after Richard Charteris, the cataloguer of music by Giovanni Gabrieli (1557-1612)
after Luciano Ciappari, the cataloguer of music by Franz Liszt (1811-1886)
C
in music written for the guitar, bar chords (barre chords, barré chords) are usually signified by a large C followed by the Roman numeral representing the fret where the player places his or her index finger
common time, the time signature 4/4 or
if a single vertical line lies through the C it indicates alla breve or alla cappella time
if a double vertical line lies through the C it indicates alla breve (that is, 4/2) (this sign is now obsolete)
abbreviation of Celsius (after Anders Celsius), which is the same as 'centigrade', a temperature scale on which the freezing point of water is 0°, and the boiling point of water is 100° under normal atmospheric pressure
abbreviation of canto or cantus
C, c
(English, German n.) the first note (or tonic) in the scale of C major: in 'fixed do' solfeggio the note called do, doh or ut
C
the third of three sections in ternary form, i.e. the C section
C
a system of envelope sizes
C0
917 x 1297 mm
C1
648 x 917 mm
C2
458 x 648 mm
C3
324 x 458 mm
C4
229 x 324 mm
C5
162 x 229 mm
C6
114 x 162 mm
C7/6
81 x 162 mm
C7
81 x 114 mm
C8
57 x 81 mm
C9
40 x 57 mm
C10
28 x 40 mm
DL
110 x 220 mm
C
in music theory, designates the C-major triad
c
in music theory, designates the c-minor triad
_ c
one-lined c, or middle c, using the 'so-called' German method for distinguishing different octaves (the same notation is applied to the six diatonic notes above c which are treated as lying in the same octave). Notes successively an octave higher have an addition horizontal line or stroke above them and are called two-lined, three-lined, and so on (again applied to the c and the six diatonic notes in each octave immediately above it)
c.
abbreviation of circa (Latin: about)
c.a.
abbreviated form of coll'arco
ca
abbreviated form of circa
ça
(French) it, that, this
Cabaca
(English) cabaça
Cabaça
or afuche, looks like a wooden spool with metal beads wound around it. It has a wooden handle and is played by twisting it in the air, striking it on the palm, or rotating the beads back and forth in the palm
Cabacete
type of war hat popular in fifteenth century Europe with a turned-down brim which was drawn up to a point in the front and rear with an almond-shaped skull
Cabales
a special kind of flamenco siguiriyas
Cabaletta
(Italian f., from cobola meaning 'couplet') of cabbaletta, in nineteenth-century Italian opera, a short aria in rondo form, the last section of an operatic duet. Initially, a simple animated operatic aria, then, finally, the fast concluding section of an operatic aria that brings an act to an end, requiring great accuracy and control
a method of embedding hidden messages in music, by using a code of numbers based on which notes are used, their durations, arrangement, subdivision, etc., whereby the composer made symbolic referrence to specific persons, places, or things and/or events in some way associated with the music
Caballo
(Spanish, literally 'horse') often written a caballo, in Afro-Latin music it is used to describe a rhythmic accompaniment that resembles in feel the trotting of a horse; also used to describe the rhythmic accompaniment to the Pachanga style
Cabane
(French f.) hut, shed
Cabanon
(French m.) hut, cottage
Cabaret
(French m., literally 'tavern') a form of entertainment featuring comedy, song, dance, and theatre, distinguished mainly by the performance venue — a restaurant or nightclub with a stage for performances and the audience sitting around the tables (often dining or drinking) watching the performance. The venue itself can also be called a cabaret
a form of entertainment based on the ballad opera of eighteenth-century England, the most famous example being Dreigroschenoper (1928), composed by Kurt Weill (1900-1950) with its libretto drawn from a book written by Bertolt Brecht (1898-1956)
Cabaret (song)
a form of nightclub entertainment fashionable between the 1880s and the 1930s, particularly in Paris and Berlin. In Germany, cabaret songs could be satirical, erotic or sentimental and later took on a strongly political slant
Fernando Ortiz counted the presence of over one hundred different African ethnic groups in nineteenth-century Cuba, and estimated that by the end of that century fourteen distinct "nations" had preserved their identity in the mutual aid associations and social clubs known as cabildos, societies of free and enslaved blacks from the same African 'nation', which later included their Cuban-born descendants. Soon after Emancipation in 1886, cabildos were required to adopt the name of a Catholic patron saint, to register with local church authorities and when dissolved, to transfer their property to the Catholic Church. The cabildos not only preserved specific African practices, their members also creatively reunited and resynthesized many regional African traditions, some, as in the case of the Yoruba, long separated by migration and war
(English, French m.) a small, private room where works of art, valuables and curiosities were kept and contemplated at leisure; over time the term was used for the collections themselves. Renaissance cabinets played an important role in the development of museums and art galleries
Cabinet de toilette
(French m.) toilet
Cabinet d'orgue
(French m.) an organ case, a barrel-organ
Cabinet organ
see 'reed organ'
the term is used also for a pipe organ in which the pipes are housed within a organ box which has doors on the front, as in a cabinet. Some call this tpe of organ a bureau-organ [additional entry prompted by Michael Zapf]
(French m.) a private room, particularly one provided temporarily for a man and his mistress
Cabinet pianoforte
(French m.) an upright piano standing about 6 ft. tall, larger than a cottage pianoforte or the pianino
Cabinet style
a piano or organ without a keyboard
Cabine-teléphonique
(French m.) phone-booth, phone-box
Cabiscola
(Latin) a precentor, or choir leader (obsolete term)
Câble
(French m.) cable, rope (cord)
Câble avec prise
(French m.) cable with plug
câbler
(French) to cable
Cabo (de áudio)
(Portuguese) cable, lead
Cabochon
(French) a precious stone smoothed and polished but not cut into facets, a moulding with a smooth convex surface surrounded by ornamentation
cabosser
(French) to dent
Cabotage
(French m.) coastal navigation
Caboteur
(French m.) coaster
Cabotin (m.), Cabotine (f.)
(French) ham (actor/actress), play-actor (figurative)
Cabotinage
(French m.) ham acting, play-acting (figurative)
Cabreta
(French) bagpipe from Auverne
Cabrette
(French) bagpipe from Auverne
Cabri
(French m.) kid
Cabriole
(French f.) somersault, caper
(French f.) a form of curved leg frequently used in eighteenth-century furniture and sometimes found too on harpsichords of the period
(France f.) in dance, an allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, etc. In addition there is the double cabriole in which one leg strikes the other in the air two or more times before landing
Cabriole from which this information has been taken
Cabriolet
(French m.) a light two-wheeled one-horse vehicle with a large hood and an apron, a motor-car constructed with a sliding glass partition between the passengers (in the back) and the driver (in the front)
(Italian f., literally 'chase' or 'hunt') usually describing an animated scene, the caccia flourished in Italy between 1345 and 1370. Written for two equal voices in canon, the Italian version added a supportive instrumental part
a trill 'on a single note', in other words a repeated note, described in Giulio Caccini's Le Nuove Musiche, Florence, I Marescotti 1601
Cachalot
(French m.) sperm whale
Cache
(French m.) mask, lens cover (camera), a hiding place, a hidden store set up for later use
Cache-cache
(French m.) hide-an-seek (game)
Cachemire
(French m.) cashmere
Cache-misère
(French m.) any concealing garment (for example, a hat that conceals the hair)
cacher
(French) hide, conceal
cacher à
(French) hide from, conceal from
Cache-sexe
(French m.) a garment like a G-string, designed to be minimal while preserving decency
Cachet
(French m.) fee (artist's)
(French m.) postmark (particularly a special impression made with a rubber-stamp on a first-flight envelope in addition to the normal postal markings), seal, tablet
(French m.) style (figurative), a 'certain something'
an unpalatable medicine enclosed in a soluble casing or capsule
cacheter
(French) seal
cache-torchons
(French m.) a receptacle, usually kept out of sight, for storing cleaning-rags, etc.
