adapted ´¹µÃÕ·Õè´Ñ´á»Å§ãËéà¢éҡѺ§Ò¹  àªè¹´¹µÃÕ·Õèà¢Õ¹ÊÓËÃѺǧÍÍÃìà¤ÊµÃéÒ¹ÓÁÒà¢Õ¹àÊÕÂãËÁèÊÓËÃѺà»ÕÂâ¹ ´¹µÃÕ ÊÓËÃѺà»ÕÂâ¹¹ÓÁÒà¢Õ¹ãËéäÇâÍÅÔ¹àÅè¹  ËÃ×Í·Õèà¢Õ¹äÇéÊÓËÃѺà¤Ã×èͧ´¹µÃÕ¡çà¢Õ¹ãËÁèãË餹Ãéͧ  ·Ñé§¹Õé·Ó¹Í§à¾Å§ÁÔä´éà»ÅÕè¹ä»
adaptation (ÍÐá´ç»àµªÑè¹) ¡ÒÃàÃÕºàÃÕ§àÊÕ§»ÃÐÊÒ¹ãËÁè¢Í§º·»Ãоѹ¸ìà¾Å§Áҵðҹº·Ë¹×è
affabile (It. ÍпҺÔàÅ) ã¹ÅѡɳÐÂÔ¹´Õ àµçÁã¨áÅЧÒÁʧèÒ
affettuosamente (It. ÍÐ࿵µÙâÍ«ÒàÁ¹àµ) ´éǤÇÒÁÃÑ¡ ´éǤÇÒÁ¶¹Ø¶¹ÍÁ
affettuoso (It. ÍÐ࿵µÙâÍâÊ) ´éÇÂÍÒÃÁ³ìÍºÍØè¹ ÃÑ¡ã¤Ãè
affrettando (It. ÍÑ¿à¿ÃçµµÒ¹â´) àÃçÇ¢Öé¹ µ×è¹àµé¹
affrettoso (It. ÍÑ¿à¿Ãçµâµâ«) àÃè§ãËéàÃçÇ¢Öé¹
agevole (It. ÍÐà¨âÇàÅ) µÒÁʺÒ §èÒÂæ àÃÕºæ
agilmente (It. ÍШÕÅàÁ¹àµ) ÍÂèÒ§»ÅÍ´â»Ãè§ ÁÕªÕÇÔµªÕÇÒ
agitato (It. ÍСԵÒâµ) µ×è¹àµé¹ àÃéÒ㨠àÃèÒÃé͹
agogic Used of deviations from the strict tempo and rhythm necessary for the subtle performance of a musical phrase.
agrements (Fr. ÍÐà¡ÃÁͧµì) ¡ÒûÃдѺ»Ãдҷҧ´¹µÃÕ (´Ù·Õè¤Ó ornaments.)
aimable (Fr. àÍÁÒàºÅÍ) ¾Íã¨
air (áÍÃì) ·Ó¹Í§ º·à¾Å§Ãéͧ
aisement (Fr. àÍ«Áͧ) §èÒÂæ ʺÒÂæ
al (It. ÍÑÅ) ·Õè ä»Âѧ º¹
alberti bass (ÍÑÅáìºÃìµÔ àºÊ) ÃٻẺ¡ÒÃà´Ô¹á¹ÇàºÊ¨Ò¡âºÃ¤à¤è¹¤ÍÃì´( broken chords )ÍÑÅáºÃìµÔàºÊ ÁÒ¨Ò¡ ª×è͹ѡáµè§à¾Å§·ÕÁÕ¹ÒÁÇèÒ ´ÍàÁ¹Ôâ¡ ÍÑÅáºÃìµÔ (à¡Ô´»Õ ¤.È.1710) «Öè§ãªéÃٻẺ¡ÒÃà´Ô¹àºÊ㹺·à¾Å§â«¹ÒµÒªÍ§à¢Ò
aleatoric music Music containing chance or random elements. A trend since 1945 with composers like John Cage and Karlheinz Stockhausen.
