Scan 89
Dictionary of Music, Pronouncing and Defining, 1925
88 lines. Read by computer on 12 September 2026. No printed page number was found. See the scan on archive.org.
1COR
3Corno alto (kôr'nô ăl'tô), It. A horn of a high pitch. See Horn.
5Corno basso (kôr'nô bäs'sô), It. A bass horn, a horn of a low pitch.
7Corno cromatico (kôr'nô krô-mä-tî-kô), It. The chromatic horn.
9Corno di bassetto (kôr'nô dê bäs-së'tô), It. The basset horn. A species of clarinet a fifth lower than the C clarinet. (2) A delicate-toned reed-organ stop of 8-feet scale.
11Corno di caccia (kôr'nô dê kät'tshî-ä), It. The hunting, or French horn.
13Corno dolce (kôr'nô dôl'tshë), It. Soft horn; an organ-stop, occurring both in the manuals and pedals.
15Corno in B basso, It. A low B horn.
17Corno inglese (kôr'nô ên-glâ'zë), It. The English horn, an alto oboe.
19Cornopean. An organ-reed stop of 8-feet pitch and broad scale; also a wind instrument of the trumpet species. See Cornet à pistons.
21Corno primo (kôr'nô prê'mô), It. The first horn.
23Corno quarto (kôr'nô kwär'tô), It. The fourth horn.
25Corno quinto (kôr'nô kwîn'tô), It. The fifth horn.
27Corno secondo (kôr'nô së-kôn'dô), It. The second horn.
29Corno sordo (kôr'nô sôr'dô), It. A horn with dampers.
31Corno ventile (kôr'nô vën-tê'lë), It. Chromatic horn, with valves or keys for producing the semitones.
33Coro (kô'rô), It. A choir, a chorus, a piece for many voices.
35Corona (kô-rô'nâ), It. A pause or hold (𝄐).
37Coro primo (kô-rô prê'mô), It. The first chorus.
39Corps (kôr), Fr. The body of a musical instrument. (2) A band of musicians.
41Corps de ballet (kôr dûh bäl-lâ), Fr. A general name for the performers in a ballet.
43Corps de voix (kôr dûh vwâ), Fr. Body or fullness of tone.
45Corrente (kôr-rên'tê), It. An old dance tune in slow triple time. See Coranto.
47Corrêpétiteur (kôr-râ-pâ-tî-tûr'), Fr. A musician who instructs the chorus singers of the opera.
49Coryphæus (kô-rî-fâ'êos), Gr. The conductor of the chorus. See Corifeo.
51Coryphée (kô-rî-fâ), Fr. The leader or chief of the group of dancers in a ballet.
53Cosaque (kô-sâk), Fr. The Cossack dance.
55Cotil. An abbreviation of Cotillon.
57Cotillon (kô-têl-yõnh), Fr. Lit., "petticoat." "A social game in form of a dance." The cotillon has no characteristic music. A waltz, galop, or any other dance tune is used for the purpose.
59Couac (kwâk), Fr. The "quack" of the clarinet, oboe, and bassoon, caused by a bad reed or reeds, deranged keys, wearied lips, etc., which in English is also called the "goose."
61Coulé (koo-lâ'), Fr. (1) Slurred, legato. (2) A grace consisting of two or three ascending or descending notes, forming, as it were, a double or triple appoggiatura.
63Counter. A name given to an under part, as, counter tenor.
65Counter bass. A second bass.
67Counter dance. See Contredanse.
69Counterpart. The part to be applied to another, as, the bass is the counterpart of the treble.
71Counterpoint. Point against point. (1) The art of adding one or more parts to a given part. (2) A part or parts added to a given part.
73The contrapuntal style is distinguished from the harmonic in this, that whilst the latter consists of a melody accompanied by chords, the former is a simultaneous combination of several melodies, or melodic parts. The supreme contrapuntal forms are Canon and Fugue.
75In teaching counterpoint, theorists assume generally five species: (a) Note against note—a semibreve against a semibreve; (b) two notes against one—two minims against a semibreve; (c) four notes against one—four crotchets against a semibreve; (d) syncopated counterpoint—the second minim of one bar tied to the first of the following bar against a semibreve entering on the first part of each bar; (e) florid counterpoint—a mixture of the three preceding species.
77Further, counterpoint is divisible into simple and double counterpoint. The latter differs from the former in this, that its parts are invertible, i.e., may be transposed an octave, or ninth, tenth, twelfth, etc., above or below one another. Counterpoint is called triple when three, and quadruple when four parts are mutually invertible.
79Counterpoint, double. A counterpoint that admits of an inversion of the parts.
81Counterpoint, equal. Where the notes are of equal duration.
83Counter subject. (1) The second theme in double fugues and fugues with two subjects in distinction from the principal subject. (2) The subject accompanying the answer (the resumption by one part of the subject proposed by another) of a fugue. But the accompaniment of the answer gets this name only when it is retained throughout the fugue. (3) A melody forming a counterpoint against a cantus firmus.
85Counter tenor. Male alto voice. (V. Alto.)
87Counter tenor. High tenor; the highest male voice. It is generally a falsetto.
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