Dictionary of Music - Birding America

56 Cabezón, Antonio detheatrical revue, some composers continued to writecabaret songs, notably William Bolcom, who composedabout 100 of them.Cabezón (kä be thôn′), Antonio de (än tô′nē ō′′dā), 1510–1566. A Spanish composer and organistwho is remembered chiefly for his keyboardmusic, which had enormous influence on the composersfor organ and harpsichord who followed him.Blind from infancy, Cabezón nevertheless becamecourt organist by the age of sixteen. He first servedthe Emperor Charles V and then his son, PrincePhilip (later Philip II), with whom he traveled allover Europe. More than a decade after Cabezón’sdeath, his compositions were collected and publishedby his son, Hernando, who also succeededCabezón at Philip’s court. The collection, entitledObras de música para tecla arpa y vihuela (“MusicalWorks for Keyboard, Harp and Vihuela”), containedboth church music—arrangements of hymns,motets, and tientos (preludes)—and diferencias (setsof variations) on popular songs of the time.caça (kä′sä, kä′thä).CACCIA.The Spanish name forcaccia (kät′chä) Italian: “chase.” An early fourteenth-centuryItalian musical and poetic form. Thepoem usually dealt with everyday subjects (hunting,fishing, or street scenes) and often a chase (after animalsor women). It was set to lively music in theform of a two-part canon, that is, one part repeatingthe exact melody of the first but following it by anumber of measures like the parts of a round. (Asimplied by the original meaning of the word, thesecond voice-part actually “chases” the first.) Thereis usually a third part as well, lower in range and inlonger note values; it does not imitate the melody ofthe upper parts, and it was probably performed by aninstrument rather than a voice. Following the maincanon, there is generally a shorter concluding sectioncalled a RITORNELLO (def. 1), which may alsobe in the form of a canon.A similar kind of composition is the Frenchchace, dating from a somewhat earlier period andconsisting of a three-part vocal canon at the unison.A Spanish version, possibly an imitation of eitherthe Italian or the French form, was the caça. Alongwith the ballata and madrigal, the caccia was one ofthe most important forms of fourteenth-century secular(nonreligious) music in Italy.Caccini (kät chē′nē), Giulio (joo — ′lyô), c.1546–1618. An Italian composer rememberedchiefly as the composer of one of the earliest operas,Euridice (1602), and a collection of lovely madrigalsfor solo voice and basso continuo entitled Lenuove musiche (“The New Music”). Born in Rome,Caccini went to Florence about 1565 and was asinger at the court there. He became one of the CAM-ERATA, a group of scholars and artists who wished torevive the classical art of ancient Greece. In hismadrigals, Caccini tried to make the music suit boththe meaning and the sound (accent, inflection) of thewords, creating a kind of “musical speech” thatcame to be called recitative, although Caccini himselfcalled it stile rappresentativo (“representationalstyle”). See also MONODY, def. 1.His daughter, Francesca Caccini (1587–c.1640), a celebrated singer, lutenist, and harpsichordist,wrote music for court entertainments inFlorence, as well as songs and duets that exploitedthe capabilities of the voice. Her most importantwork was the opera La Liberazione di Ruggiero dall’isolad’Alcina (“Ruggiero’s Liberation from theisland of Alcina”; 1625). However, most of her otherworks have been lost.cadence (kād′əns). The series of notes or chordsthat ends a melody or a section, giving the listener asense of partial or complete finality. During thecourse of the eighteenth and nineteenth centuries,certain sequences of chords came to be used forcadences, the most important of which are describedbelow. However, these cadential formulas (patternsof cadences) were by no means the ones current inearlier periods, and, toward the end of the nineteenthcentury, as composers experimented with new harmonicideas, the traditional formulas began to giveway to totally different ones. (See HARMONICANALYSIS for explanation of the Roman numerals.)—authentic cadence Also, final cadence, fullcadence, complete cadence. A cadence that gives asense of complete finality: the next-to-last chord is