al fine (It. ÍÑÅ ¿Ôà¹) ä»ÊÙèÊèǹ¨º¢Í§à¾Å§
alla (It. ÍÑÅÅÒ) ä»Âѧ, ³ ·Õè,ã¹ÅÕÅҢͧ.. ,µÒÁẺ©ºÑº¢Í§
alla breve (It. ÍÑÅÅÒ àºÃàÇ) ËÁÒ¶֧à¤Ã×èͧËÁÒ¡Ó˹´¨Ñ§ËÇÐ 2/2 ; ÁըѧËÇйѺÊͧ¨Ñ§ËÇÐã¹áµèÅÐËéͧâ´ÂÁÕâ¹éµµÑÇ¢ÒǹѺà»ç¹Ë¹×觨ѧËÇÐ ÍÑÅÅÒ àºÃàÇ à¢Õ¹ÊÑ­Åѡɳì´Ñ§¹Õé
alla marcia (It. ÍÑÅÅÒ ÁÒÃìà«ÕÂ) ã¹áºº©ºÑº¢Í§à¾Å§à´Ô¹á¶Ç
alla militare (It. ÍÑÅÅÒ ÁÔÅÔµÒàÃ) ã¹áºº©ºÑº¢Í§·ËÒÃ
allargando (It. ÍÑÅÅÒÃì¡Ò¹â´) ªéÒŧµÒÁÅӴѺ ¡ÇéÒ§¢Öé¹ ÁÑ¡»ÃСͺà¢éҡѺ¤ÓÇèÒà¤Ãૹⴠ( ´Ñ§¢Öé¹ ) ¤ÓÂèͤÕÍ allarg
alla russa (It. ÍÑÅÅÒ ÃÙÊ«Ò) ã¹áºº©ºÑº¢Í§ÃÑÊà«ÕÂ
alla turca (It. ÍÑÅÅÒ µÙáÒ) ã¹áºº©ºÑº¢Í§ªÒÇàµÍÃì¤ ¢ºÇ¹ÊØ´·éÒ¢ͧ⫹ҵÒ㹤ÕÂìàÍ (à¤ÍàªÔÅ 331) ¢Í§âÁÊÒÃìµ «Öè§à¢Õ¹äÇéÇèÒ "Alla turca"
alla zingara (It. ÍÑÅÅÒ «Ô§¡ÒÃÒ) ã¹áºº©ºÑº¢Í§ªÒÇÂÔº«Õ
allargando (It. ÍÑÅÅÒÃì¡Ò¹â´) ªéÒŧ·ÕÅйéÍÂ
allegretto (It. ÍÑÅàÅà¡Ã·âµ) ÍÂèÒ§ÁÕªÕÇÔµªÕÇÒ àÃçÇ¡ÇèÒÍѹ´Ò¹àµ áµèªéÒ¡ÇèÒÍÑÅàÅâ¡Ã
allegrissimo (It. ÍÑÅàÅ¡ÃÔÊ«ÔâÁ) àÃçÇÁÒ¡
allegro (It. ÍÑÅàÅâ¡Ã) ÍÂèÒ§ÁÕªÕÇÔµªÕÇÒ ¡ÃЩѺ¡ÃÐà©§ àÃçÇ¡ÇèÒÍÑÅàÅà¡Ã·âµ áµèªéÒ¡ÇèÒà¾ÃÊâµ
allegro non troppo Fast but not too fast.
allein àÅ蹤¹à´ÕÂÇ
allemande (Fr. ÍÒÅÁÒ¹µì) (1) ã¹»ÅÒÂȵÇÃÃÉ·Õè 16 à¾Å§àµé¹ÃÓàÂÍÃÁѹ㹨ѧËÇлÃÐàÀ·¹ÑºÊͧ
(2) ã¹»ÅÒÂȵÇÃÃÉ·Õè 17 à¾Å§ÍÒÅÁÒ¹µìäÁèä´éà»ç¹à¾Å§µé¹ÃÓµèÍä» áµè¡ÅÒÂà»ç¹Êèǹ˹Ö觢ͧà¾Å§»ÃÐàÀ·ÊÇÕ· (suite) «Öè§ÍÂÙèÀÒÂãµéà¤Ã×èͧËÁÒ¡ÓË´¨Ñ§ËÇÐ 4/4 áÅÐÁÕÊèǹ¡¢Í§¨Ñ§ËÇÐÊÑ鹿 µÒÁ´éÇ·ӹͧ¡ÃЪÑé¹¶Õè
(3) ã¹»ÅÒÂȵÇÃÃÉ·Õè 18 ·Ò§µÍ¹ãµé¢Í§»ÃÐà·ÈàÂÍÃÁѹ à¾Å§ÍÒÅÁÒ¹´ì¹Õé »ÃÒ¡¯¤ÅéÒ¡Ѻà¾Å§àµé¹ÃÓÇÍÅ·ì㹨ѧËÇÐ 3/4 ËÃ×Í 3/8
allmahlich (Ger.) ·ÕÅйéÍÂ
