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1. a musical form consisting of a set of continuous variations upon a ground bass
2. Archaic a dance in slow triple time probably originating in Spain
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



an old dance. The chaconne originated in the late 16th century and acquired its characteristic stately, majestic quality in the 17th century. It is danced in a slow tempo, in ¾ time. J. B. Lully used chaconnes as concluding pieces in his ballets.

In the 17th and 18th centuries the chaconne developed as an instrumental piece with a theme repeated in the bass, in a manner similar to the passacaglia. A chaconne for violin with bass attributed to T. Vitali and the chaconne from J. S. Bach’s Partita in D Minor for Unaccompanied Violin became especially popular. Many pieces have been composed in the chaconne form, including Beethoven’s 32 Variations on an Original Theme in C Minor for Piano. Composers of the 17th and 18th centuries used the chaconne form in opera finales.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Gubaidulina's Chaconne relates to Bach not only in its reference to the short harmonic progressions of baroque compositional style, but also on the level of musical sensibility.
(3.) See Geoffrey Burgess, "The Chaconne and the Representation of Sovereign Power in Lully's Amadis (1684) and Charpentier's Medee (1693)," in Dance and Music in French Baroque Theatre: Sources and Interpretations, ed.
There are abundant sources documenting this practice, including a four-part version of Lully's Chaconne from Phaeton attributed to Gottfried Finger (British Library, Add.
Chaconnes and passacailles were not always in triple time (p.
But Evans was probably at his best in Alleyne's The New Blondes, a severely elegiac piece set to two Pachelbel chaconnes (in F and in D minor).
Chaconne: Body through which the dream flows, and III.
I had this wonderful idea of a second movement: it was going to be a chaconne, but like the D minor Chaconne of Bach or maybe the last movement of the Brahms Fourth - one that got wilder and wilder and more ornate.
Did you use the same sort of transformational process that you've just described on the ground of the Chaconne?
You'll find the violin theme, which starts out as a very free counterpoint to the chaconne, coming back all through the rest of the movement in the woodwinds or, at the very end, in the violins.
Do you find that you're particularly drawn to ostinato forms such as the chaconne because of the background and associations you have with minimalist composition?
I think it was that original idea I had about the big Bach Chaconne. Sometimes on a bad night, if I'm conducting this piece, when I get to this movement I feel as though I'm in an area that's not genuine John Adams, and it always makes me a little nervous.
Actually, I found this particular version of the chaconne bass in Grove's dictionary!