Cachette
(French f.) hiding-place
Cachimbo
one of the three güiros, or shakers, called the caja, mula and cachimbo, or the caja, dos golpes and salidor that feature in the music of Santería
one of the three conga drums, named, like the guïros mentioned above, caja, mula and cachimbo or caja, dos golpes and salidor
Cach-nez
(French m.) scarf
Cacho
a güiro-like instrument from El Salvador, made from an animal horn
Cachot
(French m.) dungeon
Cachotteries
(French f. pl.) secrecy
cachottier (m.), cachottière (f.)
(French) secretive
Cachou
(Portuguese, cachu, from the Malay) a fragrant lozenge used by smokers and others to sweeten the breath
Cachucha
(Spanish) first created in Cuba in 1803, it is considered a Spanish dance. The Cachucha was danced in the U.S. at the White House. Fanny Essler (1810-1884), who introduced the Cachucha to the public in the ballets The Lady of the Lake (1812) and later in Le Diable boiteux (the Lame Devil) in 1836 which established its popularity, was so popular that the Congress decided it would not convene when she was dancing. Sometimes, the Cachucha is erroneously spelled Catchucha
a graceful Spanish dance from the southern region of Andalusia, in triple meter, related to the fandango and not unlike the bolero
Cachucha from which this information has been taken
Cacodaemon
(Greek) an evil spirit, an evil genius
Cacoethes loquendi
(Latin) an irresistible desire to talk
Cacoethes scribendi
(Latin) an irresistible desire to write
Cacofonia
(Italian f.) cacophony
cacofonico
(Italian) cacophonous
Cacophonie
(French f.) cacophony
cacophonique
(French) cacophonous, discordant, dissonant
Cacophony
discordant or dissonant sound, poor intonation
Cactus
(English, French m.) plant with a thick fleshy stem, usually spines, and no leaves, often found in near-desert surroundings
cad.
abbreviated form of cadenza
cada dos por tres
(Spanish) every five minutes
cada quisque
(Spanish) everybody, absolutely everybody
cadavérique
(French) deathly pale
Cadavre
(French m.) corpse
Caddie
(French m.) trolley
Cadeau (s.), Cadeaux (pl.)
(French m.) present, gift
Cadenas
(French m.) padlock
Cadenas
(Spanish f. pl.) chains
in flamenco, a footwork combination in triplets - first the golpe of one foot, then the heel of the other foot then finally returning to the first foot
(English, French f.) in her article entitled Cadence in Music, Catherine Schmidt-Jones writes about those things that produce a feeling of cadence:
harmony
in most Western and Western-influenced music (including jazz and "world" musics), harmony is by far the most important signal of cadence. The most fundamental "rule" of the major-minor harmony system is that music ends on the tonic. A tonal piece of music will almost certainly end on the tonic, although individual phrases or sections may end on a different chord (the dominant is a popular choice). But again, you cannot just throw in a tonic chord and expect it to sound like an ending; the music must "lead up to" the ending and make it feel inevitable (just as a good story makes the ending feel inevitable, even if it's a surprise). So the term cadence, in tonal music, usually refers to the ending chord plus the chord or two immediately before it that led up to it. There are lots of different terms for the most common tonal cadences; you will find the most common terms below. Some (but not all) modal musics also use harmony to indicate cadence
melody
in the major/minor tradition, the melody will normally end on some note of the tonic chord triad, and a melody ending on the tonic will give a stronger (more final-sounding) cadence than one ending on the third or fifth of the chord. In some modal musics, the melody plays the most important role in the cadence. Like a scale, each mode also has a home note, where the melody is expected to end. A mode often also has a formula that the melody usually uses to arrive at the ending note. For example, it may be typical of one mode to go to the final note from the note one whole tone below it; whereas in another mode the penultimate note may be a minor third above the final note. (Or a mode may have more than one possible melodic cadence, or its typical cadence may be more complex.)
rhythm
changes in the rhythm, a break or pause in the rhythm, or a slowing of or pause in the harmonic rhythm are also often found at a cadence
texture
changes in the texture of the music also often accompany a cadence. For example, the music may momentarily switch from harmony to unison or from counterpoint to a simpler block-chord homophony
form
since cadences mark off phrases and sections, form and cadence are very closely connected, and the overall architecture of a piece of music will often indicate where the next cadence is going to be - every eight measures for a certain type of dance, for example. (When you listen to a piece of music, you actually expect and listen for these regularly-spaced cadences, at least subconsciously.)
a progression of chords at the end of, or at the end of a section in a musical work - terminology here is inconsistent both within England and the U.S., as it is between the two:
perfect cadence authentic cadence full close final cadence full close cadence complete cadence whole cadence cadenza perfetta (Italian) authentische Kadenz (German) vollkommene Kadenz (German) Ganzschluss (German) cadence parfaite (French) cadence ouverte (French) cadence pleine (French) cadéncía perfecta (Spanish) some do not consider a cadence to be completely perfect unless the melody ends on the tonic and both chords are in root position
authentic
for example, V-»I
true plagal church cadence amen cadence Greek cadence complete cadence
authentic
for example, IV-»I
plagal cadence cadenza plagale (Italian) plagale Kadenz (German) cadence plagale (French) cadéncía plagal (Spanish) see note below about 'half' and 'half-close'
authentic
for example, I-»IV-»I
mixed cadence there are two other uses made of this term, both superfluous, as the cadences can be better described using terms elsewhere in this table
authentic
the sequence, V-»VI-»V-»I
imperfect cadence dominant cadence half close cadence half cadence half close semi-cadence demi-cadence false cadence cadenza imperfetta (Italian) Halbschluss (German) cadence suspendue (French) demi-cadence (French) cadence à la dominante (French) cadence irrégulière (French) cadéncía imperfecta (Spanish) 'half close' and 'half' are sometimes applied to 'plagal' cadences which are authentic but in which the chord is not in root position, or the melody does not end on the tonic
cadence containing altered dominant or tonic, so that the dominant-tonic function is often camouflaged in standard chords to which additional notes have been added or from which notes have been deleted
inverted cadence
applies to perfect or imperfect cadences where, in either case, the final chord is inverted, i.e. not in root position
medial cadence
(from 'medial' meaning 'middle') an inconclusive cadence commonly marking the end of the first musical section in a multi-sectional piece. The term may be applied to any cadence where the penultimate chord is inverted
radical cadence
any cadence where the chords are in root position, i.e. the roots of each chord are in the bass
suspended cadence
a cadence held on a penultimate chord (often the second inversion of the tonic chord) while a cadenza is performed by the soloist at the end of which the cadential progression (i.e. two further chords) is completed
third-relationship cadence
a cadence that results from a harmonic progression in which the roots lie a 3rd apart
masculine cadence
a cadence in which the final chord occurs on an accented beat
although it is usual for the final chord of a cadence to fall on an accented beat, sometimes it can be effective when the final chord is placed on an unaccented beat, often midway through a bar. Such a cadence is called a feminine (perfect, interrupted, etc.) cadence. The feminine cadence is the preference in Romantic music (for example, Beethoven, in his late-period works or as a typical feature of the Polonaise)
Michael Zapf writes: generally, in German, Klausel means the ending of a single voice, and Kadenz the one of several voices, without necessarily implying a harmonic approach. This rule is not universally adhered to, however
in medieval music theory, a cadence is a point where all of the voices of a multipart counterpoint come together making a close to a particular musical phrase. At this point, the voices sound a perfect consonance on the strong beat. In two voice writing, this is almost always a unison or an octave. If there are three or more voices, one voice may take a third or a fifth to the bass note. It is possible for two voices in a composition to cadence while the others continue moving, although at the final cadence all voices sound the final harmony of the piece together. From this, it can be seen that there are two species of cadence: the final cadence and the interior cadence. The rules are slightly different for the two types of cadence. Cadences normally proceed from a major sixth to an octave or from a minor third to a unison. This is often proceeded by a syncopated dissonance, which resolves to the sixth or third which then proceeds to the octave or unison by contrary motion. In the major sixth to octave cadence, usually the lower voice descends by a tone and the upper voice ascends by a semitone (except in the Phrygian cadence, where the two voices are reversed). In the minor third to unison (or minor tenth to octave) cadence, usually the lower voice ascends by a semitone and the upper descends by a tone (except in the Phrygian cadence)
in the middle ages and the renaissance, cadences were thought of contrapuntally rather than harmonically
a third-to-unison chord sequence would be expressed in terms of two voices moving together so that the interval between them changes from a third to a unison
a third-to-fifth chord sequence would be expressed in terms of two voices moving apart so that the interval between them changes from a third to a fifth
a dominant-to-tonic chord sequence would be expressed in terms of two voices moving together so that the interval between them changes from a sixth to an octave
named after Francesco Landini (1325-1397) who made extensive use of this technique, Landini's version of the typical Medieval sixth-to-octave cadence, uses an escape tone in the upper voice to briefly narrow the interval to a perfect fifth before the octave. For example, the top line might add an ornamental note a third beneath the cadential pitch before both voices expand outward to an octave; the top voice might approach a C cadence with the pitches B-A-C (over the lower voice's descent from D to C)
parallel cadence Parallelkadenz (German f.)
