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Scan 137
Harvard Dictionary Of Music(1950), 1950
34 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1CAVALLERIA RUSTICANA
3in downward scalar motion were called *copula.
5Cavalleria Rusticana ("Rustic Chivalry"). Opera in one act by Pietro Mascagni (b. 1863), composed in 1890. The setting is a Sicilian village on Easter morning. The young farmer Turiddu (Tenor), lover of Santuzza (Soprano), is turning to his former love Lola (Mezzo-Soprano), now married to Alfio (Baritone). A trifle (Turiddu's entrance into the church at Lola's side) suffices to constitute a "break of the honor code," resulting in a duel between Alfio and Turiddu in which the latter is killed.
7This opera, which was Mascagni's only success, owes its appeal to the concise and dramatic plot as well as to the realistic musical approach. Widely welcomed as a relief from the numerous imitations of Wagner, it inaugurated the musical movement known as *verismo, and was responsible for a mushroom crop of one-act operas.
9Cavata [from L. cavare, to hollow out, to engrave]. An inscription or an epigrammatic sentence in which an important thought is concisely expressed. In 18th-century music the term is used occasionally for short epigrammatic ariosos to be found at the end of a lengthy recitative (recitativo con cavata). Many examples of this method occur in Bach's choral works, e.g., in the recitativo no. 3 of his cantata "Ein feste Burg" [see *Arioso]. The cavatas in Traëtta's operas [cf. DTB 14.i] approach the *cavatina. See also *Soggetto cavato.
11Cavatina [It., dimin. of *cavata]. In 18th- and 19th-century operas and oratorios, a short solo song simpler in style than the aria and without repetition of words or phrases. The proper form for the cavatina would seem to be in one section without repetition (except for a short instrumental anticipation of the beginning of the song), in other words, just a "sentence" set to music [see *Cavata]. Examples of this type are the two cavatinas in Haydn's The Seasons as well as "Porgi amor" and "L'ho perduta" from Mozart's Figaro, while the "Se vuol ballare" from the same opera shows an unusually developed type similar to an aria. Other examples occur in Rossini's Barber of Seville (1816), in Weber's Freischütz (1821), in Gounod's Faust (1859). The name has also been applied to instrumental pieces of a song-like character [e.g., Beethoven, Quartet op. 130].
13C.B. Abbreviation for col basso or for contrabasso.
15C.d. Abbreviation for [It.] colla destra, i.e., with the right hand.
17Cebell. Old English name for the gavotte, used by H. Purcell and others.
19Cecilian movement. A 19th-century movement for the reform of the Roman Catholic church music, initiated by K. Proske, Ratisbon choirmaster (1794-1861), and named after St. Cecilia, the patron saint of music. The movement aimed at the reinstallment of Palestrina's a cappella music instead of the pompous and rather worldly church music for choir and instruments that had come into use during the 18th century (e.g., Haydn's and Mozart's masses). It led, in 1867, to the foundation of the Allgemeiner Deutscher Caecilienverein (F. X. Witte, 1834-88), which was sanctioned by the Holy See in 1870. The term Cecilianism is used to denote the puristic and generally rather reactionary tendencies of this society.
21Cefaut, ce fa ut. See *Hexachord III.
23Celere [It.]. Quick.
25Celesta. See *Percussion instruments A, 4.
27Cello. Contraction of *violoncello.
29Cellone. See *Violin family (i).
31Cembal d'amour. *Clavecin d'amour.
33Cembalo [It., abbr. of clavicembalo]. The Italian and German name for the *harpsichord. According to C. Sachs (SaRM, 75) the word is not derived from Gr. kymbalon (hollow vessel, bell; see *cymbal), but from tympanon (same root
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