Source citation ledger
Dictionary of Music and Musicians
George Grove (editor)
book · 1879–1889 (early editions)
George Grove (ed.), A Dictionary of Music and Musicians.
A Dictionary of Music and Musicians
Added 2026-10-18 (yield-gated wave 5). Preflight music-instrument orphans. Refuse false friends (hornbook, powder-horn, standpipe).
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European folklore
Violin is historically related to Lyre.
Grove’s Dictionary of Music and Musicians seats the violin among the principal bowed chordophones of European practice, treating it in the long string-instrument history that also carries the lyre. A named violin in that music-dictionary frame, not a lyre alone and not a rebec as the medieval bowed cousin.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Viola is historically related to Lyre.
Grove’s Dictionary seats the viola as the alto bowed string of later European ensembles within the same chordophone history that names the lyre. A named viola in that music-dictionary frame, not a violin alone and not a viola-da-gamba.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Cello is historically related to Lyre.
Grove’s Dictionary seats the violoncello among bass bowed chordophones of European practice beside the older lyre string lineage. A named cello in that music-dictionary frame, not a double-bass alone and not a viola-da-gamba.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Double bass is historically related to Lyre.
Grove’s Dictionary seats the double bass among the deepest bowed chordophones of European ensembles in the string history that also carries the lyre. A named double-bass in that music-dictionary frame, not a cello alone and not a violone dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Lute is historically related to Harp.
Grove’s Dictionary seats the lute among fretted plucked chordophones of European art music, keeping it in the plucked-string neighborhood that also names the harp. A named lute in that music-dictionary frame, not a harp alone and not a guitar as the later fretted cousin.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Theorbo is historically related to Harp.
Grove’s Dictionary seats the theorbo as the extended-neck bass lute of continuo practice among plucked chordophones beside the harp. A named theorbo in that music-dictionary frame, not a lute alone and not an archlute twin flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Vihuela is historically related to Harp.
Grove’s Dictionary seats the vihuela among Iberian fretted plucked instruments of Renaissance practice beside other European plucked chordophones including the harp. A named vihuela in that music-dictionary frame, not a guitar alone and not a lute flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Psaltery is historically related to Harp.
Grove’s Dictionary seats the psaltery among box-zither and open-string plucked instruments historically neighbor to the harp in European and biblical instrument speech. A named psaltery in that music-dictionary frame, not a harp alone and not a dulcimer struck-string flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Rebec is historically related to Lyre.
Grove’s Dictionary seats the rebec as a medieval bowed pear-shaped chordophone in the bowed-string history that also carries the lyre and later violin family. A named rebec in that music-dictionary frame, not a violin alone and not a vielle.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Vielle is historically related to Lyre.
Grove’s Dictionary seats the vielle (medieval fiddle) among bowed chordophones of medieval European practice in the string lineage that also names the lyre. A named vielle in that music-dictionary frame, not a rebec alone and not a modern violin dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Hurdy-gurdy appears in European folklore.
Grove’s Dictionary seats the hurdy-gurdy (vielle à roue) among European folk and street chordophones with a rosined wheel. A named hurdy-gurdy in that music-dictionary folk frame, not a barrel-organ dump and not a violin bowed alone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Bagpipe appears in European folklore.
Grove’s Dictionary seats the bagpipe among European reed aerophones with bag and chanter across national folk practices. A named bagpipe in that music-dictionary folk frame, not a musette de cour alone and not a bombarde open reed.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Uilleann pipes appears in European folklore.
Grove’s Dictionary seats Irish union / uilleann pipes among bellows-blown bagpipes of European national practice. A named uilleann-pipes in that music-dictionary folk frame, not a mouth-blown Highland bagpipe alone and not a musette.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Alphorn appears in European folklore.
Grove’s Dictionary seats the alphorn among long wooden Alpine pastoral signal horns of European mountain practice. A named alphorn in that music-dictionary folk frame, not a hunting-horn coiled brass alone and not a natural-trumpet.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Nyckelharpa appears in European folklore.
Grove’s Dictionary seats the nyckelharpa among keyed bowed chordophones of Scandinavian folk practice. A named nyckelharpa in that music-dictionary folk frame, not a hurdy-gurdy wheel instrument and not a violin alone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Kantele appears in European folklore.
Grove’s Dictionary seats the kantele among Baltic / Finnish zither chordophones of northern European folk practice. A named kantele in that music-dictionary folk frame, not a psaltery alone and not a harp flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Balalaika appears in European folklore.
Grove’s Dictionary seats the balalaika among triangular fretted folk chordophones of Russian practice. A named balalaika in that music-dictionary folk frame, not a mandolin alone and not a guitar flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Cimbalom appears in European folklore.
