Scan 134
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
44 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Cusins, William one of two readings
3(no line here) one of two readings
4The main features of the dance are these: a man (or woman, if she initiates the proceedings) dances round the room holding a cushion (or sometimes a handkerchief) which he places before a chosen member of the opposite sex. She kneels on it and they kiss, she takes the cushion and the two dance hand-in-hand round the room. She in the same way chooses a man and the three dance in a ring. The action is repeated until all, men and women alternately, have been drawn into the ring. The process is then reversed, and one by one they leave the ring. A theatrical relic of this is the Pillow Dance in the Lavrovsky version (1940) of Prokofiev's Romeo and Juliet.
6The dance has not survived in England or on the Scottish mainland, but with certain modifications and accompanied by various tunes it is, or was until recently, performed in the Hebrides, Newfoundland and Tristan da Cunha.
8BIBLIOGRAPHY
9W Chappell Popular Music of the Olden Time (London, 1855 9), 153ff
10M Karpeles 'A Report on Visits to the Tristan da Cunha Islanders', JEFDS, ix (1962), 162
11J F and T M Flett Traditional Dancing in Scotland (London, 1964)
12M Karpeles Folk Songs from Newfoundland (London, 1971)
13MAUD KARPEL FS
15Cusins, Sir William (George) (b London, 14 Oct 1833, d Remouchamps, 31 Aug 1893). English pianist, organist, violinist and composer. He was a chorister at the Chapel Royal, and after studying at the Brussels Conservatory won a King's Scholarship at the RAM in 1847. He first appeared in public as a solo pianist in 1849 and was in that year appointed organist at Queen Victoria's private chapel; at about the same time he joined the orchestra of the Royal Italian Opera. In 1851 he became associate professor at the RAM, and in 1867 succeeded Sterndale Bennett as conductor of the Philharmonic Society, a post he held until 1883. During 1885 Cusins accepted a professorship at the GSM, and conducted the London Select Choir. He was nominated Master of Music to the queen in 1870 and was knighted in 1892, resigning his court appointment in 1893. His work in the sphere of music education included examining at Queen's College (London) and (jointly with John Hullah and Otto Goldschmidt) for scholarships of the National Training School. He travelled widely, and played at concerts in Germany. In 1867 he conducted the first performance of Sterndale Bennett's Woman of Samaria at the Birmingham Festival. His own compositions include an oratorio, cantatas, concert overtures, and concertos for violin and for piano, he produced editions of piano works by Schumann, and also edited a collection of songs to words by Tennyson. His brief monograph Handel's Messiah an Examination of the Original and some of the Contemporary MSS (London, 1874) is a scholarly study of Handel's vocal and instrumental resources, described by William C. Smith as 'an important foundation pamphlet' (A Handelian's Notebook (London, 1965), p. 54).
17E. D MACKLE-RNFSS
19Custodio, Bernardino (Feliciano) (b Manila, 20 May 1911). Filipino composer, conductor and pianist. After a four-year scholarship under Lippay, he graduated from the Conservatory of the University of the Philippines in 1932 and then taught theory and the piano at that institution. In 1959 he took the MA at the University of Santo Tomas and travelled to the USA on a Smith-Mundt grant. He was director of the University of Santo Tomas Conservatory (1957-61), associate conductor of the Manila SO for several years, and a member of the executive board of the National Music Council of the Philippines. Most of his compositions, written in a late-Romantic style, were burnt during World War II, notable among his works were the Malayan Suite for orchestra (1936), songs and chamber pieces on Philippine themes
21LUCRFCIA R KASILAG
23Custos (Lat.) DIRECT
25Cutell [Cotell], Richard (fl 14th century). English theorist. He may have been the minor canon of St Paul's Cathedral, London, in 1394 5. The content of Cutell's short treatise and the matter surrounding it in the MS place his activity in the 14th century. It is found in GB-Ob Bod 842, f 48r-48v, headed 'Opinio Ricardi Cutell de London'. Apart from a quite conventional description of the sights, or transpositions, and consonances proper to discant, and of the three degrees of discant, mene, treble, quareble, the work is undistinguished. In keeping with the new proscription arising in the 14th century, Cutell forbade parallel perfect consonances of the same kind, and endorsed parallel imperfect consonances. He also stated that on perfect intervals, the solmization syllable fa must go with fa, and mi with mi, a stricter form of the usual rule prohibiting fa against mi on perfect consonances.
27See also DISCANT and KNYT
29BIBLIOGRAPHY
30M I Bukolzer Geschichte des englischen Diskants und des Fauxbourdon nach den theoretischen Quellen (Strasbourg, 1936), 47ff, 141ff
31For further bibliography ENGLAND, BIBLIOGRAPHY OF MUSIC TO 1600
33ANDREW HUGHES
35Cuti, Donato Antonio. Italian composer, uncle of MICHELE DILIPARI
37Cutner, Solomon. See SOLOMON
39Cut time (It tagliato) A name for the proportio dupla of the system of PROPORTIONS of the late Middle Ages and Renaissance. It was frequently indicated by writing a stroke through one of the traditional mensuration signs ('cutting' the time), so that, for instance, C became C, and O became O. The effect was to diminish the relative value of each note shape in the ratio 2:1.
41Cutting, Francis (fl 1583 c1603) English lutenist and composer. The only document known to contain a reference to him is the poor rate book of the parish of St Clement Dane, London, where a 'Frauncis Cutting' was rated at 4d in 1583, 1588 and 1589. The fact that so little is known of him, although he was one of the most distinguished 16th-century English lute composers, would accord with his having been a gentleman, living quietly, outside the circle of musicians directly connected with the court. He may have come from East Anglia, where his surname is more common than in other parts of the country.
43The style of his music suggests an early date of composition, and it is notable that many of his pieces appear in early sources: 11 in Barley's A New Booke of Tablature (London, 1596), 16 in GB-Cu Dd.ii.11 (the
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