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piece, with occasional runs and passagework, not unlike a toccata, found from the late fifteenth to the mid-sixteenth century, after which time this type of piece came to be called a toccata; and from the second half of the sixteenth century onward, a sectional work in which each section begins
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In the sixteenth century, the word ricercar could refer to several types of compositions. Terminology was flexible, even lax then: whether a composer called an instrumental piece a
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253:, or a ricercar was clearly not a matter of strict taxonomy but a rather arbitrary decision. Yet ricercars fall into two general types: a predominantly
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A performing edition of
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type, was to prove the more important historically, and eventually developed into the fugue.
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or study that explores a technical device in playing an instrument, or singing.
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of a following piece. A ricercar may explore the permutations of a given
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In its most common contemporary usage, it refers to an early kind of
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Examples of both types of ricercars can be found in the works of
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266:. The second type of ricercar, the imitative,
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457:Journal of the American Musicological Society
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513:Petrucci Music Library Ricercar Collection
437:. New York, W.W. Norton & Co., 1947.
419:. New York, W.W. Norton & Co., 1954.
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397:"Ricercar," "Fugue," "Counterpoint" in
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16:For cars referred to as "ricers", see
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303:An Eternal Golden Braid
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321:The Musical Offering
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237:Terminology
199:harpsichord
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147:Renaissance
18:Rice burner
638:Categories
329:References
276:polyphonic
255:homophonic
589:Imitation
553:polyphony
165:preludial
160:ricercare
84:ricercare
594:Ricercar
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316:J.S.Bach
295:See also
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25:ricercar
604:Subject
247:canzona
243:toccata
151:Baroque
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129:-chər-
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564:Canon
349:(PDF)
314:from
217:cello
188:fugue
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177:motif
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249:, a
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211:and
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