Scan 140
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
31 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Cybernetics. See PSYCHOLOGY OF MUSIC, §I, 5(11).
3Cybot [Cibot, Cirot], Noel (d Paris, Aug 1556). French composer, singer and organist. He came from Limoges and was appointed a singer in the Sainte-Chapelle, Paris, on 9 August 1522. In 1543 he was still resident there, having been elevated to the position of chapelin perpetuelle, and also acted as organist. One of Attangnant's volumes (RISM 1530*) includes two courtly four-voice pieces by him in the generally homophonic manner of Sermisy. Two more pieces, rustic anecdotes set in the livelier syllabic contrapuntal style of Jancquin and Passereau, figure in another Attangnant volume (1535*), ascribed to 'Cirot'. A collection of Magnificat settings published by Attangnant (1534*) opens with one by Cybot composed in the polyphonic style of the post-Josquin period (ed. A. Smijers and A. T. Merritt, Treize livres de motets parus par Pierre Attangnant en 1534 et 1535, v. Monaco, 1960)
5BIBLIOGRAPHY
6M. Brenet, Les musiciens de la Sainte-Chapelle du Palais (Paris, 1910/R1973)
7FRANK DOBBINS
9Cybulski, Izydor Józef (b 2nd half of the 18th century; d ?Warsaw, 1st half of the 19th century). Polish composer and music engraver. The first date known in his life is 22 November 1802, when as a priest he delivered a sermon in the Augustinian church in Warsaw on the influence of music on the human mind and soul. In 1803 he worked in Elsner's music engraving workshop, but from 1805 to 1817 he ran one of his own, which in 1817 published Chopin's first composition, the Polonaise in G minor. In 1809 he organized and directed a school of organists in Warsaw. Cybulski's compositions include a Polish mass to a text by F. Węzk (1805, manuscript in PL-CZp), 8 variations pour le clavecin (Warsaw, n.d.), Polonaise in Bb (Warsaw, n.d.) and Trois polonaises pour le clavecin ou pianoforte (Warsaw, 1805-6)
11BIBLIOGRAPHY
12A. Nowak-Romanowicz Józef Elsner (Krakow, 1957)
13M. Prokopowicz 'Z działalności warszawskich księgarzy i wydawców muzycznych w latach 1800-1831' [The work of music sellers and engravers in Warsaw in the years 1800-31], Szkoła o kulturze muzycznej XIX w., ed. Z. Chechlińska (Warsaw, 1971), 33
14ALINA NOWAK-ROMANOWICZ
16Cyclic form. Music wherein a later movement reintroduces thematic material of an earlier movement is said to be in 'cyclic form'. In its strict meaning such music returns at its end to the point whence it set out at the beginning, in the manner of the song 'There's a hole in my bucket', to produce an endlessly rotating cycle, but in practice the simplest examples have been works like Haydn's Symphony no.31 in D (Hornsignal), Beethoven's Serenade op.8, Brahms's Third Symphony and Elgar's Second Symphony, whose finales all close with the material of the beginning of the work. More generally the term 'cyclic' describes those works where thematic links bind more than one movement, it is not properly applied to mere thematic resemblances. Examples may be found in many instrumental sonatas, suites and canzonas of the early 17th century (see VARIATIONS, §§4, 5) and can be cited in a large number of sacred works, like Bach's B minor Mass and Mozart's Mass in C K317. But they are rare (except in Boccherini's music) in the 18th century. Beethoven (An die ferne Geliebte, Piano Sonata in A op.101), Schubert (Piano Trio in Eb; Fantasie in C for violin and piano) and Berlioz (Symphonie fantastique) laid the foundations on which Mendelssohn, Schumann, Liszt and Franck elevated cyclic principles to great importance, associated with the widespread application of THEMATIC TRANSFORMATION and the desire for greater continuity between separate movements, all methods of establishing a tighter cohesion in multi-movement forms. Since the 19th century cyclic form has been adopted as a regular stock-in-trade of musical structure
18HUGH MACDONALD
20Cyera, Ippolito [Hippolito]. See CHI RA, IPPOLITO
22Cymbale (Fr.) An ORGAN STOP (Zimbel)
24Cymbalon [cymbalum] (Hung.) DULCIMER
26Cymbals (from Gk kymbos, Fr cymbales, Ger. Becken, Schellbecken, Tellern, It. piatti, cimelli) Instruments of percussion, normally of indefinite pitch. The modern orchestral cymbals are a pair of large round plates of metal (an alloy of c80% copper and 20% tin), the exact constituents and processing of which are the makers' secrets. The highest-quality cymbals are said to contain pure silver. Present manufacturers include the long-established and world-famous ZILDJIAN family with branches in Turkey and the USA, M M Paiste & Sohn of Switzerland, the Premier Drum Co of England, and the Italian firm of Zanchi; their combined output amounts to several thousands yearly.
28To meet present-day requirements in the orchestra and in jazz where they are integral instruments, cymbals are made in many sizes and grades of sound. Diameters (edge to edge) range from 30 cm to 65 cm, a decided contrast with the cymbals of the ancients which are known to have been considerably smaller. For standard orchestral purposes, cymbals measuring 40-50 cm in diameter are used, the desired tonal qualities being brilliance, resonance and a multiplicity of overtones. In general, orchestral cymbals are 'paired' with a slight difference in pitch. The finest-quality cymbals are cast.
301. Modern orchestral cymbals by Avedis Zildjian
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