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Dictionary of Music - Birding America

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CC 1 One <strong>of</strong> the musical tones (see PITCH NAMES),the first note in the scales <strong>of</strong> C major and C minor. Acomposition based on one <strong>of</strong> these scales is said to bein the key <strong>of</strong> C major or C minor, the key signatures(see KEY SIGNATURE) for these keys being no sharpsor flats, and three flats, respectively. The note onehalf tone below C is C-flat or B, the note one halftone above C is C-sharp or D-flat (see ENHARMONICfor an explanation; for the location <strong>of</strong> these notes onthe piano, see KEYBOARD). 2 Two ornamented versions<strong>of</strong> the letter C are used as time signatures. Oneis the C used to indicate common or 4/4 meter. Theother has a vertical line drawn through it to indicateeither 2/2 or 4/2 meter (see the example below). 3 Anornamented version <strong>of</strong> the letter C is used to form afamily <strong>of</strong> clefs (see tenor and alto clefs, under CLEF).—C instrument An instrument that sounds at thepitch <strong>of</strong> the music written for it (in contrast to a transposinginstrument), especially one <strong>of</strong> a group such asthe trumpets, containing instruments that do notsound at the written pitch.fig. 41 p/u from p. 58cabaça (kä bä′sä) Portuguese: “gourd.” A Braziliangourd-rattle (adapted from African versions)used in dance bands. It consists <strong>of</strong> a gourd coveredwith a bead-strung netting, and sometimes als<strong>of</strong>illed with pebbles or bits <strong>of</strong> shell. It is sounded byshaking.cabaletta (kä bä let′ä) Italian. 1 Originally, inoperas <strong>of</strong> the eighteenth and early nineteenth centuries,a short aria with a persistent rhythm that wasrepeated with improvised ornamentation. A famousexample is Rosina’s aria in Act I <strong>of</strong> Rossini’s II Barbieredi Siviglia (“The Barber <strong>of</strong> Seville,” 1816),“Una voce poco fa” (“One voice does little”). 2 Inmid- and late nineteenth-century Italian opera, theterm was used for the concluding section <strong>of</strong> a longaria or duet, usually in rapid tempo and with mountingexcitement, whereas the first section <strong>of</strong> such apiece, in moderately slow tempo, was calledCAVATINA. An example is the final section <strong>of</strong> Violetta’saria “Sempre libera” (“Always free”) fromAct I <strong>of</strong> Verdi’s La Traviata (1853).cabaret (ka bə ra′) French: “little bar.” A kind <strong>of</strong>nightclub entertainment featuring songs, piano music,and other short presentations. The modern cabaret,addressed to avant-garde artists and writers, datesfrom 1881, when the Chat Noir opened in Paris. InGermany the first cabaret, the Überbrettl <strong>of</strong> Berlin(1901), was addressed to the political left as well asthe artistic avant-garde. Cabaret songs are most <strong>of</strong>tenballads whose text, whether satirical or erotic or sentimental,is as important as the music and frequentlyare half-spoken and half-sung. Notable composerswho contributed such music included Erik Satie,Schoenberg, and Kurt Weill. Although in the late1900s cabaret was <strong>of</strong>ten indistinguishable from a55

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