CHACONNE

also spelled ciaconne fiery and suggestive dance that appeared in Spain about 1600 and eventually gave its name to a musical form. Miguel de Cervantes, Francisco Gmez de Quevedo, and other contemporary writers imply a Mexican origin but do not indicate whether it was indigenous or a Spanish dance modified there. Apparently danced with castanets by a couple or by a woman alone, it soon spread to Italy, where it was considered disreputable as it had been in Spain. During the 16th century the dance became subdued and stylized, and in the 17th century it gained favour at the French court. There it was danced by an ensemble of women or by a double line of couples, who as a group and as individual couples solemnly executed various figures. The musical form of the chaconne is a continuous variation, never clearly or consistently distinguished from the passacaglia (q.v.) either by Baroque or by subsequent musicians. In addition, 17th-century French composers often designated as chaconne pieces in rondeau formi.e., with refrain (R) recurring before, after, and between contrasting passages or couplets (R A R B R C R, etc.). Johann Sebastian Bach's Chaconne from the Partita in D Minor for unaccompanied violin is an example of masterly use of the chaconne as a variation form. Franois Couperin's harpsichord music includes many chaconnes en rondeau, such as La Favorite.