JEAN, an eminent French musician, born in 1461, of whose life very little is known. Glarean, who was personally acquainted with Mouton at Paris in 1521, declares him to have been a native of France. Some writers have stated that Mouton was chapel-master to Louis XII. and Francis I. of France, but there is no evidence for that. He was a pupil of Josquin Déprez, according to Adrian Willaert, his scholar. Several of his motets were published at Venice and at Paris in the earlier part of the sixteenth century. Hawkins and Burney gave specimens of his music; and Forkel, in the second volume of his History of Music, pp. 660-7, published Mouton's motet for four voices, Confitemini Domino. In the article Music will be found an elegant air by Mouton, and a very remarkable passage of unprepared dissonances from one of his motets.

MOVEMENT, in music, usually relates to the degree of slowness or quickness with which a piece of music is to be performed. The different degrees of movement are divided into five principal kinds, designated by the following terms in their order:—1st, Largo or Lento; 2d, Adagio; 3d, Andante; 4th, Allegro; 5th, Presto. All other movements, such as Grave, Larghetto, Andantino, Tempo giusto, Tempo di Minuetto, Allegretto, and Prestissimo, are mere modifications of the preceding five kinds. It is found necessary, however, to employ other auxiliary terms to indicate not only the degree of movement, but also the style and manner of performance required. These auxiliary terms are,—affettuoso, agitato, amoroso, grazioso, maestoso, sostenuto, giusto, moderato, cantabile, con brio, vivace, spiritoso assai, con energia, appassionato, &c., &c. But all these terms are vague; and the right movement, as well as the best expression, suitable to this or that piece of music, must be left to the skill and feeling of the accomplished performer who has studied musical composition and the styles of the various schools of music, ancient and modern. The composer may fix precisely the time-movement of his piece of music by means of the metronome; but he has no means of showing exactly, by any written signs, what style and expression he wishes the performer to employ. (See Metronome.)