doubling of the upwardly moving voice by a second voice a fourth below (Unterquart (German f.)) [entry provided by Michael Zapf]
parallel cadence with tritone Parallelkadenz mit Tritonus (German f.)
a parallel cadence in which the paenultima of the middle voice is not raised, which results in a tritone with the upper voice [entry provided by Michael Zapf]
double leading note cadence Doppelleittonkadenz (German f.)
a parallel cadence in which the middle voice reaches the ultima by a semitone [entry provided by Michael Zapf]
"cadences are to melodies what periods and commas are to speech" - Furetière (1690)
(French f.) cadenza
(French f.) shake, trill
"[French] singing masters say that cadence is a natural gift that permits one to trill delicately. The two notes making up the cadence [trill] should be executed in the throat, one after the other, and the same on the harpsichord, by striking the two keys of the trill" - Furetière (1690)
(French f.) a turn (as given in Wilhelm Friedemann Bach's Clavier-Büchlein (1720))
(French f.) the term is used in speech to indicate the harmonious conclusion of a period [a long and rather complex sentence] or part of a period
(French f.) in dancing, the term refers to the fall of the body's motion, for example, to dance en cadence (literally 'in cadence')
(French f.) "cadence also means observing the mesures [in the sense of the downbeat that create the over-arching phrasing] used in dancing, when the steps and the motion of the body follow the notes and the mesures of the instruments; and so the cadence is the end of a temps or a mesure [in the sense of a phrase]. Thus one says "be in cadence", en cadence, or "out of cadence," to mean following or not following the mouvements [in the sense of rhythm] of the violin, the oboe, the song, etc. It is also said of the mesure that should be observed in oratory, in order to make it sound pleasing to the ear." - Furetière (1690)
(French f.) cadence also means the way dancers' steps must conform to the mesure stressed by the instrument. But I would like to point out that this cadence is not always beaten in the way the mesure [time] is beaten. Thus music masters beat the menuet with a downbeat at the beginning of each measure, while the dancing master only beats one every two measures, because that is how long it takes to perform the four steps of a menuet." - Rousseau (1768)
Ranums' Panat Times
from which the comments by Furetière and Rousseau have been taken
cadencé (m.), cadencée (f.)
(French) rhythmic, rhythmical
Cadence à la dominante
see demi-cadence
Cadence boucle
(French f.) turnaround, turnback
Cadence brisée
(French f.) an abrupt shake, which begins with the upper auxiliary note
Cadence call
Marschgesang (German m.), also called 'Jody calls' or simply 'jodies', cadence calls are songs sung by soldiers, for example when marching, designed to build motivation and esprit de corps
(French f.) or cadence italienne, the cadential progression IV-»I-»V-»I, although there are variations particularly in regard to the choice of the first chord in the sequence
cadenceé (m.), cadenceée (f.)
(French) cadenced (in the sense of 'rhythmic')
"Music that is written to fit dance motions must be more cadencé, that is, not only should the beat be more marked and make itself felt more clearly than usual, but the symmetry of the even-numbered measures must be more strictly observed. When the dance has a specific ambiance [caractère], such as pantomimed ballets, the music should conform to it. When there is no determined ambiance to the dance, as in contradanses, menuets, allemandes, and so forth, the music should assume and maintain an ambiance that is gay, playful or majestic, in sum, the one deemed the most appropriate for it." - Mercadier de Balesta (1776)
Ranums' Panat Times
from which the comment by Mercadier de Balesta has been taken
Cadence évitée
(French f., literally 'avoided cadence') or cadence rompue, a dissonant chord followed by another dissonant chord rather than the expected consonant triad
Cadence finale
(French f.) final cadence
Cadence harmonique
(French f.) harmonic cadence
Cadence imparfaite
(French f.) imperfect cadence
Cadence interrompue
(French f.) interrupted or delayed cadence
Cadence irrégulière
(French f.) synonymous with cadence imparfaite
Cadence italienne
(French f.) or cadence complète, the cadential progression IV-»I-»V-»I, although there are variations particularly in regard to the choice of the first chord in the sequence
Cadence-lypso
a genre developed in the 1970s, the first style of Dominican music to find international acclaim, eventually becoming a part of styles like zouk
a shake which is preceded by the upper auxiliary note as a long appoggiatura
Cadence rampa
a variety of music from the Caribbean country of Haiti
Cadence rompue
(French f.) also cadence évitée or cadence trompeuse, 'broken' or deceptive cadence
Cadence suspendue
(French f.) imperfect cadence or half-close, delayed cadence
Cadence trompeuse
see cadence rompue
Cadéncía
(Spanish f.) cadence
Cadência
(Portugual) cadence
Cadéncía armónica
(Spanish f.) harmonic cadence
Cadéncía imperfecta
(Spanish f.) imperfect cadence
Cadéncía perfecta
(Spanish f.) perfect cadence
Cadéncía plagal
(Spanish f.) plagal cadence
Cadéncía rota
(Spanish f.) interrupted cadence
cadens
(Dutch) cadence
Cadential decorations
embellishments of cadences, similar to graces and passaggi but which should be considered separately because, in the 15th and 16th-centuries, cadences were generally decorated even when other sections of the piece were not
Cadential extension
Kadenzerweiterung (German f.), erweiterte Kadenz (German f.), the prolongation (post-cadential extension) or delay (pre-cadential extension) of a cadence by the addition of material beyond (i.e. before or after) the point at which the cadence is expected [German terms provided by Michael Zapf]
Cadential 6/4
kadenzierender Quartsextakkord (German m.), Vorhaltsquartsextakkord (German m.), often at cadences, the root position dominant is preceded by a chord that has the same bass note as the dominant, but contains the notes of the tonic triad. Since the chord contains the notes of the tonic, it seems logical to label the chord I6/4. However, this label implies that the chord is somehow functioning as a tonic. Unfortunately, while the label may appear to classify the chord, it obscures the actual harmony and the function of the sixth and fourth above the dominant bass. The purpose of the sixth and fourth above the bass is to embellish and therefore intensify the dominant harmony. The fourth is a suspension that delays the entrance of the leading tone over the dominant bass. The fifth can also be delayed by suspending the sixth above the bass. The double suspension produces an apparent tonic chord in second inversion, but the underlying harmony is still V. Consequently, the apparent tonic triad is simply the product of voice leading motions, and therefore does not serve any tonic function. In fact, the cadential 6/4 produces an interesting reversal. Since scale degree 1 produces the interval of a perfect fourth above the dominant bass, scale degree 1 is a dissonance requiring resolution rather than a stable goal of motion. The leading tone, scale degree 7, becomes the note of resolution and the goal of motion. The notation V6/4-5/3 captures the double suspension function over a dominant harmony [German terms provided by Michael Zapf]
(Spanish, Italian) cadence (French), Kadenz (German f.), Schluss (German m.)
