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Scan 199
Harvard Dictionary Of Music(1950), 1950
33 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1COPYRIGHT
2copyright on substantially the same basis as to its own citizens or copyright protection substantially equal to American law. In this case the existence of reciprocal conditions is determined by a proclamation of the President of the United States [Sec. 8k].
4Numerous proclamations of this kind have been issued: (a) Proclamations already issued before the last general revision of 1909. As a matter of course they could only consider the former legal status and the limited legal protection as existing before 1909. The law of 1909 introduced decisive reforms, particularly within the realm of musical copyright [cf. supra III]. Therefore supplementary proclamation had to be issued in order to guarantee the reciprocity under the new law (thus: Austria, Belgium, Chile, Cuba, Denmark, France, Germany, Great Britain and her possessions, Italy, Netherlands and possessions, Norway, Spain, Switzerland);
6(b) Some countries asked for the guarantee of reciprocity only under the Act of 1909. The proclamations issued according to these requests included: Luxembourg, Tunis, New Zealand, Australia and the territories of Papua and Norfolk, Canada, Union of South Africa, Poland, Czechoslovakia, Rumania, Finland, Irish Free State, Greece, Palestine except Transjordania, Free City of Danzig, Argentine (about Sweden cf. Solberg, Misc., No. 15, p. 32);
8(c) Some states do not enjoy the reciprocity of the law of 1909: China, Japan, which are governed by prior treaty.
10(Minute details about these international relations are to be found in the United States Code, Title 17, historical notes to 8 and Annotated Pocket Part 1941, p. 17, as well as in Copyright Protection throughout the World edited by the United States Department of Commerce, Bureau of Foreign and Domestic Commerce.)
12Lit.: Herbert A. Howell, The Copyright Law (1942); R. C. deWolfe, An Outline of Copyright Law (1925); A. Shafter, Musical Copyright (1939); St. P. Ladas, The International Protection of Literary and Artistic Property, 2 vols. (1938); R. C. deWolfe, "Copyright in Music" (Music Library Association, Notes, December, 1943). H. A.
14Cor [F.]. (French) horn. Cor anglais, English horn; cor à pistons, valve horn; cor de basset, basset horn; cor de chasse, hunting horn; cor des alpes, alphorn; cor d'harmonie, valve horn; cor simple, natural horn. For more details see under *Horn I, II.
16Coranto [It.]. See under *Courante.
18Corda [It.]; corde [F.]. String. In piano compositions, una corda (abbr. u. c.) calls for the use of the left pedal (soft pedal) by which the entire keyboard is moved a little to the right so that the hammers strike only one string, instead of two or three. This muting effect is canceled by tutte le corde (t. c.) or tre corde. In the slow movement of his Sonata op. [address hidden] demands the almost impossible finesse: poco a poco due e poi tre corde ("gradually two and three strings"). Corde à vide, corde à jour, corda vuota mean open string (of the violin).
20Corelli clash. See under *Cadence II [Ex. 24].
22Coriolanus Overture. Beethoven's op. 62 (1807), an orchestral composition written as an overture to a play by H. J. Collins.
24Cori spezzati [It.]. The "separated" and alternating choruses of the Venetian *polychoral style.
26Corista [It.]. Orchestral pitch; tuning fork. C. di camera, chamber pitch.
28Cornamusa [It.]; Cornemuse [F.]. See *Bagpipe.
30Cornet [F. cornet-à-pistons; G. Kornett; It. cornetto]. See *Brass instruments III. Not to be confused with the *cornett. See the illustrations on p. 97 and on p. 98.
32Cornett [F. cornet-à-bouquin; G. Zink; It. cornetto]. A 15th/16th-century instrument in the form of a straight or
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