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Scan 135
A dictionary of musical terms, 1889
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1DANCING—DECANI.
3The Roman dances, at first connected with religious observances, became by degrees separated from them, and perhaps degenerated, as it was considered disgraceful for a free citizen to dance, excepting during devotional exercises.
5The Almée, or dancing and singing girls of Egypt, the Nautch girls of India, perform, at feasts and solemn occasions, certain dances akin to those which formed part of the ancient observances.
7There is ground for the belief that dancing was not discouraged among the early Christians, and there are records showing continuance of the custom among the less orthodox sects at different periods of the history of the Church.
9Dancing and pantomimic actions formed part of the amusements sometimes offered by the jongleurs, a body of the minstrel class; their dancing often included acrobatic performances. The common dances, popular among the people in various European countries, vary more in name than in character; and as they are unquestionable legacies of heathen days, have been condemned from time to time by the more serious-minded.
11The force and original meaning of dancing is now lost sight of. It is not now regarded in the light of an act of worship, but is encouraged only as a means of social enjoyment. The rude forms of dancing have been softened and polished during successive generations, their character changed, and their identity or connection with their origin disguised under modified motions. Each country in which dancing is practised has considered itself free to change the steps, arrangement, and significance of the dance, or to give preference to one portion of a complicated whole; and such alterations have been accepted as new dances, when they are not really so. The German waltz, the French cancan, the English country-dance, the Spanish bolero, the South American chica, the Italian saltarello, the Hungarian czardasch, are all forms traceable to one source. The allemande, the brawl, the coranto, the fandango, the forlana, the gavotte, the hornpipe, the jota, the kalamaika, the loure, the measure, the minuet, the passeaille, the quadrille, the ringeltanz, the saraband, the tarantella, trenchmore, zapateado, &c., are only different names of the several motions of that called in England the country-dance, with such variations in melody and rhythm as would arise from the use of accompanying musical instruments more or less perfect in their construction, or on account of the speed at which they were danced, by which means a rapid triple measure may be made to seem duple measure. The advancing and retreating in the various figures; the embracing and unloosing, the stamping, shrieking, and singing in some dances; the "grand chain," or the galopade which generally marks the concluding figure of a quadrille, are merely mild versions of some of the several peculiarities of the ancient prototype.
13The Italians of the 16th century are credited with the distinction of having invented that form of dancing known by the general term of ballet: they arranged the motions and gestures of the body in an expressive pantomime, and reduced the various actions to a series of well-defined and understood rules, so that the performers were able to impart to the spectators a perfect story without the aid of words; but their claim cannot be upheld, as the like thing had been done by the Greeks ages before.
15The rhythm of the more important dances will be found described under their respective titles.
17Darabooka or Darabukkeh. An Arabian drum; the body, to which is attached a handle, is of hollowed wood. There are various kinds of this instrument.
19Darmsaiten (Ger.) Strings of catgut. [String.]
21Dash. (1) A line drawn through a figure in thorough-bass, showing that the interval must be raised one semitone, e.g.:
23(2) A line drawn through the duple time-sign, e.g., , implying a division either of measurement or of pace.
25(3) A short stroke placed above notes or chords, directing that they are to be played staccato.
27(4) In harpsichord music, a dash passing between two notes, called a slur, or coulé:
29was thus played;
31Da teatro (It.) In the theatrical style.
32Dauer (Ger.) Duration or continuance of notes or sound.
33Daumen (Ger.) The thumb.
34D dur (Ger.) D major.
35Début (Fr.) A first appearance.
36Débutant, e (Fr.) A performer who appears for the first time.
37Dec., abb. of Decani.
38Dec., abb. of Decrescendo.
39Decachordon (Gk.) An instrument with ten strings.
40Decani (Lat.) A term used in cathedral music, to signify that the part so distinguished is to be sung by the singers on the dean's, or south side of the choir, in contradistinction
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