(Italian f.) cadence
(Italian f.) originally a vocal flourish extemporized at a cadence by the performer (until the time of Verdi all opera cadenzas were improvised), later also featured in instrumental performance, nowadays a cadenza is that part of a concerto shortly before the end when the soloist plays alone to demonstrate their virtuosity. At the close of the cadenza, the soloist falls silent and the orchestra completes the movement. Cadenzas may have be written out by the composer or they might have been written by a noted performer as with Joachim's cadenza for the Brahms Violin Concerto. Nowadays, few performers improvise their own cadenza nor these days is room left in the score where a cadenza might be inserted. Operatic cadenzas generally began from a second inversion, tonic chord and finished on the dominant followed by the tonic
(Italian f.) interrupted, avoided or broken cadence
Cadenza sospesa
(Italian f.) suspended or delayed cadence
cadenzato
(Italian) cadenced, rhythmic
ça dépasse l'entendement
(French) it defies one's understanding
Cadet (m.), Cadette (f.)
(French) youngest (of many children), younger (of two children)
cadet (m.), cadette (f.)
(French) youngest (of many), younger (of two)
Ca din tulnic
(Romania) a unique type of doina in which the melody resembles that played by a type of bugle called the tulnic
Cadit quaestio
(Latin, literally 'the question lapses') there is nothing left to discuss (figurative)
Cadran
(French m.) dial
Cadran solaire
(French m.) sundial
Cadre
(French m./f.) executive (person)
Cadre
(French m.) (picture) frame, surroundings, scope (limitations)
(French m.) framework (context), a minimum establishment of key men
Cadres, les
(French m./f. pl.) the managerial staff
cadrer avec
(French) tally with, centre (photograph)
caduc (m.), caduque (f.)
(French) obsolete
Caduceus (s.), Caducei (pl.)
(Latin, from the Greek) the staff of office of a Greek or Roman herald
Caecilianism
see 'cecilianism'
Caecilianismus
(German m.) cecilianism, caecilianism
cael
abbreviation of caelavit (Latin: engraved)
caelavit
(Latin) (he or she) engraved (it) (always accompanied by a name and appended to an engraving)
caer de bruces
(Spanish) fall flat on one's face
caer en desgracia
(Spanish) fall from favour
caer en desuso
(Spanish) become obsolete
caerse la baba
(Spanish) be delighted
Caestura
(Latin) synonymous with caesura
Caestus
(Latin) a Roman boxing glove loaded with lead or iron
Caesura (s.), Caesurae (pl.)
(Latin, literally, a 'cut' or 'cutting') a term derived from poetry, caesura is a break or pause somewhere in the middle of a verse, usually a pause for breath. Some lines have strong (easily recognizable) caesurae, which usually coincide with punctuation in the line, while others have weak ones
in music, the term is applied to a double line // placed on the top line of the staff, where the music may pause a little. Also called fetura, 'tramlines', or 'railroad tracks'
a term applied to the comma or a small 'v' placed in a part written for a singer or wind player showing where a breath is expected
the slight holding up of the metre in a Viennese waltz
caetera desunt
(Latin, literally 'the rest is lacking') or cetera desunt, an indication that the remainder of a manuscript, etc. is not extant
caeteris paribus
(Latin) or ceteris paribus, other things being equal
çà et là
(French) here and there
Cafard
(French m.) cockroach
depression, often accompanied by nostalgia
cafarder
(French) tell tales
Café
(French m.) coffee, coffee-house (place where soft drinks and food may be purchased)
Café aman
(French m.) in the Eastern Mediterranean, a musical café found throughout the Eastern Mediterranean, where amané songs were sung
Café au lait
(French m.) coffee with hot milk, a light brown colour
Café cantante
(Spain m.) flowering in the late 1800s, a coffee house which featured flamenco shows
Café chantant (s.), Cafés chantants (pl.)
(French m.) a type of musical establishment associated with the belle époque in France, originally an outdoor café where small groups of performers performed popular music for the public
(French m.) in the Eastern Mediterranean, a music café in which lighter 'European' music would be performed
Café-chantant from which the first entry has been taken
Café-concert
(French m.) a café providing live music, a music-hall
Café filtre
(French m.) a cup of coffee made by allowing hot water to filter down through a detachable vessel containing ground coffee
Caféine
(French f.) caffeine (principal active ingredient in coffee)
Café littéraire
(French m.) a café patronised by men of letters
Café noir
(French m.) black coffee (coffee without milk)
Café organ
a small to medium-sized dance organ
Cafetière
(French f.) coffee-pot
caffouiller
(French) bumble, flounder
Caftan
(Turkish kaftan) an Oriental garment consisting of a long tunic with a girdle at the waist
Cafurna
a rhythm of the Fulni-o Indians of Brazil, with which they tell stories about their ancestors
Cage
(English, French f.) container used to secure animals, etc.
(French f.) well (stair), shaft (lift)
Cageot
(French m.) crate
Cage The Bird
one of the figures unique to, or traditionally associated with, square dancing
(French f.) kitty, the percentage of the stakes retained by the proprietor of the gaming-room
Cagoule
(French f.) a hood, a cowl
Cahier
(French m.) notebook (for example, the technical notebook of a writer or artist), exercise-book, part or section of a book, issue, number (of a magazine or journal)
Cahot
(French m.) bump, jolt
cahoter
(French) bump, jolt
cahoteux (m.), cahoteuse (f.)
(French) bumpy
Ca hue
(Vietnam) Hue-style song from Vietnam
Caiambe
see kayamb
Caïd
(French m.) big shot
Caille
(French f.) quail
Cailleach
(Irish) an old hag (usually abusive)
Caillot
(French m.) (blood) clot
Caillou
(French m.) stone, pebble
caillouteux (m.), caillouteuse (f.)
(French) stony
Cailloutis
(French m.) gravel
Caïque
(French, from the Turkish) a light rowing boat, Levantine sailing-vessel
Ça ira
(French) it'll be fine (the phrase taken from a popular song composed in 1789 by Ladré: Ah, ça ira, ça ira, ça ira!)
(French) translated also as 'there is hope', an opera in three acts by Roger Waters to a French libretto by Étienne Roda-Gil and his wife Nadine, based on the historical subject of the French Revolution
(French f.) side drum, usually rather long in the body
Caisse sourde
(French f.) tenor drum
Caissier (m.), Caissière (f.)
