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Scan 176
Harvard Dictionary Of Music, 1944
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1COLLEGES
3because it originally "collected" the prayers of the people. It is sung to special recitation tones, called Toni Orationum [cf. AR, 49*; GR, 109*; LU, 98].
5Colleges. See *Music education IV, IX; *Profession I(c); *Degrees.
7Collegium musicum. The term properly signifies musical associations connected with a university. A collegium musicum flourished at the university of Leipzig during the 17th and 18th centuries. For an American 18th-century institution, see T. M. Finney, in PAMS, 1937. The movement was revived by H. Riemann who established, around 1900, the first modern collegium musicum at the university of Leipzig. Today, every German university has its collegium musicum. At Harvard University a collegium musicum was established by this writer in 1938. These associations generally emphasize the amateur point of view and give preference to old or little played music. The performance is non-public or semi-public. An important step of the German movement was the introduction of old instruments, such as recorders, viols, gambas (W. Gurlitt, University of Freiburg, 1920). See M. Gondolatsch, in ZMW iii; M. Seiffert, in SIM ii.
9Col legno [It., with the wood]. In violin playing, the striking of the strings with the bow-stick, instead of with the hair.
11Coll' ottava [It.]. With the octave.
13Colombia. The following were the outstanding musicians of Colombia during the 19th century: Enrique Price (1819-63), of English birth, who lived in New York for a time and then settled in Bogotá, where in 1846 he founded the Sociedad Filarmónica, out of which all subsequent musical organizations in Colombia developed. In 1847 he founded a School of Music in conjunction with the Philharmonic Society. Juan Crisóstomo Osorio y Ricaurte (1863-87) composed *zarzuelas (comic operas) and other light stage-works. Julio Quevedo Arvelo (1829-97) was primarily a composer of church music, while José María Ponce de León (1846-82) has the distinction of having written the only two Colombian operas to have reached the stage, Ester and Florinda. Oreste Sindici (1837-1904) won fame above all as composer of the National Hymn. The patriarch of Colombian music is Jorge W. Price (b. 1853), who in 1882 founded the Academia Nacional de Música, now known as the National Conservatory of Music. Prominent as pedagogue and composer was Andrés Martínez Montoya (1869-1933), among whose works is a Rapsodia Colombiana for band. Santos Cifuentes (1870-1932) was a prolific composer of orchestral works, chamber music, operettas, etc. Among these may be mentioned the Sinfonía sobre aires tropicales and a Concerto for piano and orchestra. He was also the author of widely used theoretical works.
15The most notable of contemporary Colombian composers, and one of the leading musical figures of Latin America, is Guillermo Uribe-Holguín (b. 1880). From 1910 to 1933 he was director of the National Conservatory at Bogotá; he was also founder and conductor of the Sociedad de Conciertos Sinfónicos del Conservatorio. Possessing a solid technical equipment, he has produced numerous works in many forms, including a quantity of chamber music. Among his orchestral works are a Symphony in F minor, Sinfonía del Terruño, and Tres Danzas. He has written a Requiem, a Te Deum, and other church music. From the viewpoint of musical nationalism, his most significant compositions are the [address hidden] en el sentimiento popular, for piano. Other noteworthy contemporary composers are Jesús Bermúdez-Silva (b. 1884), Emilio Murillo (1880-1942), José Rozo Contreras (b. 1894), Carlos Posada Amador (b. 1908), Adolfo Mejía (b. 1909), and Guillermo Espinosa (b. 1905), conductor of the Orquesta Sinfónica Nacional, which he founded in 1936.
17Lit.: J. I. Perdomo Escobar, "Historia de la música en Colombia" (Boletín latinoamericano de música, IV); F. C. Lange, "Guillermo Uribe-Holguín" (op. cit.).
19G. C.
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