Dictionary of Music - Birding America

64 caposix voices, with or without instrumental accompaniment.Such pieces were written by Thomas Morley(1597), Claudio Monteverdi (1619), and FranzJoseph Haydn (1794), among others. 2 In the sixteenthand seventeenth centuries, an instrumentalpiece similar to a short CANZONA (def. 4), such asthe organ canzonette of Dietrich Buxtehude. Thename has also been loosely used for instrumentalpieces of similar nature; for example, the secondmovement of Mendelssohn’s String Quartet in E-flat, op. 12, is marked Canzonetta: Allegretto.capoSee CAPOTASTO; also CAPO, DA.capo, da (dä kä′pô) Italian: “from the beginning.”A direction to repeat a section or whole compositionfrom the beginning. (Also see REPEAT, def.1.) The phrase is often abbreviated D.C. (or d.c.).—da capo al fine A direction to repeat from thebeginning to the end or to the point marked “fine.”—da capo al segno A direction to repeat from thebeginning to a point marked by the sign () —dacapo aria See under ARIA, def. 1.capotasto (kä′′pô täs′tô) Italian: “principal fret.”Also, capo (kä′pô). A device used in lutes, guitars,and other fretted stringed instruments to shorten thevibrating length (thereby raising the pitch) of all thestrings at the same time so as to permit playing inkeys that would ordinarily be difficult to finger. Thecapotasto usually consists of a short bar of wood,metal, or some other material that is placed acrossthe fingerboard directly over one of the frets.cappella, a (ä kä pel′ä) Italian: “in church style.”A term that has come to mean choral singing withoutinstrumental accompaniment, in the manner ofGregorian chant.capriccio (kä prē′chē ô′′) Italian: “caprice” or“whim.” 1 In the seventeenth century, an instrumentalpiece resembling a fugue but based on fancifulthemes, such as the cuckoo’s song or a part of ascale (both were so used by Frescobaldi). 2 In theeighteenth century, a composition that did notbelong to any of the more usual forms of the period,for example, Bach’s Capriccio sopra la lontanza delsuo fratello diletissimo (“Capriccio on the Departureof His Beloved Brother”). 3 In the nineteenth centurythe term was used both for short piano compositionsof a light nature (by Schumann, Mendelssohn,Brahms, and others) and for orchestral works thatincluded popular melodies (Tchaikovsky, Capriccioitalien, op. 45; Rimsky-Korsakov, Capriccio espagnol,op. 34). 4 A technical exercise or study, forexample, Paganini’s twenty-four capriccios forunaccompanied violin, op. 1.capriccioso (kä prē′′chē ô′sô) Italian: “capricious”or “fanciful.” A term meaning in the mannerof a CAPRICCIO (def. 3), used in such titles as Saint-Saëns’s Introduction et Rondo Capricioso.carillon (kar′ə lon′′). 1 Also, chimes. A set oftuned bells hung in a church tower and played automaticallyor by means of a keyboard and pedals. Carillonswere developed at least as early as the thirteenthcentury and achieved great popularity inEurope during the fifteenth century. Early carillonsconsisted of as few as four bells. Some writers distinguishbetween chimes and carillons, confining theterm “carillon” to a set of twenty-three or more chromaticallytuned bells, spanning at least two octaves,and using “chimes” for smaller sets. The averagemodern carillon has thirty to fifty bells, giving arange of three to four octaves, and can sound not onlya melody but two-, three- or even four-part harmony.Some churches have an electronic carillon, a setof small bells played from an electronic keyboardand deepened and amplified by means of loudspeakers.The world’s largest carillon, at Riverside Churchin New York City, has seventy-four bells, giving arange of five octaves. Like all traditional carillons, itis played from a keyboardlike arrangement of leversand pedals and is touch-sensitive. A complex systemof levers and counterweights carries the performer’sphrasing directly to the clappers, which strike thefixed bells. The highest-pitched bells, which are relativelysmall, can be played two at a time with onehand, but going down the scale to the largest bells,more and more force is required to move the clappers,and the lowest notes call for the performer’sfull weight on a pedal. 2 (kA rē yôN′). The Frenchword for GLOCKENSPIEL.