(French) cashier
Caius Choirbook
important collection of religious music from Renaissance England that is believe to seems to have been produced at Arundel, Sussex, in the late 1520s, and presented by the then Master of Arundel College, Edward Higgons (d.1538), to the collegiate chapel of St Stephen in Westminster, where Higgons was a canon from 1517. Many of the composers represented in this collection feature also in the Lambeth Choirbook
Caixa
(Portuguese) box, snare drum
Caixa acústica
(Portuguese) cabinet, as for example the speaker cabinet of an amplification system
Caixa clara
(Portuguese) side drum
Caixa de guerra
(Portuguese, literally 'snare drum of war') in a samba bateria this small drum gives character to the samba. It's played with two sticks, and has two cords [snares] across the drumhead that gives it a distinctive tone. Although it sets the tempo, unike the larger surdos it can also decorate the rhythm line with flourishes. Some players hold the drum at waist level, playing it with two hands, while others place the caixa higher, using one hand as a support and the other free. It also features in maracatu nação (also known as maracatu de baque virado) an Afro-Brazilian performance genre
Caixeta
Portuguese or Brazilian wood block
Caja
(Spanish f.) snare drum of Spain and Spanish America
in vallenato, a small drum held between the knees and played with bare hands
one of the three güiros, or shakers, called the caja, mula and cachimbo, or the caja, dos golpes and salidor that feature in the music of Santería
one of the three conga drums, named, like the guïros mentioned above, caja, mula and cachimbo or caja, dos golpes and salidor
(Spanish f.) box, cash desk, coffin, casket, crate, case, bank, housing, casing, case (of a piano), body (of a violin), case (typography)
Caja alta
(Spanish f.) upper case (typography)
Caja armónica
(Spanish f.) sound body, sound box (of a violin)
Caja baja
(Spanish f.) lower case (typography)
Caja china
(Spanish f.) wood block
Caja clara
(Spanish f.) snare drum, caisse claire (French)
Caja craneana
(Spanish f.) cranium, skull
Caja de colores
(Spanish f.) paintbox
Caja de empalmes
(Spanish f.) junction box (electricity)
Caja de música
(Spanish f.) music box, musical box, boîte à musique (French)
Caja de órgano
(Spanish f.) organ case, buffet d'orgue (French)
Caja redoblante
(Spanish f.) a snare drum from Galicia, a shallow drum which has metallic strings lying across one face that when the drum is struck vibrate. Older instruments used old gut or guitar strings. It is played with two sticks and usually accompanies the dulzainas or bagpipes. In some regions it was called the tambora, in contrast to the lower sounding tamboril
Caja rodante
(Spanish f.) tenor drum
Cajeta
(Spanish, Central America) sweet or biscuit box
Cajista
(Spanish m./f.) typesetter
Cajita
a small trapezoidal box from Peru. The lid is opened and closed with one hand, while the other hand hits the box with a wooden stick
percussionist Freddy "Huevito" Lobatón playing the cajita
(Spanish m.) resonant wooden crates of various sizes (originally, to box and transport cod), used to play early forms of rumba and also in flamenco performances
they are still used today by folkloric ensembles:
Peru
used singly
Cuba
used in sets of three, the largest cajón called the salidor, the mid-sized one the tres-dos and the smallest the quinto
the first instrument widely used by Cajuns was the fiddle; from Acadian times it provided accompaniment for dancing at bals de maison (house parties). It was common for one fiddler to play the melody while another provided rhythmic accompaniment (called bassing or seconding). The fiddle style of this time was relatively delicate and complex, using many old French melodies
a term that some use for the 'Cajun One Step' while others consider it a kind of 'Jitterbug'
Cajun music
although it is doubtful whether today's Cajun culture is all that similar to the present French-Canadian culture, Cajun music draws from a large body of French-Canadian folk song that developed in Nova Scotia (or Acadia) before 1750. Some undoubtedly had their roots in France, particularly in Normandy, but many of them originated in Acadia and, like so many other folk songs in other folk cultures, most were sung without accompaniment. The Acadians had an instrumental tradition built around the violin, or fiddle, which was played at dances and weddings and probably even at wakes and could have been inherited from the Scotch-Irish communities who for a time shared Nova Scotia with the French. The expulsion, in the 1750s, of the Acadians from Nova Scotia by the British significantly reduced French influence in Nova Scotia. A great number of the Acadians immigrated to Louisiana bringing with them their French folk songs and their fiddles. Cajun music began with the fiddle. The Acadians-turned-Cajuns kept the instrument of their forebears and adapted it to their needs. In the early days when "country dances" at homes throughout the region were popular, two fiddles, one playing melody, and the other, harmony, were the only accompaniment. Nearly a century later an influx of German farmers brought the accordion but the accordion was rarely played with the fiddle until after 1900. Little is known about when the triangle came into use in the Cajun band or where it came from. It served as a percussion instrument and kept time for both the fiddle and the accordion. Today, the simple triangle continues to be an important part of the Cajun band. The guitar, first heard on early gramophone records, brought with it country and western music, which was to have a definite impact on Cajun music. The guitar was as portable as the accordion and fiddle and added a bass line to the music
also called 'Cajun jig' or 'Cajun One-Step', a fast folk dance in 4/4, danced by couples who move in a counter-clockwise direction around the floor, with the man moving forward. The term 'two-step' is also applied to the songs that accompany these dance-steps
a strutting duple meter, 2/4, dance including high steps and lively movement, which originated in the nineteenth century with the slaves on the plantations of the southern states of America, in imitation of the mannerisms of the plantation owners. The name is said to derive from a prize cake offered to the most innovative dancers
(West Africa) dried hollow shell of a gourd, used as a rattle; large dried hollow shell of a gourd, used as a bass drum
Calabaza
(Spanish f.) pumpkin, gourd, dolt (familiar)
Calada
(Spanish f.) a drag (smoking), a puff (smoking)
Calado
(Spanish m.) emboidery, depth (of the sea)
calado (m.), calada (f.)
(Spanish) soaked, emboidery
Calador
(Spanish, Spanish American) borer, probe
cala il sipario
(Italian) the curtain falls
Calambre
(Spanish m.) (electric) shock, cramp (spasm)
Calamidad
(Spanish f.) calamity, disaster
Calamité
(French f.) calamity
calamitoso (m.), calamitosa (f.)
(Spanish) calamitous, disasterous
Calamus
(Latin) a reed pipe, a type of shawm
Calamus pastoralis
(Latin) or calamus tibialis, an ancient woodwind instrument with three or four fingerholes and made of reed
Calamus tibialis
see calamus pastoralis
calando
(Italian) or calante (Italian), waning, lowering, absinkend (German), en faisant descendre (French), en descendant (French)
diminuendo (softening) together with a ritardando (slowing)
Calandraco
(Spanish m., Spanish American) rag, scatterbrain
Calandre
(French f.) radiator grille
Calandria
(Spanish f.) treadmill
Calandrone
(Italian) a reed instrument with a somewhat hoarse tone
Calanque
(French f.) creek
calante
(Italian) or calando (Italian), waning, lowering, absinkend (German), en faisant descendre (French), en descendant (French)
calare
(Italian) to sing flat
Calascione
(Italian) a long neck lute-like instrument with a small body and two or three strings
Calata
(Italian) also calate or calado, a fifteenth- and sixteenth-centuries Italian dance in 3/4 time
Caláta
(Italian, mentioned in John Florio's Queen Anna's New World of Words (1611)) an abating, a descending. Also a falling note. Also a trap dore. Also a fit of mirth
calcaire
(French) chalky (soil), hard (water)
calcando
(Italian, literally 'trampling') or premendo (Italian), accelerando (Italian), pressing forward, hurrying the time, compressing the time, betonend (German), drängend (German), en comprimant (French)
Calcant
(German) bellows-treader
Calcante
(Italian) bellows-treader
calciné
(French) charred
Calcium
(French m.) calcium
Calcul
(French m.) calculation, arithmetic, calculus
Calcul biliaire
(French m.) gallstone
Calculateur
(French m.) computer, calculator
Calculatrice
(French f.) calculator
calculer
(French) calculate
Calculette
(French f.) (pocket) calculator
Calculus (s.), Calculi (pl.)
