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Scan 123
Harvard Dictionary Of Music(1950), 1950
36 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1CALMATO
3adopted for an instrument which its unknown inventor probably expected to have divine powers of persuasion, as it consisted of a number of steam-blown whistles (played from a keyboard) which could be heard over a distance of ten miles. It was used at American fairs to attract people from far and wide.
5Calmato [It.]. Calmed.
7Calore, Con [It.]. With warmth.
9Cambiata [It., from cambiare, to change]. See *Nonharmonic tones I.
11Camera [It., chamber]. In Baroque music (1600–1750) da camera indicates music for use outside of the church, as distinguished from da chiesa, i.e., music to be performed in the church [see *Chiesa]. This dichotomy was applied to sonatas, cantatas, duettos, etc. Especially in the first case it entailed a distinct difference of form which is discussed under *Sonata B, II. In modern Italian usage, musica da camera means chamber music.
13Camerata [It., from camera, chamber, salon]. Name for a group of distinguished literary men, artists and musicians who, shortly before 1600, used to gather in the palace of the Count Bardi at Florence to discuss the possibilities of a new musical style in imitation of the music of the ancient Greek drama [see *Nuove Musiche; *Opera]. Members of this "charmed circle" were the poet Ottavio Rinuccini and the musicians Vincenzo Galilei, Giulio Caccini, and Jacopo Peri.
15Lit.: H. Martin, "La 'Camerata' du Comte Bardi et la musique florentine du xvie siècle" (RdM, nos. 42–44, 46, 47); G. Gilli, Una Corte alla fine del '500 (1928).
17Camminando [It.]. Proceeding, pushing on.
19Campana [It.]. *Bell. Campanology is the art of bell-founding and bell-ringing. Campanella (little bell) is the *glockenspiel; also the title of a violin piece by Paganini and of an etude by F. Liszt (a piano adaptation of the former) in which the sound of small bells is imitated.
21Can. In English Service music, abbreviation for cantoris. See *Polychoral style.
23Canadian music. Cf. M. Barbeau and Edw. Sapir, Folk Songs of French Canada (1925); J. M. Gibbon, Canadian Folk Songs (1927); Soeurs de Sainte-Anne, Dictionnaire biographique des musiciens Canadiens (1935); E. Gagnon, Chansons populaires du Canada (7th ed., 1940); M. Barbeau, in ML xiii, no. 2.
25CANCIONERO
27Canarie, canario. A French dance of the 17th century, designed as an imitation of the "sauvages des îles Canaries," the natives of the Canary Islands who represented the "exotic" element in the European culture of the 16th and 17th centuries. It is in quick 3/8 or 6/8-time, with a dotted note on each strong beat, almost identical in rhythm with that of the gigue. The earliest examples are to be found in the harpsichord suites of Champion de Chambonnieres (1602–72) and of Louis Couperin (c. 1626–61). Others occur in the operas of Lully, Purcell (Diocletian, 1690), in Johann K. F. Fischer's Musikalisches Blumenbüschlein (1696), in Georg Muffat's Florilegium primum (1690), etc. Examples in ApMZ ii; TaAM vii, 43. Cf. P. Nettl, in StM viii. See *Dance music III.
29Cancan. A popular dance of the late 19th century which developed from the quadrille and which became world-known for its vulgarity and indecorousness. J. Offenbach introduced it into his Orphée aux enfers (1874).
31Cancel. Same as natural (sign).
33Cancion [Sp.]. Song.
35Cancionero [Sp.]. Collection of songs, particularly folk songs. Important publications of this type have been issued by F. Pedrell and by E. M. Torner. For an important 15th-century MS, known as Cancionero musical del palacio, see *Sources, no. 27; *Spanish Music I.
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