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 (shä-kôn′, -kŏn′)
a. A slow, stately dance in triple time of the 1700s.
b. The music for this dance.
2. A form consisting of variations based on a reiterated harmonic pattern.

[French, from Spanish chacona, a kind of dance in quick tempo, of unknown origin.]


(ʃəˈkɒn; French ʃakɔn)
1. (Classical Music) a musical form consisting of a set of continuous variations upon a ground bass. See also passacaglia
2. (Dancing) archaic a dance in slow triple time probably originating in Spain
[C17: from French, from Spanish chacona, probably imitative of the castanet accompaniment]


(ʃæˈkɔn, -ˈkɒn, ʃɑ-)

1. a musical form based on the continuous variation of a series of chords or of a ground bass.
2. an old dance, of Spanish origin.
[1675–85; < French < Sp chacona]


An old Spanish dance.
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References in periodicals archive ?
There were boogies, jigs, tangos, malaguenas, nocturnes and chaconnes, to name few.
The starting point for the CD," she said, "was to compare and contrast two Chaconnes, Bach's and Gubaidulina's; the rest of the program grew organically around them.
The fascination in the piece was the slow movement, a merging of chaconnes - pieces built on the same harmonic progression -except there were several moving at once, which kept listeners busy.
Rose Pruiksma's chapter, "Music, Sex, and Ethnicity: Signification in Lully's Theatrical Chaconnes," contributes an excellent survey of the dramatic settings and significance of chaconnes in Lully's ballets de cour and tragedies lyriques.
Pruiksma examines the context of the chaconne in the cultural life of Europe and particularly the theatrical chaconnes of Jean-Baptiste Lully.
This surface burlesque, however, cloaks Morris's great musical sensitivity and parodic flair, in which musical jokes of endless chaconnes and animalistic squawks of sound are sweetly echoed in a great swamp processional of amphibians with heads darting, cheeks puffing silently in and out, and bodies undulating as they sip from the water bowl of life.
I will say that I don't intend to write any more chaconnes.
The tempos adopted by both groups are generally convincing, with the exception of the chaconnes and menuets performed by the London Oboe Band.
The other pieces in this volume are those harpsichord pieces chiefly sarabandes and chaconnes, which the editors, for whatever reason, thought appropriate to the organ.
Some of his chaconnes and variational structures fuse the two modes, but on the whole Handel seems always to go from, say, fugues to arias to ensembles: This is true in his keyboard suites, the Opus 6 concerti grossi and many of his finest choral works.