(Latin) a stone, a method of calculation used in mathematics
Caldaia
(Italian f.) shell (of a drum)
Calderium
(Latin) the hottest room in a Roman bath
Calderó
(Catalan m.) a musical symbol placed over a note or rest to be extended beyond its normal duration
Calderón
(Spanish) or corona, a musical symbol placed over a note or rest to be extended beyond its normal duration, point d'orgue (French)
Cale
(French f.) wedge, hold (of a ship)
calé
(French) clever
Calebasse
(French f.) calabash
Caleçon
(French m.) underpants, leggings
Caleçon de bain
(French m.) (bathing) trunks
Calembour
(French m.) pun
Calenda
Trinidadian drum dance
or calinga, an Afro-Cuban dance
see kalenda
Calends
(Latin) the day of the new moon and the first day of the month in the ancient Roman calendar, often a time of festive celebration
'the Greek calends' is a phrase that means 'a time that will never come', as the Greeks had no calends
Calendes
(French f. pl.) calends
Calendar
in terms of the liturgical calendar found in many religious manuscripts, a listing of the feast days and saints' days throughout the year
Calendrier
(French m.) calendar, timetable (figurative)
Calentanos
folk music of the Balsas River Basin, Mexico
Calepin
(French m.) notebook
caler
(French) wedge, stall (car)
Cales
what gypsies call themselves
Cale sèche
(French f.) dry dock
Calesera
Andalusian style with flamenco influences developed by the caleseros to entertain themselves during long treks
Calesitas
(dance) merry-go-rounds
calfeutrer
(French) stop up the cracks of
Calgia
traditional urban ensemble music from Macedonia, played by bands (calgii) with a def (tambourine) and tarabuka (hourglass drum) providing percussion for ud (lute), qanún (zither), clarinet and violin
Calibre
(English) internal size of the barrel of a gun or tube, ability, importance, quality of character (person)
(Trinidad) a stick-fighting dance which was banned because it was considered violent by the British colonial rulers
Calinga
see calenda
Caliper, Calipers
or 'calliper', an instrument used to measure the thickness or diameter of an object. It consists of a pair of movable metal or wooden arms with curved, pointed ends, hinged together, or, having a fixed and a movable arm on a graduated stock
Calipso
Venezuelan calypso music
Call
in square dancing, a 'call' is a command by a 'caller' to execute a particular dance figure
in round dancing, calls are called 'cues'
callando
(Spanish) calando
Call and response
the alternation of musical phrases between groups of musicians, whether drummers, singers or instrumentalists. Three terms have been used to distinguish between different forms of call and response:
adjacent
the response follows immediately after the call section
overlapping
the response begins before the call section has concluded
interlocking
a continuous response with a counter solo passage over it, so that the call and response are 'locked' together
or 'cuer', a person that calls or cues dance figures to be executed in square dances and round dances respectively
Callerlab
the International Association of Square Dance Callers, the largest international square dance association
Calling
profession or occupation, vocation
Calliope
steam-blown mechanical organ, with stopped flute-type usually brass pipes voiced on high pressure and intended for outdoor use. Calliopes for most of the twentieth century were air-operated, via a pump or blower, and are more properly called air calliopes
the eldest of the Muses, goddesses of music, song and dance. She was also the goddess who bestowed the gift of eloquence on kings and princes. In Classical times, when the Muses were assigned specific artistic spheres, Calliope was named the Muse of epic poetry
Calliper
or 'caliper', (as a plural) compasses for measuring diameters, (as a singlular) metal splint to support the leg
Callisthenics
exercises for fitness and grace
Callithumpian concert
a noisy serenade to a person, the object of ridicule or hostility
(Italian) fall (in the market), shrinkage (in volume), loss
calo
abbreviation of calando
Calomnie
(French f.) slander, libel (written)
calomnier
(French) slander, libel
calomnieux, calomnieuse
(French) slanderous (spoken), libellous (written)
Calore
(Italian m.) passion, warmth or animation
Calorie
(English, French f.) unit of quantity of heat, the amount needed to raise the temperature of one gram (small calorie) or one kilogram (large calorie) of water by 1 °C.
Calorifuge
(French m.) lagging (insultation)
calorifuge
(French) (heat-) insulating
caloroso
(Italian) with passion, with warmth, passionately
Calot
(French m.) forage-cap (military)
Calotte
(French f.) skullcap (religious), slap (tape)
Calque
(French m.) tracing, exact copy (figurative), a slavish imitation
calquer
(French) trace, copy (figurative)
calquer sur
(French) model on
CAlt
abbreviation of 'contralto' [entry supplied by Ed Batutis]
Calthumpian Concert
see charivari
Calumeau
a reed or pipe
Calung
(South-East Asia) bamboo tube xylophone
Calunnia
(Italian f.) slander
calunniare
(Italian) slander
Calvaire
(French m.) calvary (cross), suffering (figurative),an open-air representation pf the Crucifixion, a wayside cross
Calvarios
(Spanish m., from Calvario, 'Calvary') Spanish Easter songs
Calvitie
(French f.) baldness
Calx (s.), Calces (pl.)
(Latin) originally a product of alchemy, the powdery residue that results from the calcination of a metal, a thermal treatment process applied to ores and other solid materials in order to bring about a thermal decomposition, phase transition, or removal of a volatile fraction. The calcination process normally takes place at temperatures below the melting point of the product materials. Calcination is to be distinguished from roasting, in which more complex gas-solid reactions take place between the furnace atmosphere and the solids. Calx is also sometimes used in older texts on artist's techniques to mean calcium oxide
Calypso
calypso developed in eighteenth-century Trinidad as a fusion of African and French music, accompanied by satirical and socio-political lyrics. This Caribbean popular musical form (which became a fad in the US in the late 1950s and early 1960s) is traditionally sung by a single guitarist or by bands some consisting of a drummer, bass player, guitar player, keyboards and horns. Calypso of the major musical ancestors of many other diverse styles, including reggae, soca and rapso
a musician, usually from Trinidad, who has studied calypso and memorised its traditional tunes and stanzas. A Calypsonian composes calypsos on topical subjects. The best can sing extemporaneously, that is improvise a calypso on any subject
as calypso developed, the role of the griot (a traveling musician in West Africa) became known as a chantuelle and eventually, calypsonian
Calypsonian from which this extract has been taken
Calypso-style baila
Sri Lankan baila mixed with calypso influences
Calypso tents
venues in which calypsonians perform during the Carnival season. Originally these performances took place under tents, but they soon moved to permanent structures
Calypso tents from which this extract has been taken
Calypsotrommel
(German f.) or Stahltrommel, steel drum
calzado
(Spanish) wearing shoes
calzar
(Spanish) put shoes on
Cámara
(Spanish f.) room, royal chamber
Câmara
(Portuguese) chamber, as for example in 'chamber music'
Camarade
(French m./f.) friend, comrade (politics)
Camarade de jeu
(French m./f.) playmate
Camaraderie
(French f.) good companionship, loyalty among intimates
Camarilla
(Spanish f., 'little room') a secret group of intriguers
Cambiamento di posizione
(Italian m.) enharmonic change
Cambiamento enarmonico
(Italian) shift position (on a string instrument)
cambiante
(Spanish) variable
cambiar
(Spanish) change
Cambiare
(Italian) to change, to alter, as for example, changing one's instrument
for a string player or a timpanist, to retune their instrument
for a brass player, to change a crook
Cambiata
(English, German f., from the Italian, literally 'changed') in counterpoint, a nonharmonic tone inserted between a dissonance and its resolution
see échappée
see nota cambiata
Cambio
(Italian m., Spanish m.) exchange
Cambio della voce
(Italian m.) mutation
Cambiste
(French m./f.) foreign exchange dealer
Cambouis
(French m.) (engine) oil
Cambre
in ballet, a bend from the waist to the side or to the back
cambrer
(French) arch
Cambriolage
(French m.) burglary
cambrioler
(French) burgle
Cambrioleur (m.), Cambrioleuse (f.)