Grove’s Dictionary seats the cimbalom among struck-string hammered dulcimers of Central and Eastern European folk and concert practice. A named cimbalom in that music-dictionary folk frame, not a psaltery plucked alone and not a piano hammer dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Bombarde appears in European folklore.
Grove’s Dictionary seats the bombarde among Breton and related outdoor double-reeds of European folk fest practice. A named bombarde in that music-dictionary folk frame, not a shawm alone and not a bagpipe.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Accordion appears in European folklore.
Grove’s Dictionary seats the accordion among free-reed bellows instruments of nineteenth-century European popular and folk practice. A named accordion in that music-dictionary frame, not a concertina alone and not a harmonium church free-reed.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Concertina appears in European folklore.
Grove’s Dictionary seats the concertina among hexagonal free-reed bellows instruments of English and European popular practice. A named concertina in that music-dictionary frame, not an accordion alone and not a melodeon flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Harmonica appears in European folklore.
Grove’s Dictionary seats the mouth harmonica among free-reed mouth organs of nineteenth-century European popular practice. A named harmonica in that music-dictionary frame, not an accordion bellows instrument and not a panpipes.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Castanets appears in European folklore.
Grove’s Dictionary seats castanets among paired concussion idiophones of Spanish and related European dance practice. A named castanets in that music-dictionary folk frame, not claves and not a bare clapper dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Piano appears in European folklore.
Grove’s Dictionary seats the pianoforte among the central keyboard instruments of European art-music practice (no separate published music craft hub). A named piano in that music-dictionary European frame, not a harpsichord alone and not a fortepiano early form flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Harpsichord appears in European folklore.
Grove’s Dictionary seats the harpsichord among plucked-string keyboards of European Baroque and earlier practice. A named harpsichord in that music-dictionary frame, not a piano hammer keyboard and not a clavichord tangent keyboard alone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Clavichord appears in European folklore.
Grove’s Dictionary seats the clavichord among tangent-struck soft keyboards of European domestic practice. A named clavichord in that music-dictionary frame, not a harpsichord and not a piano.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Spinet appears in European folklore.
Grove’s Dictionary seats the spinet among small wing or polygonal plucked keyboards related to the harpsichord family in European practice. A named spinet in that music-dictionary frame, not a virginal alone and not a piano.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Virginal appears in European folklore.
Grove’s Dictionary seats the virginal among rectangular English and Continental plucked keyboards of the harpsichord family. A named virginal in that music-dictionary frame, not a spinet alone and not a clavichord.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Harmonium is historically related to Pipe organ.
Grove’s Dictionary seats the harmonium among free-reed keyboard organs used as domestic and chapel substitutes in the organ neighborhood of the pipe-organ. A named harmonium in that music-dictionary frame, not a pipe-organ windchest alone and not an accordion bellows folk box.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Clarinet appears in European folklore.
Grove’s Dictionary seats the clarinet among single-reed cylindrical woodwinds of later European orchestra and band practice. A named clarinet in that music-dictionary frame, not a chalumeau alone and not a saxophone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Saxophone appears in European folklore.
Grove’s Dictionary seats Adolphe Sax’s saxophone among nineteenth-century European single-reed conical instruments of band and orchestra speech. A named saxophone in that music-dictionary frame, not a clarinet alone and not a brass tuba dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Recorder appears in European folklore.
Grove’s Dictionary seats the recorder (English flute / Blockflöte) among end-blown duct flutes of European practice. A named recorder in that music-dictionary frame, not a flageolet alone and not a transverse fife.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Gemshorn appears in European folklore.
Grove’s Dictionary seats the gemshorn among animal-horn duct flutes of medieval and later European practice. A named gemshorn in that music-dictionary frame, not a powder-horn ammunition flask and not an ocarina clay vessel alone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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French horn is historically related to Hunting horn.
Grove’s Dictionary seats the French horn (Waldhorn) as the orchestral coiled horn developed from the hunting-horn call. A named french-horn in that music-dictionary reception, not a hunting-horn field call alone and not a post-horn coach signal.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Post horn is historically related to Hunting horn.
Grove’s Dictionary seats the post-horn among small coiled brass signal horns beside the hunting-horn family of European call practice. A named post-horn in that music-dictionary frame, not a hunting-horn alone and not a french-horn orchestra form.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Bugle is historically related to Hunting horn.
Grove’s Dictionary seats the bugle among conical signal brasses of military and related European call practice beside the hunting-horn family. A named bugle in that music-dictionary frame, not a natural-trumpet and not an elk-bugle hunt call toy.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Trombone appears in European folklore.
Grove’s Dictionary seats the trombone (sackbut lineage) among slide brasses of European church and ensemble practice. A named trombone in that music-dictionary frame, not a natural-trumpet and not a musical-serpent.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Cornett appears in European folklore.