al segno (It. ÍÑŠૹâÂ) ä»·Õèà¤Ã×èͧËÁÒÂ
al niente Ŵŧ¨¹äÁèàËÅ×Í
als ¡ÇèÒ
altissimo (It. ÍÑŵÕÊ«ÔâÁ) ÊÙ§ÊØ´
alto (It. ÍÑÅâµ) ÊÙ§ 1.àÊÕ§Ãéͧ˭ԧ·ÕèµèÓ¡ÇèÒâ«»ÃÒâ¹. ¤Í¹·ÃÑÅâµ 2.á¹ÇàÊÕ§·ÕèÍÂÙè¶Ñ´¨Ò¡á¹ÇÊÙ§ÊØ´ã¹¡ÒÃÃéͧà¾Å§»ÃÐÊÒ¹àÊÕ§ÊÕèá¹Ç (â«»ÃÒâ¹, ÍÑÅâµ, à·¹à¹ÍÃìáÅÐàºÊ) 3.à¤Ã×èͧ´¹µÃÕ·ÕèÍÂÙã¹áµèÅеÃСÙÅä´éá¡è ÍÑÅⵤÅÒÃÔà¹çµ, ÍÑÅâµÎÍÃì¹, ÍÑÅâµá«¡â«â¿¹
alto clef (It. ÍÑÅâµ à¤Å¿) ¡Ø­á¨»ÃШÓËÅÑ¡ C ¡ÅÒ§ (â´ ) ·Õè»ÃÒ¡¯ÍÂÙ躹àÊé¹·ÕèÊÒÁ¢Í§ºÃ÷ѴËÑÒàÊѹ â¹éµ´¹µÃÕÊÓËÃѺ«ÍÇÔâÍÅÒ ºÑ¹·Ö¡ÍÂÙè㹡حᨻÃШÓËÅÑ¡ÍÑÅâµà¤Å¿ (´Ù·Õ¤Ó clef 2 )
am (Gr. ÍÑÁ) º¹ â´Â ã¡Åé
am steg (Gr.) »¯ÔºÑµÔã¡ÅéËÂèͧ
amabile (It. ÍÐÁÒºÔàÅ) ¾Ö§ã¨ ¹ØèÁ¹ÇÅ ¹èÒÃÑ¡
amoroso (It. ÍÐâÁâÅâ«) ÁÕàʹèËì
an dem griffbrett »¯ÔºÑµÔã¡Åé fingerboard
ancora (It. Íѹâ¡ÃÒ)ÍÕ¡¤ÃÑé§Ë¹Öè§
anacrusis (͹ҤÃÙÊÔÊ) ¨Ñ§ËÇС
ancora una volta (It. Íѹâ¡ÃÒ ÍÙ¹Ò âÇŵÒ) ÍÕ¡¤ÃÑé§Ë¹Öè§
andantino (It. Íѹ´Ò¹µÔâ¹) ¤è͹¢éÒ§ªéÒ áµèäÁèªéÒà·èÒ andante
antiphon (Gk.)The plainsong setting of sacOrange words sung as responses in Roman Catholic or Greek orthodox services. The term antiphonal derives from the practice of alternating performances between sets of singers stationed apart.
anadante (It. Íѹ´Ò¹àµ) ¤ÇÒÁàÃçÇ¢¹Ò´¡ÓÅѧà´Ô¹äËÅ仵ÒÁʺÒ ªéÒ¡ÇèÒÍÑÅàÅà¡Ã·âµ áµèàÃçÇ¡ÇèÒÍдÒâ¨
animato (It. Íѹ¹ÕÁÒâµ) ´éÇÂÇÔ­­Ò³ àµçÁä»´éǾÅѧ
anime (Fr. ÍйÔàÁ) ÃèÒàÃÔ§
anmutig (Gr. ÍѹÁÙµÔ¡) ʧèÒ§ÒÁ ÁÕàʹèËì
anglaise (Fr. Íͧà¡Å«) à»ç¹à¾Å§àµé¹ÃÓ½ÃÑè§àÈÊ ·ÕèÁÕ¾×é¹°Ò¹ÁÒ¨Ò¡à¾Å§àµé¹ÃÓ¾×é¹àÁ×ͧÍѧ¡ÄÉ ¹Óä»ãªé㹡ÒÃàµé¹ÃÓ»ÅÒÂà·éÒ (ºÑÅàÅèµì) ¢Í§½ÃÑè§àÈÊàÁ×èÍ»ÅÒÂȵÇÃÃÉ·ÕèÊÔºà¨ç´áÅоºã¹º·à¾Å§ÊÇÕ··Õèáµè§ÃÒÇȵÇÃÃÉ·ÕèÊԺỴ
