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Scan 180
Harvard Dictionary Of Music, 1944
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1COME
31714, and described in his Trattato dei principii dell' armonia musicale of 1754 (an earlier description appeared in a book of G. A. Sorge: Vorgemach der musikalischen Composition, 1745). The tone frequently referred to as "Tartini's tone" [It. terzo suono, "third tone"] is the first of the above combination tones, determined by the difference of the original frequencies. The accompanying table shows this tone for various intervals (c' arbitrarily = 300).
5Combination Tone
7Tartini's tone can easily be heard on the harmonium, the organ, and the violin. On the violin, it was recommended by Tartini and other violinists (Leop. Mozart) as a means of controlling the correct intonation of double-stops, since a slight inaccuracy results in a more easily noticeable change of the low-pitched differential tone. The name "beat-tones" formerly applied to the differential tones is misleading. It is derived from the theory advanced by Th. Young (1773–1823) according to which the differential tones are quick *beats (more than 40 per second). This theory was refuted by Helmholtz who discovered the summation tones by calculations based upon the principle of "non-linear superposition," thus paving the way for the modern theory. Recent research has brought about the startling result that certain well-established musical sounds, e.g., that of the G-string of the violin, are physically non-existent, being produced only aurally as the differential tones of their upper partials [see *Timbre].
9Practical application of the first differential tone is made in the *acoustical bass of organs. For literature, see the books listed under *Acoustics.
11Come [It.]. "As," "like." Come prima, come sopra, as at first, as previously; come stà, as it stands, i.e., without improvised additions.
13Comédie. A name occasionally used for operas in a light and slightly comical vein. For comédie-ballet, see under *Ballet, also *Entr'acte.
15Comes [L.]. See *Fugue; *Canon (1).
17Comic opera. I. Definition. General name for an opera or other dramatic work with a large admixture of music, on a light or sentimental subject, with a happy ending, and in which the comic element plays a certain part. The term thus comprises a number of types, such as the *operetta, *vaudeville, opéra-bouffe, musical comedy, etc., the distinctions between which are not always clearly marked. Until the middle of the 19th century comic operas (except for the Italian opera buffa) usually contained spoken dialogue; in more recent times this feature has tended to disappear, so that now the distinction on this basis is no longer generally valid. Incidentally, it should be noted that not all operas with spoken dialogue are "comic," though in France the name "opéra-comique" is traditionally applied to such works, even when they are serious or tragic in character, e.g., Bizet's Carmen. The music of comic opera is always more "popular" in style than that of serious opera, generally easier both to perform and to comprehend, and appealing to less sophisticated audiences. Its function is relatively less important than in serious opera, and in some forms (e.g., musical comedy) it is confined to a series of "hit" songs or other musical specialties. The scenes and personages of comic opera are apt to be taken from everyday life; or if fantasy is present it is treated in a sentimental or amusing fashion. Frequently there is satire of manners, allusion to current topics, or parody of the serious opera style.
19II. History. a. Comic scenes early made their way into serious opera, and the juxtaposition of serious and comic episodes is a general feature of the 17th-century librettos. Examples may be found in Landi's Morte d'Orfeo (1619) and San Alessio (1632), in Mazzochi's Catena
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