Scan 36
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
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1position), and upon professional orchestrators for their final presentation. Inevitably this limited his capacity for large-scale musical organization, but this deficiency is more than offset by outstanding melodic gifts and a very fresh way of handling the harmonic and rhythmic clichés of popular music. The waltz and military march are obvious influences, as are music-hall songs and the operettas of Gilbert and Sullivan. The best Coward tunes are closely wedded to their words and match verbal dexterity with unexpected turns of phrase which, though never compromising the instantly memorable melodic shape, lift them out of the ordinary. Their intrinsic worth is such that they have withstood many varied and often inappropriate kinds of arrangement and orchestration. A latterday Gilbert and Sullivan, he is the only English composer able to stand on equal terms with his great American contemporaries in this field. His songs epitomize their period.
3WORKS
4(only those including music)
5London Calling [with R. Jeans and P. Braham] revue 1923, On with the Dance [with P. Braham], revue 1925, This Year of Grace revue 1928, Bittersweet operetta 1929, Cavalcade play with music 1931, Words and Music revue 1932, Conversation Piece operetta 1934, Operette operetta, 1938, Set to Music revue 1939, Sigh no more revue, 1945, Pacific 1860 musical, 1946, Ace of Clubs musical 1950, After the Ball musical 1954, London Morning ballet 1950, Sail Away musical 1961, The Girl who came to Supper musical 1963, The Grand Tour [arr. H. Kay] ballet 1971
7Principal publisher Chappell
9WRITINGS
10Present Indicative (London 1937)
11The Noel Coward Song Book (London 1953) [51 songs and notes]
12Future Indefinite (London 1954)
14BIBLIOGRAPHY
15S. Morley A Talent to Amuse (London 1969)
16C. Castle Noel (London 1972)
17C. Lesley The Life of Noel Coward (London 1976)
18MICHAEL HURD
20Cowbells (Fr. sonnette, cloches à vache, Ger. Kuhglocke, Kuhschelle, It. cencerro) Clapper bells suspended from the necks of cows and other herd animals. They are of great antiquity and continue in various forms (1) those made by folding and riveting or otherwise joining metal plates, (2) wooden bells, (3) cast campaniform bronze bells. The metal variety includes a number of well-known shapes, the open end varying from rectangular to oval, and the height frequently greater than the diameter. Wooden specimens take spectacular shapes and large proportions, e.g. the Javanese gregroemboengan with a width of 76.2 cm.
22Cowbells are particularly associated with the Alps where, in addition to the tintinnabulation of small bells, the deeper sound of the large bell worn by the champion milk-yielder can be heard. Sounds of this description are captured in orchestral works, notably Mahler's Sixth Symphony (Heerdenglocken to be shaken intermittently) and Richard Strauss's Alpensinfonie. A small clapperless cowbell is specified by Constant Lambert in Rio Grande.
24A chromatic series of cowbells has entered the percussion section of the orchestra. In Peter Schat's Signalement (1961) a compass of three and a half octaves is required. Messiaen wrote for three groups of tuned cowbells in Et exsspecto resurrectionem (1964). A series of five is specified in Beno's Circles (1960). Clapperless cowbells form important accoutrements in Latin American dance orchestras and Western rhythm bands.
26JAMES BLADES
28Cowboy song. A type of song describing cowboys and their life. Such songs began to appear in popular newspapers, magazines and songbooks in the late 19th century, they later became increasingly romanticized. They are in a simple, sentimental style and are normally accompanied by guitar or accordion. The first significant collections were N. H. Thorp's Songs of the Cowboy (1908) and J. A. Tomax's Cowboy Songs and other Frontier Ballads (1910, rev. enlarged 2/1938/ R1965). The union of cowboy song and COUNTRY MUSIC came after 1934, when Gene Autry (b Tioga, Texas, 1907) began his career as a singing cowboy in Hollywood films. He inspired many country singers and others to take up the style, popularized such songs as Back in the saddle again and Riding down the canyon, and did much to implant the romantic image of the cowboy in country music.
30BILI C MAIONI
32Cowell, Henry (Dixon) (b Menlo Park, Calif., 11 March 1897, d Shady, NY, 10 Dec 1965) American composer, pianist and writer on music. His enthusiasm, experimental open-mindedness and energetic activity did much during the first part of the 20th century to promote novel techniques and the ramifications of his prophetic compositional discoveries have continued to permeate European and American musical practice.
34I. Life The son of an Irish immigrant father and a native mother, he was born in a tiny cottage in the California foothills which was to be his home until 1936. He began violin lessons at the age of five, and for three years his parents encouraged him towards a career as a child prodigy, but the strain was too much for his health. Lessons were ordered to be stopped, and he decided to become a composer. His father drifted away in 1902 and his parents were divorced the following year. Cowell and his mother spent the years 1907-10 visiting relatives in Iowa, Kansas and Oklahoma, while his mother also pursued a professional writing career in Des Moines and New York until her death in 1916. It was in New York in 1908 that Cowell wrote his first piece, a long monodic setting of Longfellow's Golden Legend. It remained unfinished, and survives only as the second theme of the piano piece Antinomia (1914). one of two readings
35I. Life. The son of an Irish immigrant father and a native mother, he was born in a tiny cottage in the California foothills which was to be his home until 1936. He began violin lessons at the age of five, and for three years his parents encouraged him towards a career as a child prodigy, but the strain was too much for his health. Lessons were ordered to be stopped, and he decided to become a composer. His father drifted away in 1902 and his parents were divorced the following year. Cowell and his mother spent the years 1907-10 visiting relatives in Iowa, Kansas and Oklahoma, while his mother also pursued a professional writing career in Des Moines and New York until her death in 1916. It was in New York in 1908 that Cowell wrote his first piece, a long monodic setting of Longfellow's Golden Legend. It remained unfinished, and survives only as the second theme of the piano piece Antinomia (1914). one of two readings
37Returning to California in 1910, Cowell bought his first piano with money earned from odd jobs. He studied with various local piano teachers and composed constantly, still unencumbered by systematic training in composition or, indeed, by any formal schooling. Encouraged by his parents' educational philosophy of complete freedom and by the traditional Californian attitude of independent thinking, he readily accepted as valid musical material the many sounds around him. Important and lasting influences were the sounds of nature and the noises of man, his mother's Midwestern folk tunes and the oriental musical cultures of the San Francisco Bay area. Cowell owed his lifelong interest in Irish songs and dances not to his father, who was not musical, but to Midwestern relatives of Irish descent and to the poet John Varian, who had become a father figure to the composer. Varian's versions of Irish legend inspired such characteristic early pieces as The Tides of Manaunam (1912). To portray the immense waves set in motion by the Irish god, Cowell played huge clusters in the low register of the piano, first with the hand, then with the entire forearm. Above this was a sweeping
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