(French) burglar
Cambrure
(French f.) curve
Camée
(French m.) cameo
ça me botte
(French) I like the idea
Camelot
(French m.) street vendor
Camelote
(French f.) junk
Camena
or Camoena, one of the muses
Cameo
(Italian m.) a carving in low relief on a medium that has two layers of different colours, so that the figure is in one colour and the background in another
a small ornament carved in this way
or vignette (French), a representation in miniature (as, for example, a cameo performance, an outstanding performance given by an actor or actress who appears in only a small number of scenes in an play or film)
Camera
(Italian f.) chamber (for example, political), room, (bedroom) suite, camera (for taking photographs)
(Italian) chamber, as in 'chamber music', the term normally indicating the inclusion of dance movements, as opposed to the chiesa or 'church' style
Caméra
(French f.) camera (cinema, television)
Camera sa letto
(Italian f.) bedroom
Camera d'aria
(Italian f.) windway, air-passage
Camera lucida
(Italian f.) invented by Robert Hooke (1635-1703), a device, which operates in a normally lit room, for projecting a coloured image onto a sheet of paper on which the outline may then be traced
Caméraman
(French m.) cameraman
Camera musica
(Italian f.) chamber music
Camera obscura
(Latin, 'hidden room') an early painting (and later photographic) technique utilizing an optical pin-hole, in which a coloured image is projected onto a surface in a darkened room
Camerata
(Italian f.) dormitory
(Italian m./f.) a mate, a pal, a comrade (in politics)
(Italian m.) (Italian, meaning 'society') in the late sixteenth century, a gathering of writers and musicians who regularly met to discuss art and experiment with form. In the years prior to 1580, the gathering assembled at the residence of Giovanni de Bardi, and after 1592, at the home of Jacopo Corsi. Vincenzo Galileo, the astronomer's father, was among them. Their deliberations led directly to the rise of opera as a combination of music, drama and stage spectacle. Jacopo Peri, a musician at the Medici court and a member of the Camerata, was the composer of Dafne (1597), considered to be the first opera
Cameratismo
(Italian m.) comradeship
Cameriera
(Italian f.) maid, waitress (in a restaurant), chamber-maid, stewardess
Cameriere
(Italian m.) manservant, waiter (in a restaurant), steward
Camerino
(Italian m.) dressing-room
Camice
(Italian m.) overall (garment)
Camicetta
(Italian f.) blouse
Camicia
(Italian f.) shirt
Camicia da notte
(Italian f.) night-shirt, nightdress
Camicia di forza
(Italian f.) strait-jacket
Camilla
(Spanish f.) couch
Camino
(Italian m.) chimney, fireplace
(Spanish m.) road, path, track, way
Camino reál
(Spanish) the most successful means of achieving an end
Camion
(Italian m, French m.) lorry, truck
Camión
(Spanish m.) lorry, truck, (in Mexico) bus
Camion-citerne
(French m.) tanker
Camionero
(Spanish m.) lorry-driver
Camioneta
(Spanish f.) van
Camionetta
(Italian f.) jeep
Camionnage
(French m.) haulage
Camionnette
(French f.) van
Camionneur
(French m.) lorry driver, truck driver, haulage contractor
Camisa
(Spanish f.) shirt, skin (of a fruit)
Camisa de dormir
(Spanish f.) nightdress
Camisa de fuerza
(Spanish f.) strait-jacket
Camisería
(Spanish f.) shirt shop
Camiseta
(Spanish f.) T-shirt, vest
Camisole de force
(French f.) strait-jacket
Camisón
(Spanish m.) nightdress
Cammello
(Italian m.) camel, camel-hair
Cammeo
(Italian m.) cameo
Cammermusicus
an instrumentalist required to take part, either as a harpsichord player or as a violinist, in the small ensemble at a German court
Cammer-Thon
(German) see Cornett-Thon
Cammerton
(German) see Chor-Thon
camminando
(Italian from camminare, to walk) a flowing style, a walking pace, similar to andante
camminare
(Italian) to walk, to go, to work
camminare barcolloni
(Italian) stagger
Cammino
(Italian m.) way
Camoena
see Camena
Camomilla
(Italian f.) camomile
Camoscio
(Italian m.) chamois
Camouflage
(French m.) the disguise the appearance or purpose of something
camoufler
(French) to camouflage
Camouflet
(French m.) a puff of smoke
Camp
(French m.) camp, side (sport)
Camp (style)
the term 'camp' - normally used as an adjective, even though earliest recorded uses employed it mainly as a verb - refers to the deliberate and sophisticated use of kitsch, mawkish or corny themes and styles in art, clothing or conversation. A part of the anti-academic defense of popular culture in the sixties, camp came to academic prominence in the eighties with the widespread adoption of the Postmodern views on art and culture
Camp (style) from which this extract has been taken
(French f.) country (side), campaign (military, political)
Campagnolo (m.), Campagnola (f.)
(Italian) countryman, countrywoman
campagnolo (m.), campagnola (f.)
(Italian) pastoral, rustic, idyllic
campagnuolo (m.), campagnuola (f.)
(Italian) pastoral, rustic, idyllic
Campamento
(Spanish m.) camp
Campana (s.), Campane (pl.)
(Italian f.) bell
(Italian f., Spanish f.) the bell of a brass instrument, pavillon (French)
Campana
(Spanish f.) bell
(Spanish f.) also called the bongo bell or cencerro, the large handheld bell is played by the bongocero during the Montuno section of an arrangement in dance ensembles and mounted and played by the palito player during some rumbas
(Spanish f.) church bell, cloche d'église (French)
Campana in lastra di metallo
(Italian m.) plate bell
Campanajo
(Spanish m.) a bell-ringer, a bell-founder, a performer on the campanetta
Campana mayor
(Spanish m.) the large bell, bourdon (French)
Campanario
(Spanish m.) bell tower, belfry
Campanas
(Spanish m. pl.) bells
a musical section in a flamenco zapateado which imitates the sound of bells
Campana tubular
(Spanish m.) tubular bell
Campane
(Italian f. pl.) bells
campanear
(Spanish) to ring the bells
campanearse
(Spanish) to sway, to stagger
Campane doriche
(Italian f. pl.) Dorian bells
Campane in alto
(Italian) bell up (horn playing technique)
Campanella
(Italian f., Spanish f.) handbell, a small bell
Campanelle da messa
(Italian f., Spanish f.) Sanctus bells
Campanelli
(Italian m. pl.) glockenspiel, jeu de timbres
Campanelli a tastiera
(Italian m. pl.) keyed glockenspiel
Campanelli della messa
(Italian m. pl.) Sanctus bells (used in Church services)
Campanelli giapponese
(Italian m. pl., literally 'Japanese bells) the closest Puccini gets to using authentic instrumentation in his opera Madame Butterfly is the use of campanelli giapponese, Japanese bells, which make their appearance during the wedding scene
Campanellino
(Italian m.) a very small bell
Campanello
(Italian m.) handbell, a small bell
Campaneo
(Spanish m.) peal of bells
Campanero (m.), Campanera (f.)
(Spanish) bell-ringer, bell founder (a maker of bells)
Campanetta
(Italian) glockenspiel, a set of bells tuned diatonically and played with keys, a carillon
Campane tubolari
(Italian f. pl.) tubular bells, Röhrenglocken, tubes de cloches
Campaniform
cup-shaped, shaped like a bell
Campanile, Campanili (It. pl.)
(Italian m., French m.) a bell tower, a building generally associated with a church in which bells were hung
Campanilla
(Spanish f.) small bell (grelot (French), clochette (French), uvula, bell flower
campanillear
(Spanish) to ring the bells
Campanilleo
(Spanish m.) the ringing of the bells
Campanilleros
(Spanish) traditionally sung during religious processions which begin at dawn and are accompanied by the ringing of small bells. They are often sung and played by flamenco artists as part of their repertoire
Campanista
(Italian) a player upon the campanetta
Campanólogo (m.), Campanóloga (f.),
(Spanish) bell ringer, campanologist
Campanology
the study of bells and bell-ringing
Campanone
(Italian) a great bell
campante
(Spanish) cool, unconcerned
campanudo
(Spanish) bell-shaped, bombastic
campar
(Spanish) to wander, to roam
campar por sus respetos
(Spanish) to do as one pleases
Campbellocking
see 'locking'
campear
(Spanish) to be visible
Campechaneria
(Spanish f.) or campechania, openness, informality
campechano (m.), campechana (f.)
(Spanish) open, good-natured
Campeggiare
(Italian) when performing fifteenth-century Italian dance, the body should be slightly inclined while performing steps, a concept called campeggiare in Cornazano's treatise. Depending on the reconstruction, the dancer should either face in the same direction as the step he or she is taking or face in the opposite direction
Campement
(French m.) encampment
Campeón (m.), Campeóna (f.)
