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Scan 196
Harvard Dictionary Of Music(1950), 1950
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1CONTRA-VIOLIN
3bassus (low c.) or, simply, bassus (bass). This process explains the name *alto (high) for a part which, from the modern point of view, can hardly be considered a "high" part, as well as the use of the term counter-tenor for the male alto.
5Contra-violin. See *Violin family (b).
7Contrebasse [F.]. Double-bass. Contrebasson, double-bassoon.
9Contredanse [F; G. Contratanz]. A dance which attained great popularity in France and elsewhere during the later part of the 18th century. As a dance, it is characterized by the placement of two couples facing each other and moving against each other in a great variety of steps and movements. The music consists of a long series of eight-measure phrases which may be repeated over and over again. It is now generally accepted that the contredanse developed and took its name from the English *Country dance which it resembles in various respects. In this connection it may be noted that as early as 1699 we find "Contredanses anglaises" in Ballard's Suites de danses. . . . The contredanse developed later into the *française and the *quadrille. Beethoven wrote [address hidden] for the orchestra, one of which he used in the final movement of the Eroica Symphony. See also *Cotillon.
11Conzert [G.]. See *Konzert.
13Coperto [It.]. Covered. Timpani coperti are kettledrums muted by being covered with a cloth.
15Copla [Sp.]. Couplet or stanza of refrain songs such as the *cantigas or the *villancico. The name for the refrain is estribillo.
17Coptic church music. The liturgical music of the Christians living in Egypt. Cf. GD, suppl. vol., 178f.
19Copula [L.]. In 13th-century polyphony (organum, conductus), a short cadential passage in quick notes through the descending scale [for examples see under *Harmony, Ex. 3; also AdHM i, 224, passage marked (d)]. Walter Odington [CS i, 247] also describes a similar type of copula in two or three parts [for an example cf. ApNPM, facs. 48, passage (i)]. As a "species of organum" [Joh. de Garlandia, CS i, 114 and 175; Franco, ibid., 133], copula designates a style midway between the free organal style and the strict discant style. See also *Cauda.
21COPYRIGHT
23Copyright, Musical. I. The Constitution of the United States gives Congress the power to "promote the progress of science and useful arts by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries." [Art. I, Sec. 8.] In 1790 the first copyright act of the United States received the approval of the President. Several general revisions and numerous amendments were enacted within the next century. The Act of 1831 granted a musical copyright but only within narrow limits. The Act of 1897 granted for the first time the right of public performance. The present law is based on the third general revision of March 4, 1909, which went into effect on July 1, 1909. Some amendments followed, the last on September 25, 1941 [cf. Solberg, Copyright Miscellany (1939), nos. 5 and 15; and United States Code Annotated, Title 17, "Copyright" (1927), with Cumulative Annual Pocket Part of November, 1941].
25II. This Copyright Act of 1909 prescribes the following formalities: (1) Publication with the prescribed notice of copyright (Copyright 19 by ). Such notice shall be affixed to each copy published or offered for sale in the United States [Secs. 9 and 18], and in the case of a musical work the notice shall be applied either upon its title page or the first page of music [Sec. 19].
27(2) Promptly thereafter two complete copies of the best edition shall be deposited in the Copyright Office (one copy in case the author is a citizen of a foreign country and the work has been published with proper notice of copyright in a foreign country), accompanied by an appropriate application and the statutory fee of $2.00.
29(3) "No action or proceeding shall be
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