Books › Harvard Dictionary Of Music(1950), 1950 › scan 171
Scan 171
Harvard Dictionary Of Music(1950), 1950
46 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1CLIMACUS
3ern musicological publications of 15th- and 16th-century music the old clefs are largely retained, a method which, although justifiable on historical and scholarly grounds, has definitely been detrimental to the furthering of studies and to the revival of early music. It is very gratifying to see that in some of the most recent publications only the F-clef and the G-clef are used, the latter also in a modification indicating transposition an octave below (see e).
5As a matter of fact, this transposed clef is very well suited to replace the alto clef as well as the tenor clef since its range is practically the same as that of the other two (see f). For reforms of clefs cf. WoHN ii, 339. See *Chiavette.
7Climacus. See *Neumes I (table).
9Clivis. See *Neumes I (table).
11Cloches [F.]. *Bells, especially those of the orchestra.
13Clocking. See under *Bell.
15Clock Symphony. Haydn's Symphony no. 101 (4) in D major, composed 1794 in London. The name refers to the ticking motive to be found in the Andante.
17Clockwork instruments. See *Mechanical music instruments.
19Clog box. A percussion instrument used in jazz bands and consisting of a block of wood, 7 or 8 inches long, with slots cut in it. It is struck with a drumstick.
21Clos [F.]. See *Ouvert and clos.
23Close. *Cadence.
25Close harmony. Chords in close position, i.e., with all the four notes within an octave or a twelfth. See *Spacing.
27Clubs, Musical. See *Societies.
29Clutsam keyboard. See *Keyboard III.
31COLLECT
33C.o. [It.]. Coll' ottava, i.e., with the higher octave. C.o.b, coll' ottava bassa, i.e., with the lower octave.
35Coda [It., tail]. A section of a composition which is added to the form proper as a conclusion. Practically all fugues close with a shorter or longer coda which is frequently based on a pedal point (e.g., Bach, Wt. Cl. i, C major). Bach's organ fugue in A minor closes with a coda in brilliant toccata style. Likewise in sonatas, symphonies, etc., a coda is found at the end of each movement. In slow movements it usually serves as an epilogue, whereas in fast movements it often leads to a final climax, frequently combined with quickening of tempo (*stretto). In movements in sonata form the coda frequently takes on considerable dimension, and occasionally becomes a second development section [cf. the first movement of Beethoven's Fifth Symphony]. A short coda is sometimes called codetta. However, this term commonly applies to the closing passage to be found at the end of sections, such as the exposition in sonata form or the first section (A) of a slow movement in ternary form (A B A). Beethoven's pianoforte Sonata op. 2, no. 3 may be recommended for a study of the coda in its various manifestations. Here even the Scherzo ends with a coda to be played after the repetition of the Scherzo ("Scherzo da capo e poi la coda").
37Codetta. See *Coda.
39Codex Bamberg, Burgos, etc. See *Sources. Codex Calixtinus, see also *St. Martial, School of.
41Colascione, colachon. See *Lute II.
43Colla, coll' [It.]. "With the." Colla destra, sinistra, with the right, left hand. Colla parte, colla voce (with the part) is an indication directing the player of the accompaniment to "follow along" with the main part, which is to be performed in free rhythm. Coll' arco, "with the bow," after a passage in pizzicato. Colla punta d'arco, "with the point of the bow."
45Collect. In the Catholic rite, the prayer of the day at Mass and Offices, so called
The computer misreads some letters and numbers. Where a name matters to you, read the scan.