78.)

_Risoluto_--firmly, resolutely.

_Scherzando_, _scherzoso_, etc.--jokingly. These terms are
derived from the word _scherzo_ meaning _a musical joke_.

_Semplice_--simply.

_Sempre marcatissimo_--always well marked, _i.e._, strongly
accented.

_Sentimento_--with sentiment.

_Solenne_--solemn.

_Sotto voce_--in subdued voice.

_Spiritoso_--with spirit.

_Strepitoso_--precipitously.

_Tranquillo_--tranquilly.

_Tristamente_--sadly.

131. Many other terms are encountered which on their face sometimes seem
to be quite formidable, but which yield readily to analysis. Thus
_e.g._, _crescendo poco a poco al forte ed un pochettino accelerando_,
is seen to mean merely--"increase gradually to _forte_ and accelerate a
very little bit." A liberal application of common sense will aid greatly
in the interpretation of such expressions.

CHAPTER XIV

TERMS RELATING TO FORMS AND STYLES

132. A _form_ in music is a specific arrangement of the various parts of
a composition resulting in a structure so characteristic that it is
easily recognized by the ear. Thus _e.g._, although every fugue is
different from all other fugues in actual material, yet the arrangement
of the various parts is so characteristic that no one who knows the
_fugue form_ has any doubt as to what kind of a composition he is
hearing whenever a fugue is played. The word _form_ is therefore seen to
be somewhat synonymous with the word _plan_ as used in architecture; it
is the structure or design underlying music. Examples of form are the
canon, the fugue, the sonata, etc.

Speaking broadly we may say that _form_ in any art consists in
the placing together of certain parts in such relations of
proportion and symmetry as to make a unified whole. In music
this implies unity of tonality and of general rhythmic effect,
as well as unity in the grouping of the various parts of the
work (phrases, periods, movements) so as to weld them into one
whole, giving the impression of completeness to the hearer.

133. The primal _basis of form_ is the repetition of some characteristic
effect, and the problem of the composer is to bring about these
repetitions in such a way that the ear will recognize them as being the
same material and will nevertheless not grow weary of them. This is
accomplished by varying the material (cf. thematic development), b