ansioso (It. Íѹ«ÔâÍâ«) ´éǤÇÒÁ¡ÃÐǹ¡ÃÐÇÒ ¤ÇÒÁÅѧàÅ
a piacere (It. ÍлÔÍÑ´àªàÃ) µÒÁʺÒ¢Öé¹ÍÂÙè¡Ñº¼ÙéàÅè¹ ãªéàËÁ×͹¤Ó ad libitum (´Ù·Õè¤Ó ad libitum )
appassionata (It. ÍѾ»Ò«Ôâ¹ҵÒ) ´éǤÇÒÁËŧãËÅ àʹèËÒ
appassionato (It. ÍѾ»Ò«Ôâ͹Òâµ) ´éǤÇÒÁÃÑ¡ àʹèËÒ
appena (It. ÍÒ໹Ò) á·º¨ÐäÁèÁÕ¡ÒÃà»ÅÕè¹á»Å§
appoggiatura (It. ÍѺ»Í¨¨ÐµÙÃÒ) ¡ÒûÃдѺ»Ãдҷҧ´¹µÃÕ ÁÒ¨Ò¡¤ÓÍÔµÒàÅÕ¹ÇèÒ appoggiare á»ÅÇèÒ µéͧ¡ÒÃâ¹éµÍ×è¹ «×è§à»ç¹â¹éµàÊÕ§ã¡ÅéµÑÇÁÒà¾ÔèÁãËéà¡Ô´¤ÇÒÁä¾àÃÒТÖé¹
a quattro mani (It. ÍÐ ¤ÇѵâµÃ ÁÒ¹Ô) ÊÓËÃѺÊÕèÁ×Í (ºÃÃàŧ 2 ¤¹ ã¹à»ÕÂâ¹ËÅѧà´ÕÂǡѹ)
arco (It. ÍÒÃìâ¤) ¤Ñ¹ªÑ¡¢Í§à¤Ã×èͧ´¹µÃÕ»ÃÐàÀ·à¤Ã×èͧÊÒ ÍÒÃâ¤ãªéàÁ×èÍ´éͧ¡ÒÃãËéâ¹éµ µÑǵèÍ仵éͧãªé¤Ñ¹ªÑ¡»¯ÔºÑµÔËÅѧ¨Ò¡·Ó¹Í§·ÕèÁÕ¡ÒÃâªÑ¤ÓÇèÒ pizzicato (¡Òôմ) ÁÒáÅéÇ
arabesque (Fr. and Eng.), arabeske (Ger.) A short piece with decorative qualities (e.g. Debussy, Arabesques).
arditamente ÍÂèÒ§¡ÅéÒËÒ­
aria (It. ÍÒÃÕÂÒ) à¾Å§Ãéͧ·ÕèÁÕà¤Ã×èͧ´¹µÃÕ¤ÅÍ»ÃСͺ«×觨лÃÒ¡¯ã¹ÃÙ»¡ÒÃàÅè¹»ÃдѺ ÍÂèÒ§ÁÒ¡ÁÒÂã¹ÍØ»ÃÒ¡Ã ( Operas ) ᤹µÒµÒ ( Cantatas) áÅÐ ÍÍÃзÍÃÔâÍ (0ratorios)
arietta (It.) A little or light aria.
arioso (It. ÍÒÃÔâÂâ«) à»ç¹·Ó¹Í§ä¾àÃÒÐ
armonioso ÍÂèÒ§¡ÅÁ¡Å×¹
arpeggiando (It. ÍÒÃì໨¨Ò¹â´) àÅè¹ã¹ÅѡɳСÃШÒ¤ÍÃì´áººà¤Ã×èͧ´¹µÃÕÎÒÃì»
arpeggio (It. ÍÒÃìྨ¨ÔâÍ) ¡ÒáÃШÒ¤ÍÃì´ ÁÒ¨Ò¡¤ÓÍÔµÒàÅÕ¹ÇèÒ arpeggiare ÁÕ¤ÇÒÁËÁÒÂÇèÒ ãËéàÅè¹â¹ÅѡɳФÅéÒÂÎÒÃì»
arrangement A re-write of an existing piece of music into a different style or combination of instruments\voices.
