Análisis de las consideraciones de la Corte Constitucional en las sentencias C-647 de 2017 y C-080 de 2018

counterpoint to it. For example, in a three-part fugue, the first voice-part presents the subject; then, while the second voice-part enters with the answer (the melody of the subject transposed to a different key), the first voice-part may continue with a coun- tersubject. When the third voice-part takes up the subject the second voice-part takes up the counter- subject. Not all fugues contain a countersubject, and some fugues include more than one. 2 In one type of double fugue, the second of the two subjects (see under FUGUE).

countertenor Another term for male alto (see

ALTO, def. 2).

country dance A type of traditional English folk dance, danced by a group and employing a large variety of steps and gestures. Country dances were especially popular during the seventeenth and eigh- teenth centuries. The music for country dances,

often a JIGor a REEL, featured gay, lilting tunes with a marked rhythm. (See also CONTREDANSE.)

country music A type of American popular music, mostly vocal, that developed from old English and Scottish ballads brought to the Appalachian mountain areas during the late eighteenth century. From these songs grew numerous musical forms and styles, including mountain ballads, Western (cowboy) songs, religious songs, work songs, etc. (Until World War II country music was called country and West-

ern music.) Another style of country music, dating

from the 1920s, is primarily instrumental, usually played in an ensemble of fiddles, banjos, guitars, and other stringed instruments. Also called old-time

music, it may include lyrics but they are secondary

and usually sung in a high, nasal tone, with falsetto breaks. The music is played in a fast, lively fashion suitable for clog or square dancing, and the fiddle and banjo may be given tunings different from the normal (see SCORDATURA). The tunes may show old English or Celtic influences as well as those of blues, jazz, and other ethnic styles. Old-time string band music gave rise to BLUEGRASS.

Although country music is primarily associated with white people, especially Southern and poor, it has been influenced considerably by the traditional black music of the South, mainly blues and spiritu- als, and (from about 1950 on) by urban popular music and by jazz. Country music is generally played on stringed instruments (guitar, banjo, man- dolin, fiddle, autoharp) instead of the wind and per- cussion instruments that predominate in jazz. It stresses sincerity, a close rapport between audience and performer, a relatively simple musical structure, down-to-earth subject matter, and danceable rhythms. The lyrics, often quite sentimental, uphold such virtues as hard work, patriotism, and self- sacrifice. They often are melancholy, but purely instrumental country music, with its lively dance beat, is more cheerful. Outstanding country per- formers include Jimmie Rodgers, the Carter family, Hank Williams, Chet Atkins, and Johnny Cash. Famous Western (cowboy) performers were Gene Autry and Roy Rogers.

Originating in the isolated communities of the mountain areas and kept alive by community social

96 country rock

activities such as quilting parties, hoedowns, and barn raisings, country music began to become more widespread (and commercial) with the advent of radio and phonograph music in the 1920s. One of the most important factors in its growth was a single radio station, WSU in Nashville, Tennessee, which began broadcasting in 1925 and became the national headquarters for country music with its weekly music program Grand Ole Opry. The show attracted the attention of large record companies, which dur- ing the 1930s sent their representatives throughout the rural South to record local music. As Nashville became commercially successful, the older style of country folk music, with its harsh twangy sound, was softened and given more sophisticated arrange- ments, and there was increasing emphasis on senti- mental ballads. In the mid-1970s some musicians rebelled against these stock formulas and attempted to restore the vigor of earlier country instrumenta- tion combined with, in some instances, the energy of rock or, in others, the revival of harmony singing. This new wave included such musicians as Willie Nelson, Emmylou Harris, Ricky Skaggs, and the White family. (See also ROCK;RHYTHM AND BLUES.) country rock See under ROCK.

Couperin (koo— pə _{raN′), François (fräN SWA′),}

1668–1733. A French composer who is remem- bered mainly for his keyboard and instrumental music. An organist and harpsichordist employed at the court of King Louis XIV, Couperin came from a renowned musical family, and he is sometimes called le Grand (“the Great”) to distinguish him from his relatives. Couperin wrote several hundred harpsichord works, which he arranged in groups called ordres, comparable to the instrumental suites favored by German composers of the time (see

SUITE, def. 1). His pieces usually have descriptive

titles, such as “Regrets,” “The Rose Bushes,” and “Sister Monica,” leading to the belief that Couperin (who referred to them as “portraits”) may have meant to convey particular ideas in the manner of program music. His elegant, refined, and formal style exemplifies the French rococo, or GALLANT STYLE. In addition to harpsichord music, Couperin composed chamber music, songs, church vocal

music, and two organ Masses of exceptional beauty. He also wrote a treatise on harpsichord playing,

L’Art de toucher le clavecin (1716), which is a valu-

able record of the keyboard technique of his time.

coupler (kup′lər). In organs and harpsichords, a mechanism that makes one key or pedal automati- cally bring into play pipes or strings ordinarily con- trolled by another key or pedal. The use of couplers on organs dates from the fifteenth century and on harpsichords from the seventeenth century. —

manual coupler A coupler that makes the resources

of one manual available on another, so that when the keys of one manual are played the pipes or strings normally controlled by another manual sound at the same time. On older organs and on harpsichords, the coupler operates by causing the keys of the second manual to move when the keys of the first are played. —pedal coupler A coupler that makes the resources of one of the manuals of an organ avail- able on the pedal keyboard. —octave coupler A coupler that brings into play the note one octave higher than the note played in addition to the note itself. —suboctave coupler A coupler that brings into play the note one octave lower than the note played, besides the note itself.

courante (koo— räNt′) French. A lively dance in triple meter (any meter in which there are three basic beats in a measure, such as 3/4 or 3/8) that dates from the sixteenth century and became, in the seven- teenth century, a standard movement of the instru- mental suite (see SUITE, def. 1). The French courante is much slower in tempo than the related Italian

CORRENTEand alternates between 3/2 and 6/4 meter.

Its texture and rhythm are more complex; the melody sometimes shifts from the treble (soprano) to one of the lower parts, and there is frequent use of

HEMIOLA. Examples of the French courante appear

in the works of such composers as Chambonnières, d’Anglebert, Couperin, and Bach.

course In certain stringed instruments, such as lutes and guitars, a term for two or more strings that are tuned in unison (to the same pitch) and sounded at the same time. Their purpose is to increase the vol- ume (loudness) of the note. —double course A set

Crawford Seeger, Ruth 97

of two such strings tuned in unison. —triple course A set of three strings tuned in unison. —octave

course A pair of strings tuned an octave apart, such as

one of the pairs of bass strings on certain lutes.