Classifier Instance:

Anchor text: Girolamo Frescobaldi
Target Entity: Girolamo_Frescobaldi
Preceding Context: The chaconne has been understood by some nineteenth and early twentieth-century theorists—in a rather arbitrary way—to be a set of variations on a harmonic progression, as opposed to a set of variations on a melodic bass pattern (to which is likewise artificially assigned the term passacaglia), while other theorists of the same period make the distinction the other way around. In actual usage in music history, the term "chaconne" has not been so clearly distinguished from passacaglia as regards the way the given piece of music is constructed, and "modern attempts to arrive at a clear distinction are arbitrary and historically unfounded." In fact, the two genres were sometimes combined in a single composition, as in the Cento partite sopra passacagli by
Succeeding Context: , and the first suite of Les Nations (1726) as well as in the Pièces de Violes (1728) by François Couperin.
Paragraph Title: Chaconne and passacaglia
Source Page: Chaconne

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