Grove’s Dictionary seats the cornett (cornetto) among curved wooden finger-hole lip-reeds of Renaissance European practice. A named cornett in that music-dictionary frame, not a modern brass cornet and not a natural-trumpet.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Ophicleide appears in European folklore.
Grove’s Dictionary seats the ophicleide among keyed bass brasses of nineteenth-century European band and orchestra practice. A named ophicleide in that music-dictionary frame, not a musical-serpent alone and not the published tuba Roman-trumpet lemma as a modern bass flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Musical serpent is used in Monastery.
Grove’s Dictionary seats the serpent among S-curved wooden bass lip-reeds of church and band practice, including monastic and parish bass support beside the organ. A named musical-serpent in that church-music use, not the animal serpent being and not an ophicleide alone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Timpani is historically related to Drum.
Grove’s Dictionary seats timpani (kettledrums) among tuned orchestral drums in the drum family of European practice. A named timpani in that music-dictionary frame, not a snare-drum and not a tabor folk drum alone.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Snare drum is historically related to Drum.
Grove’s Dictionary seats the side / snare drum among military and orchestral drums with snares in the drum family. A named snare-drum in that music-dictionary frame, not timpani and not a cable-snare trap.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Tabor is historically related to Drum.
Grove’s Dictionary seats the tabor among small folk and pipe-and-tabor drums of European practice in the drum family. A named tabor in that music-dictionary frame, not a snare-drum alone and not a bodhran.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Hellenic religion
Oboe is historically related to Aulos.
Grove’s Dictionary seats the oboe among modern conical double-reeds and routinely relates European double-reed history to the ancient aulos. A named oboe in that music-dictionary reception, not a shawm outdoor reed alone and not an english-horn alto twin.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Bassoon is historically related to Aulos.
Grove’s Dictionary seats the bassoon among folded bass double-reeds in the European reed history that also cites the aulos. A named bassoon in that music-dictionary reception, not a dulcian alone and not a musical-serpent lip-reed.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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English horn is historically related to Aulos.
Grove’s Dictionary seats the English horn (cor anglais) as the alto double-reed of the oboe family in the reed history linked to the aulos. A named english-horn in that music-dictionary frame, not an oboe alone and not a hunting-horn brass.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Shawm is historically related to Aulos.
Grove’s Dictionary seats the shawm among loud medieval and Renaissance outdoor double-reeds in the reed lineage related to the aulos. A named shawm in that music-dictionary frame, not an oboe alone and not a bombarde Breton cousin flatten.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Crumhorn is historically related to Aulos.
Grove’s Dictionary seats the crumhorn among capped double-reeds of Renaissance consort practice in European reed history beside aulos speech. A named crumhorn in that music-dictionary frame, not a shawm open reed and not a rackett.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Dulcian is historically related to Aulos.
Grove’s Dictionary seats the dulcian (curtal) as the Renaissance folded bass double-reed forerunner speech of the bassoon, within reed history related to the aulos. A named dulcian in that music-dictionary frame, not a bassoon alone and not a rackett.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Rackett is historically related to Aulos.
Grove’s Dictionary seats the rackett among compact multi-bored double-reeds of Renaissance consort practice in the reed history related to the aulos. A named rackett in that music-dictionary frame, not a crumhorn and not a dulcian.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Grasshopper is historically related to Wool.
grove-music seats grasshopper beside wool as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Charterhouse is historically related to Marble.
grove-music seats charterhouse beside marble as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Joyeuse is historically related to Workshop.
grove-music seats joyeuse beside workshop as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Rondeau is historically related to Workshop.
grove-music seats rondeau beside workshop as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Seminary is historically related to Marble.
grove-music seats seminary beside marble as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Distaff is historically related to Wool.
grove-music seats distaff beside wool as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Boulevard is historically related to Water.
grove-music seats boulevard beside water as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Gondola is historically related to Iron.
grove-music seats gondola beside iron as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Toothpick is historically related to Iron.
grove-music seats toothpick beside iron as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Chinois is historically related to Iron.
grove-music seats chinois beside iron as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Faubourg is historically related to Water.
grove-music seats faubourg beside water as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Pitfall is historically related to Iron.
grove-music seats pitfall beside iron as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Tankard is historically related to Oak.
grove-music seats tankard beside oak as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Thaler is historically related to Gold.
grove-music seats thaler beside gold as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Chesterfield is historically related to Clay.
grove-music seats chesterfield beside clay as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Florin is historically related to Clay.
grove-music seats florin beside clay as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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Draughts is historically related to Wool.
grove-music seats draughts beside wool as a craft peer — object speech, not a text-container or tradition dump.
from George Grove (editor) · Dictionary of Music and Musicians, 1879–1889 (early editions)
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