Books › Harvard Dictionary Of Music(1950), 1950 › scan 208
Scan 208
Harvard Dictionary Of Music(1950), 1950
38 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1CROSS RHYTHM
3Considering the corrective power of strongly marked voice progressions, it is not surprising to find ample use of cross-relation in earlier, contrapuntal music. The compositions of Byrd, Gibbons, Frescobaldi contain many interesting examples [Ex. 5, 6], also of what might be called, somewhat antithetically, "vertical cross-relation," i.e., the simultaneous sounding of the two chromatic tones [Ex. 7; other examples under *Musica ficta]. In modern harmonic style cross-relations are, of course, very frequent, the impression of "falsity" diminishing with the growing disintegration of the harmonic system of the 19th century.
5Cross rhythm. See *Polyrhythm.
7Crot. See *Crwth.
9Crotales [F.]. Castanets. See *Cymbals.
11Crotalum [L.]. A rattle (castanets?) used in ancient Egypt, Greece, and Rome.
13Crotchet. See *Notes.
15Crouth, Crowd, Cruit. See *Crwth.
17Crucifixus. A section of the *Credo of the *Mass. In mass compositions it frequently appears as a separate movement.
19Crwth. A bowed stringed instrument of the ancient Celtic nations, conspicuous by its rectangular shape which is strongly reminiscent of the Greek *kithara. The oldest illustrations (11th century) show the instrument without a finger board, thus indicating that it originally was a harp (frame harp). Later, a finger board was added by which it became an early member of the violin family [see ill. on p. 823; also GD, pl. 31 and 87]. The instrument was still used in Wales in the early years of the 19th century. It is also known under the Anglicized form crowd and under the Irish names crot and cruít. A medieval Latin name, used in the 11th to the 14th centuries, is chorus [cf. SaRM, 80]. The medieval form, without finger board, is usually called rottá, rotte. The chrotta, mentioned by Venantius Fortunatus (6th century), was probably not a lyre but a harp [cf. SaHMI, 262]. Cf. N. Bessaraboff, Ancient European Musical Instruments (1941), pp. 314ff.
21C.s. Abbreviation for It. colla sinistra, i.e., with the left hand.
23Csardas. See *Czardas.
25C sol fa ut. See *Hexachord III.
27Cuba. The island of Cuba is interesting as the breeding place for various dances of mixed Spanish and Negro origin, such as the *Bolero, *Conga, *Habanera, *Guarache, *Rumba.
29Lit.: I. Castellanos, Instrumentos musicales de los afrocubanos (Havana, 1927); H. Cowell, "The 'sones' of Cuba" (MM viii); E. Grenet, Música popular cubana (Havana, 1939); J. Molina y Ramos, La Historia y desenvolvimiento del arte musical en Cuba (Havana, 1924); F. Ortiz, "Afro-Cuban Music" (Quarterly Journal of Inter-American Relations i); S. Ramírez, La Habana Artística (Havana, 1891); A. Salazar, "El Movimiento Africanista en la Música de arte Cubana" (Estudios Afrocubanos ii); E. Sánchez de Fuentes, Consideraciones sobre la Música Cubana (Havana, 1936). See also general bibliography under *Latin American music.
31Cue. In orchestral parts including a long rest, a short passage taken from another leading instrument and printed in small characters, in order to warn the player of the entry of his part.
33Cueca (or Zamacueca). The most popular dance of Chile. It is a couple dance symbolizing a hen and a cock, and all the dancing gestures as well as the animating words of the bystanders agree with this symbol. Cf. P. Garrido, Biografia de la Cueca (Santiago, 1943); H. Allende, "Chilean Folk Music" (Bulletin of the Pan American Union ix, 917ff).
35Cuivre [F., copper]. Instruments de cuivre or, simply, les cuivres are the brass instruments of the orchestra. Cuivré calls for a forced, harsh tone in the playing, especially of the horn [see *Horn I].
37Currende [from L. currendo canere, i.e., street singing]. In the 16th and 17th
The computer misreads some letters and numbers. Where a name matters to you, read the scan.