Scan 37
The New Encyclopedia Of Music And Musicians, 1929
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1Cassation. A term used in the 18th century for an instrumental piece in several movements, more or less like the serenata or divertimento. G.
3The word properly implies a going out (as into the open air) or a farewell. As one or more of the movements are often marches, the word may be related to cassa (drum). It has also been referred to the German Gasse, as if it meant 'street-music.'
5Castanets. Pairs of small clappers of bone ivory or wood, made with rings so as to be slipped over the thumb and fingers and clicked or snapped together in the rhythm of dance or song. G.
7The term comes from their resemblance to an opened chestnut-bur or shell. Their use is characteristic of Spain and southern Italy.
9Castrato. An adult male singer whose boy's voice has been made permanent by the surgical operation of castration; also evirato or musico.
11Artificial male sopranos and altos were somewhat frequent from the 17th century and in the 18th several of the most famous operatic singers were of this class.
13Catch. A 3- or 4-part round or canon for similar voices, originally written out as a single continuous melody, each successive singer 'catching' his entrance at the proper point. Later various droll effects became common, like puns and unexpected words produced by the juxtaposition of the parts. G.
15Catches and rounds were popular in England from 1600 onward and the singing of them is still common in conjunction with glee and part-songs.
17See also Scotch Catch.
19Caters. In English bell-ringing, the name for changes rung on nine bells. G.
21Catgut. The common name of the material from which the strings of many instruments (like the violin, the harp, etc.) are made; see under String.
23Cavalquet. A trumpet-piece used by cavalry when traversing a town.
25Cavatina (diminutive of cavata, a song). A song or aria, less elaborate than the full aria and in one part or section, though sometimes extended to da capo arias of moderate extent. Occasionally used for a song-like instrumental piece or movement. G.
27Cebell. A term used by early English writers for a dance or set of variations resembling the gavotte. G.
29Cécilium. A free-reed instrument, invented by De Crousard of Paris about 1865. It was shaped like a 'cello, but played by means of a keyboard (left hand) and a bellows-handle like a bow (right hand). Its compass was about 5 octaves.
31Celesta. A keyboard-instrument, invented by Auguste Mustel of Paris in 1886, having steel-strips over resonance-boxes in place of strings and a hammer-action like a piano. It has been much used by French composers, as also in operas or ballets by Tchaikovsky, Puccini, Mahler, Rich Strauss, etc. G.
33'Cello. Common abbreviation for violoncello.
35Cellone. An instrument of the violin-family intermediate in range and tone between the 'cello and the double-bass, the accordatura being g3-d2-a2-e2. It was devised by Alfred Stelzner of Dresden about 1895 as a companion of his violotta (q. v.).
37Cembalo. See Dulcimer. Also an abbreviation for clavicembalo (harpsichord); see the words. Combalist was long the usual name for a harpsichordist, especially in the 18th-century orchestra, and was later used for pianists. The combal d'amour was a form of clavichord, invented by G. Silbermann early in the 18th century, having tangents striking the strings in the middle, so that both halves vibrated. G.
39Cento. A medley of pieces from various sources; see Pasticcio.
41Cervalas. See Racket.
43Chaconne. See Dances. G.
45Chair-Organ. See choir-organ under Organ. G.
47Chalumeau. See Shawm and Clarinet. Also the chanter of the bagpipe. G.
49The term is applied to instruments with single and with double reeds, related respectively to the clarinet and the oboe.
51Chamber-Music. In general, music suited to a private room or a small hall; opposed at first to music performed in a church or an opera-house. Hence came terms like cantata da camera, madrigale da camera and sonata da camera, which were not only essentially secular and designed for few voices or instruments, but apt to have a somewhat distinct form. Also extended to all music produced in a private way under a patron. Hence the titles for various court-directors (as, in France, Maître de la Musique de la Chambre du Roi) or for singers or players retained or nominated (as, in Germany, Kammermusiker, Kammersänger and Kammerkomponist).
53In modern usage, music for a small number of soloists or, especially, for a group of instrumentalists like a string-trio, quartet or other ensemble, with or without the piano. Though equally applicable to many forms of vocal music, the term is not usually so extended. G.
55Any group of such chamber-musicians may be called a chamber-ensemble, though usually designated as a trio, quartet, quintet, etc.
57Concert-pitch was early called chamber-pitch (Kamerton) because first defined in chamber-music.
59Chamber-organ and chamber-piano are terms somewhat used for relatively small instruments.
61Change. In harmony, same as modulation. In the voice, same as mutation. In English bell-ringing, the general name for any order used in ringing a chime other than the direct order of pitch. G.
63Change-ringing consists in varying the order systematically according to some principle. Three bells are capable of 6 changes, six bells of 720, etc. Changes on four bells are called singles, on five doubles, on six minor, on seven triples, on eight major, on nine caters (quaters), on ten royal, on eleven cinques and on twelve maximus.
65One who helps in ringing a chime or peal is called a change ringer.
67Changing-Chord, Changing-Note. In harmony, a chord or note under an accent that is dissonant and requires resolution; also called nota cambiata or cambita.
69Chanson. A song or ballad, usually for a single voice and often with a refrain, but also ex-
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