Italian, lit. – melodious, from cantare – to sing; French cantable
1) melodiousness, melodiousness of the melody. In con. 17th-18th centuries it becomes the most important positive aesthetic. criterion not only in relation to vocal, but also to instr. music. Thus, L. Mozart defines melodiousness as “the most beautiful thing in music” (“Versuch einer gründlichen Violinschule”, 1756); P. E. Bach recommends that every musician (composer) listen to good singers and study vocal art in order to learn to “think in tune” (see Versuch über die wahre Art das Clavier zu spielen, Bd 1, 1753).
2) melodiousness, melodiousness of music performance. The requirement of a melodious, melodious performance acquires special significance simultaneously with the approval of the idea of aesthetic. the value of these qualities. For example, J.S. Bach notes that melodiousness is the main. goal when learning to perform polyphonic. music (“Aufrichtige Anleitung”, 1723). From the 2nd floor. 18th century the designation S. is often set along with the designation of the tempo of the product. or parts of it, indicating the nature of the music (W. A. Mozart – Andante cantabile con espressione in the sonata for piano a-moll, K.-V. 281; L. Beethoven – Adagio cantabile in the sonata for violin and piano. op. 30 No 2; P. I. Tchaikovsky – Andante cantabile in the quartet op. 11). There are also independent products. with the name S. (“Cantabile” by Ts. A. Cui for cello and piano).