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Rondo
The rondo is an instrumental musical form introduced in the Classical period. Etymology The English word ''rondo'' comes from the Italian form of the French ''rondeau'', which means "a little round". Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondeau is a ''vocal'' musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century). Notably, both vocal forms of rondeau nearly disappeared from the repertoire by the beginning of the 16th century. In French, ''rondeau'' is used for both forms, while in English ''rondeau'' is generally used for the ''vocal'' musical form, while ''rondo'' is used for the ''instrumental'' musical form.Don Neville, "Rondò", ''The New Grove Dictionary of Opera'', 4 vols., edited by Stanley Sadie (London: Macmillan, 1992). Form In rondo form, a principal theme (sometimes called the "refrain") alternates with one or more contras ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Rondo Form
Sonata rondo form is a musical form often used during the Classical music era. As the name implies, it is a blend of sonata and rondo forms. Structure Sonata and rondo forms Rondo form involves the repeated use of a theme (sometimes called the "refrain") set in the tonic key, alternating with episodes, resulting in forms such as ABACA (the five-part rondo) or ABACADA (the seven-part rondo). In a rondo, the refrain (A) may be varied slightly. The episodes (B, C, D, etc.) are normally in a different key than the tonic. Sonata form a classical form composed of three main sections, named exposition, development, and recapitulation. A sonata may begin with an introduction, which is commonly slower than the remainder of the movement. After that, there is an exposition, whose purpose is to present the movement's main thematic material. This takes the form of one or two themes or theme groups, the second of which is commonly in a related key. The exposition may conclude with a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Pathétique
Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as ', was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions. Craig Wright, ''Listening to Western Music'', pp. 209–212. Cengage Learning. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky.Beethoven Pathetique Sonata Op. 13 All About Beethoven. Retrieved May 1, 2008. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named ' (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities. Prominent debate wheth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period). While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The standard definition focuses on the thematic and harmo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated prima ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through the expansion and development of these ideas. In tonal harmony, form is articulated prima ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concerto
A concerto (; plural ''concertos'', or ''concerti'' from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three- movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g. presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Seba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ritornello
A ritornello (Italian; "little return") is a recurring passage in Baroque music for orchestra or chorus. Early history The earliest use of the term "ritornello" in music referred to the final lines of a fourteenth-century madrigal, which were usually in a rhyme scheme and meter that contrasted with the rest of the song. Scholars suggest that the word "ritornello" comes either from the Italian word ''ritorno'' (meaning return), or from ''tornando'' (meaning turnaround or flourish). Literally, in Italian it means "little return". Baroque music The ritornello as a recurring tutti passage can be traced back to the music of sixteenth-century Venetian composer Giovanni Gabrieli. According to Richard Taruskin, these repeating passages are "endemic to the ''concertato'' style" which Gabrieli is credited with developing. The idea of an orchestral ritornello played an important role in the structure of opera in the eighteenth century. The most common form for an aria during the Baroque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Für Elise
Bagatelle No. 25 in A minor (WoO59, Bia515) for solo piano, commonly known as "Für Elise" (, ), is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered (by Ludwig Nohl) 40 years after his death, and may be termed either a ''Bagatelle'' or an . The identity of "Elise" is unknown; researchers have suggested Therese Malfatti, Elisabeth Röckel, or Elise Barensfeld. History The score was not published until 1867, forty years after the composer's death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autograph manuscript, now lost, had the title: "Für Elise am 27 April 810zur Erinnerung von L. v. Bthvn" ("For Elise on April 27 in memory by L. v. Bthvn"). The music was published as part of Nohl's ''Neue Briefe Beethovens'' (New letters by Beethoven) on pages 28 to 33, printed in Stuttgart by Johann Friedrich Cotta. The version of "Für Elise" heard today is an earlier version t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rage Over A Lost Penny
The "" in G major, Op. 129 (Italian for "Rondo in the Hungarian .e. gypsystyle, almost a caprice"), is a piano rondo by Ludwig van Beethoven. It is better known by the title ''Rage Over a Lost Penny, Vented in a Caprice'' (from ). This title appears on the autograph manuscript, but not in Beethoven's hand, and has been attributed to his friend Anton Schindler. It is a favourite with audiences and is frequently performed as a showpiece. Music Despite the late opus number, the work's composition has been dated to between 1795 and 1798. Beethoven left the piece unpublished and incomplete; it was published in 1828 by Anton Diabelli, who obscured the fact that it had been left unfinished. The performance time runs between five and six minutes; the tempo of the piece is Allegro vivace (). The indication ''alla ingharese'' is of interest, as no such word as "ingharese" exists in standard Italian. To people of Beethoven's day, " Gypsy music" and "Hungarian music" were synonymous terms ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondeau (forme Fixe)
A ''rondeau'' (; plural: ''rondeaux'') is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. Together with the ballade and the virelai it was considered one of the three '' formes fixes'', and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. It is structured around a fixed pattern of repetition of material involving a refrain. The rondeau is believed to have originated in dance songs involving alternating singing of the refrain elements by a group and of the other lines by a soloist. The term "Rondeau" is today used both in a wider sense, covering several older variants of the form – which are sometimes distinguished as the triolet and rondel – and in a narrower sense referring to a 15-line variant which developed from these forms in the 15th and 16th centuries. The rondeau is unrelated with the much later instrumental dance form that shares the same name in French bar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theme (music)
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme. Characteristics A subject may be perceivable as a complete musical expression in itself, separate from the work in which it is found. In contrast to an idea or motif, a subject is usually a complete phrase or period. The ''Encyclopédie Fasquelle'' defines a theme (subject) as " y element, motif, or small musical piece that has given rise to some variation becomes thereby a theme". Thematic changes and processes are often structurally important, and theorists such as Rudolph Reti have created analysis from a purely thematic perspective. Fred Lerdahl describes thematic relations as "associational" and thus outside his cognitive-based generative theory's scope of analysis. In different types of music Music based on a single theme is called 'monothematic', while music based on several themes i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Sonata No
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the gre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