(Spanish) champion
campeón
(Spanish) champion
Campeonato
(Spanish m.) championship
camper
(French) camp, plant boldly, sketch
Campesino
(Spanish m.) peasant
campesino
(Spanish) country
Campestre
(Italian, Spanish) pastoral, rustic, idyllic
Campeur (m.), Campeuse (f.)
(French) camper
Camphor flakes
a solid, slow vaporizing fumigant for moths or larvae, often used in storing objects in a closed room or cabinet, particular useful for controlling Anthrenus museorum (bow mites)
Camphre
(French m.) camphor
Campiña
(Spanish f.) countryside
Camping
(French m., Spanish m.) camping
Camping-car
(French m.) camper-van
Camping-gaz
(French m.) a form of bottled gas used in camping for heating, cooking, etc.
Campo
(Spanish m.) country, field (figurative), (tennis) court, (football) pitch, (golf) pitch
Camposanto
(Spanish m.) cemetery
Campo santo
(Italian m.) cemetery
Campursari
Indonesian modern folk music, a fusion of dangdut, langgam and pop music
Campus
(English, French m.) grounds of a university of college
Can
(Welsh) a song
çan
from Turkey, a bell made of sheet metal, the rod-shaped clapper suspended on the inside from a ring in the handle. It is placed around the necks of sheep and goats
(Spanish f.) double reed (as on an oboe or basson)
Canaille
(French f., literally 'a pack of dogs') a rogue, the rabble, the crowd, the mob, the populace
Canal
(French) channel
Canale
(Italian m.) groove, channel
canaliser
(French) canalize (water), channel (figurative)
Canal pour l'air
(French) windway, air channel, air-passage
Canapé
(Spanish m., French m.) a high-backed sofa large enough to seat several people
(French m.) a piece of toasted or fried bread on which a savoury titbit is served
Caña rajada
slit reed used in popular Andalusian folk music
Canard
(French m.) a duck
(French m.) a rag (popular term for a lowbrow publication), an absurd story, a false report, a hoax
(French m.) a wrong note (slang)
Canari
(French m.) canary
Canarie(s)
(English, French) a very fast gigue-like dance, in triple or duple-compound meter, with a 'skipping' feel to it, believed to imitate the rhythms of the music of the Canary Islands
Canárij
(Italian, mentioned in John Florio's Queen Anna's New World of Words (1611)) a kind of people so called because they feed on dogs. Also Canarians
Canario
(Spanish, Italian) canarie
Canário
(Italian, mentioned in John Florio's Queen Anna's New World of Words (1611)) a sacrifice of a red dog, used of ancient to pacifie the dog star
Canarios
(Spanish, Italian) canaries
Canary organ
see 'bird organ'
Caña única
(Spanish) single reed (as on a clarinet or saxophone)
Canaveira
(Galicia, Spain) a cane with a slit in the middle. It is held tightly and the lower half is struck rhythmically to obtain a certain kind of clapping sound
Canboulay
in the Caribbean, Carnival had arrived with the French, but the slaves, who could not take part formed their own, parallel celebration called canboulay from where calypso emerged
Can-can
(French, cancan, 'tittle-tattle' and chahut, 'noise' or 'uproar') cancan, can can, or chahut, a boisterous Parisian quadrille-like dance in 2/4 meter, originating in the music halls of Paris in the 1830s, involving a line of high-kicking women, once considered risqué
natural sign, used to remove a previously applied accidental
also 'off', piano (Italian), afsluiter (Dutch), declan (French), declanche (French), ferme jeux (French), ab (German), ausschalten (German), to turn off a function that was previously switched on
see cancellandum
Cancellandum
(Latin) (part of) a leaf of a book for which another (a cancel) is to be substituted
Cancellare
(Italian) to erase (for example, a tape)
Cancellen
(German f. pl., archaic) Kanzellen
Cancelli
(Latin pl.) lattice-work placed before a window or a door-way
Cancer
(English, French m.) disease caused by malignant tumour(s) of body cells
cancéreux (m.), cancéreuse (f.)
(French) cancerous
cancérigène
(French) carcinogenic (cancer-causing)
Canción (s.), Canciones (pl.)
(Spanish f., literally 'song') chanson (French), a refrain song of the period between c.1450-1530
a sixteenth-century song set to Italianate poems in Castilian
a sixteenth-century arrangement of French chansons
in the Renaissance, the term was often used interchangeably with cantiga, cantar, canson, and sometimes villancico; it was related to the chanson of the Franco-Flemish school. Canción was the least specific term to cover all the popular, secular styles of vocal music of Spain at the time
Spanish song style focusing primarily on the lyrics/melody and a simple guitar accompaniment (often referred to as trova), that became one of the original components in the later development of the son style. In Spanish-language concerts and recordings, when the title of a particular song does not belong to a danceable genre (such as son in Cuba, or chacarera in Argentina), its genre is mentioned as canción
Cancioncica
(Spanish) diminutive of canción
Cancioncilla
(Spanish) diminutive of canción
Cancioncita
(Spanish) diminutive of canción
Canción de cuna
(Spanish f.) lullaby, berceuse (French)
Canción del Emperador
(Spanish f., literally 'the song of the Emperor') the title given in Spain to Josquin's chanson Mille regretz. The emperor in question was Charles V
Cancioneiro
(Portuguese) a collection of lyrics or songs. The word originated in the twelfth century
Cancionero
(Spanish m.) a songbook or collection of poetry, particular monophonic songbooks of the Iberian Middle Ages, for Spanish polyphonic songbooks in the years following 1490 (form example, Cancionero de la Sablonara is a highly selective manuscript collection of seventy-five Spanish polyphonic art-songs, composed primarily at the Spanish Court during the first quarter of the seventeenth century) and more recently for collections of Spanish and Spanish-American folksongs made in and since the nineteenth century
Cancionero Musical de la Colombina
(Spanish, literally 'Colombina Songbook') (Sevilla, Catedral Metropolitana, Biblioteca Capitular y Colombina, Ms. 7-I-28) a late fifteenth-century manuscript from Seville that by 1534 was part of the library of Ferdinand Columbus, the son of the explorer
(Spanish) (Madrid, Biblioteca Real, MS II - 1335) a Spanish manuscript, the largest and most diverse manuscript collection of music from Spain at the time of Columbus (end of 15th and beginning of 16th centuries). Most likely this manuscript was copied for King Ferdinand II of Aragon, and may represent his personal taste
(Latin, literally 'crab-wise') a tune repeated so that the original order of notes is reversed, i.e. the last note become the first, the penultimate note becomes the second, and so on until the first becomes the last, i.e. retrograde
cancrizzamente
(Italian) reversed
cancrizzante
(Italian) retrogressive
Candela
(Spanish, literally 'candle') an expression used to express the heat, brightness, and beauty of a well performed piece of music or dance
Candélabre
(French m.) candelabrum
Candeur
(French f.) naïvety
Candidat (m.), Candidate (f.)
(French) applicant (for a post), person standing for election
Candidature
(French f.) application, candidacy (politics)
candide
(French) naïve
Candidez
(Spanish f.) innocence, naïvety
candido
(Spanish) naïve
Candilejas
(Spanish f.pl.) footlights
Candle-stand
or lamp-stand, guéridon (French), torchère (French), a portable stand for a candle-stick, candelabrum or lamp
Candombé
both a rhythm and a drum-based dance of African (mainly Bantu) origin from Uruguay, the name deriving from the Bantu words ka and ndonge which together means a 'meeting of blacks'
the candombé rhythm is created by the use of three drums (tambores):
tambor chico
smallest and highest in pitch of the three tambores, its head measures 8.5 inches in diameter - it acts as the rhythmic pendulum of the cuerda, the group of three performers
tambor piano
largest and lowest in pitch of the three tambores, its head measures 16 inches in diameter - it is responsible for the rhythmic base of candombé, its rhythmic function is similar to an upright or electric bass
tambor repique
repique means 'ricochet' - its head measures 12 inches in diameter - this tambor embellishes candombé's rhythm with improvised phrases
