462 Mele
Aulète (or aulèta) From the Latin auletes, in turn from the Greek αὐλητής,
derived from αὐλός (aulòs). Literally: “player of aulos.”
It is also generically used to denote a “player of an aero-
phon instrument” and, more inaccurately, a “flute player.”
Aulos / aulòs / αὐλός Aerophfon double reed musical instrument from ancient
(plural: αὐλοί) Greece made from cane, wood, metal, bone, or ivory. In the
iconography it is mostly found depicted in the form of two
divergent pipes (Δίαυλος/diaulos). The Romans knew the
aulos under the name of tibia. The Greek word is often mis-
translated as “flute,” but the aulos belongs to the family of the
oboe.
Benedicamus Domino Chant of the Ordinarium missae.
Black square musical Musical writing, which asserted itself in the thirteenth
notation. century, under the graphic influence of Aquitanian musi-
cal notation. In the mid-thirteenth century, the Franciscan
Order contributed to its worldwide spread by adopting it
after abandoning the neumes from central Italy.
Breviary Book that assembles the readings, orations, rubrics, and
songs of the Liturgy of the Hours, “shortening” and concen-
trating specific types of codes, such as the Lectionary, the
Psalter, and the Hymnary.
Cantus fractus “Liturgical song, mostly for two voices of which only the main
“Broken song” one was handed down by the sources. Drawn up at the begin-
ning of the fourteenth century in France, it was particularly
common in Italy in the seventeenth and eighteenth centu-
ries.” Baroffio, Dizionario Liturgico, “ad vocem,” bibliography:
note 768. The Credo Sardo which dates back to the eigh-
teenth century, as well as the Credo Maltés, both contained
in a Dominican codex preserved without any shelf marks at
the Archiepiscopal Seminary of Oristano, are monodic, but it
is possible that at least another voice, not transcribed in the
source, was performed. The terms “Sardo” and “Maltés,” refer-
ring to the Credo, have no ethnic and/or geographical con-
notations. They are mere indications of a local taste, perhaps
tied to specific experiences of individual composers, which
cannot be clarified further.
Cithăra (pron. cíthara) Latin word from the Greek κιθάρα, often generically translat-
ed as “zither”. A plucked chordophone from ancient Greece,
also popular in Rome, trapezoidal in shape, consisting of a
wooden, flat sound-box, culminating in two strong hollow