arret ËÂØ´
ascap ÂèÍÁÒ¨Ò¡  american society of composers,authors,and publishers ¡è͵Ñé§ã¹»Õ 1914 victor herbert à¾×èÍ»¡»éͧÅÔ¢ÊÔ·¸Ôì¢Í§¹Ñ¡áµè§à¾Å§,¹Ñ¡»Ãоѹ¸ì,áÅмÙé¾ÔÁ¾ì ÁÕÊÁÒªÔ¡à»ç¹¹Ñ¡áµè§à¾Å§áÅйѡ»Ãоѹ¸ì»ÃÐÁÒ³ 3,000 ¤¹áÅÐà»ç¹Êӹѡ¾ÔÁ¾ì¡ÇèÒ 400 áËè§
assai (It. ÍЫÒÍÕ) ÁÒ¡ allegro assai ËÁÒ¶֧ àÃçÇÁÒ¡
assez (Fr. ÍÒà«) ¾Í¤Çà Assez vite ËÁÒ¶֧ àÃçǾͤÇà (àÃçÇ¡ÇèÒ»Ò¹¡ÅÒ§àÅ硹éÍ ¤è͹¢éÒ§àÃçÇ)
atonal Music which is composed without reference to a key (e.g. major, minor or modal). All the expected devices for musical composition, such as melody, chords, rhythm, can be used. However, other methods of tonal organization (including mathematical patterns) are used.
attacca (It. Íѵ¤¡Ò) µèÍà¹×èͧä»â´ÂäÁèËÂØ´; ·Ñ¹·Õ·Ñ¹ã´
au  (Fr. âÍ) ä»Âѧ ã¹ ·Õè ÊÓËÃѺ
au mouvement (Fr. âÍÁÙàÇÍÁͧ) ¡ÅѺä»ãªé¤ÇÒÁàÃçÇà·èÒà´ÔÁ
aubade  (âͺҴ)  ´¹µÃÕÂÒÁÃØè§ÍÃØ³ ÁÕÅѡɳЧ´§ÒÁà§ÕºʧºàËÁ×͹ºÃÃÂÒ¡ÒÈ㹪¹º·ÂÒÁàªéÒ
aufhalten (Gr. àÍÒ¿Ò¹à·ç¹) ªéÒŧ
augmented intervals (It. ÍçÍ¡àÁ¹àµç´ ÍÔ¹à·ÍÃìàÇÔÅ)´Ù·Õè¤Ó interval
augmentation ¡ÒâÂÒÂÍѵÃҨѧËÇеÑÇâ¹êµ ¢Í§âÁ·Õ¿ ãËéÁÕÍѵÃҨѧËÇÐÂÒÇ¡ÇèÒà´ÔÁ
augmentation dot¨Ø´·Õèà¢Õ¹äÇéËÅѧµÑÇâ¹êµ à¾×èÍÂ×´ÍѵÃҨѧËÇТͧµÑÇâ¹êµ ãËéÂÒÇ¢Ö鹤ÃÖè§Ë¹Ö觢ͧ¤èÒµÑÇâ¹éµ¹Ñé¹
aumentando (It. àÍÒàÁ¹·Ò¹â´)ËÁÒ¶֧ Cressendo ; ´Ñ§à¾ÔèÁ¢Öé¹àÃ×èÍÂæ
ausdruck (Gr. àÍÒÊì´ÃÙ¡¤ì)¤ÇÒÁÃÙéÊÖ¡
ausdruckvol (Gr. àÍÒÊì´ÃÙ¡¤âÇÅì)àµçÁä»´éǤÇÒÁÃÙéÊÖ¡
autoharp (ÍÍâµÎÒÃì») à¤Ã×èͧ´¹µÃÕ»ÃÐàÀ·à¤Ã×èͧÊÒ «×è§àÅè¹àÊÕ§¤ÍÃì´ä´éâ´Â ÇÔ¸Õ¡´»ØèÁ¡ÃдØÁ à¾×èÍãËéà¡Ô´àÊÕ§¨Ò¡ÊÒ·Õèµéͧ¡ÒÃä´é (´Ù·Õè¤Ó zither.)
authentic cadence (ÍÍà·¹µÔ¡ à¤à´¹«ì) ÅÙ¡¨ºÊÁºÙóì (´Ù·Õè¤Ó cadence)
avec (Fr. ÍÐàÇç¤) ´éÇ Avec ame ËÁÒ¶֧ ´éÇÂÇÔ­­Ò³
ave  maria  (ÍÒàÇÁÒàÃÕÂ) º·à¾Å§ÊÃÃàÊÃÔ­¾Ãйҧ¾ÃËÁ¨ÒÃÕ ÁÒàÃÕ ·Õèà´è¹ÁÒ¡¤×ÍÍÒàÇ ÁÒàÃÕ â´Â ªÙàºÔÃìµ áÅÐ ¡Ùâ¹´ì
ayre A song for one or several voices in 17th century England.

 

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