Scan 171
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
40 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1D
3D. See PITCH NAMES
5Dabtarā. Ethiopian lay church singers and readers. See ETHIOPIAN RITE, MUSIC OF THE
7Daça, Esteban. See DAZA, ESTEBAN
9Da capo (It. 'from the head') An instruction, commonly abbreviated D.C., placed at the end of the second (or other later) section of a piece or movement, indicating that there is to be a recapitulation of the whole or part of the first section. The word 'fine' (end) or a pause sign marks the point at which the recapitulation ends. If the recapitulation is to start later than the beginning the starting-point is marked with a special sign and the end of the second section is marked 'dal segno' (D S, 'from the sign'). The principle of recapitulation, which may be summarized by the formula ABA, was observed by composers before the sign 'da capo' was used as a way of avoiding the labour of writing out the first section again. The term is nowadays used equally as an adjective (a 'da capo section') or a noun (the 'da capo of the first section').
11Examples on a small scale from Monteverdi are the madrigal Si ch'io vorrei morire (1603), the shepherd's recitative at the opening of Act 1 of Orfeo, and the aria 'Lieto cammino' sung by Telemachus in Act 2 of Il ritorno d'Ulisse. The da capo aria became the standard form in the cantata and the opera seria of the late Baroque period (see ARIA); it was generally understood that the repeated section would be ornamented. The form was also used by analogy in Baroque instrumental music, for example in the first movement of Bach's Violin Concerto in E. Sometimes sets of variations (e.g. Bach's Goldberg Variations) had a da capo of the theme at the end. In the Classical symphony 'da capo' was regularly indicated after the trio of a minuet or scherzo. It was traditional to omit internal repetitions when recapitulating the first (or main) section, but composers sometimes made sure of this by writing 'D.C. senza ripetizione'. If a coda was to follow the recapitulation this was indicated by 'D.C. e poi la coda'. The scherzo of Beethoven's Third Symphony is one of the first examples of a recapitulation (with modifications) written out in full.
13JACK WESTRUP
15D'Accone, Frank A(nthony) (b Somerville, Mass., 13 June 1931). American musicologist. He received BMus and MMus degrees from Boston University, where his teachers included Geringer and Gardner Read. At Harvard University he took the MA in 1955 and PhD in 1960, studying with Nino Pirrotta, A. Tillman Merritt and Walter Piston. From 1960 to 1968 he was on the faculty of the State University of New York at Buffalo. In 1968 he was appointed professor of music at the University of California at Los Angeles, and during the academic year 1972-3 he was a visiting professor at Yale University.
17D'Accone is primarily interested in Florentine music of the 14th, 15th and 16th centuries. His seven-volume edition of this music for the American Institute of Musicology constitutes a major source for students of the period. His articles in scholarly journals have covered a wide variety of topics, ranging from individual composers, such as Isaac and Pisano, to the musical activity in specific institutions, such as S Giovanni and the Baptistry. These writings combine to give a broad view of the musical scene in Renaissance Florence.
19WRITINGS
20'The Singers of San Giovanni in Florence during the 16th Century', JAMS, xvi (1961), 307-58
21'Bernardo Pisano: an Introduction to his Life and Works', MD, xvii (1963), 115
22'Henrich Isaac in Florence: New and Unpublished Documents', MQ, xlv (1963), 464
23'Antonio Squarcialupi alla luce di documenti inediti', Chigiana, xxiii/3 (1966), 3
24'The Intavolatura di M Alamanno Atolli', MD, xx (1966), 151
25'Alessandro Coppini and Bartolomeo degli Organi: two Florentine Composers of the Renaissance', AnMc, no 4 (1967), 38-76
26'Bernardo Pisano and the Early Madrigal', IMSR, x Ljubljana 1967, 96
27'Giovanni Mazzuoli: a Late Representative of the Italian Ars Nova', L'arsnova italiana del trecento: convegni di studi 1961-1967 (Certaldo, 1968), 23
28'I e compagnie dei laudesi in Firenze durante l'Ars Nova', L'ars nova italiana del trecento II Certaldo 1969, 253
29'Some Neglected Composers in the Florentine Chapels, ca 1475-1525', Viator, i (1970), 263
30'Music and Musicians at the Florentine Monastery of Santa Trinita 1360-1363', Quadrivium, xii (1971), 131
31'The Musical Chapels at the Florentine Cathedral and Baptistry during the First Half of the 16th Century', JAMS, xxiv (1971), 1-50
32'The Performance of Sacred Music in Italy during Josquin's Time, ca 1475-1525', Josquin des Prez New York 1971, 601
33'Transitional Text Forms and Settings in an Early 16th-century Florentine Manuscript', Words and Music: the Scholar's View in Honor of A Tillman Merritt (Cambridge, Mass., 1972), 29-58
34'Matteo Rampollini and his Petrarchan Canzone Cycles', MD, xxvii (1973), 65-106
35'Music and Musicians at Santa Maria del Fiore in the Early Quattrocento', Scritti in onore di Luigi Ronga (Milan and Naples, 1973), 99
36'Alcune note sulle compagnie fiorentine dei laudesi durante il quattrocento', RIM, x (1975), 86-114
38EDITIONS
39Music of the Florentine Renaissance, CMM, xxxii (1966-73)
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