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suggest that the ritornello form did not disappear, but "was transformed into concerto form through the incorporation of classical formal functions, especially those associated with the sonata." Caplin argues that the outlines of ritornello form persist in the alternation of solo and tutti sections,
144:
The ritornellos are guideposts to the tonal structure of the music, confirming the keys to which the music modulates. The first and last statements are in the tonic; at least one (usually the first to be in a new key) is in the dominant; and others may be in closely related
137:
The opening ritornello is composed of several small units, typically two to four measures in length, some of which may be repeated or varied. These segments can be separated from each other or combined in new ways without losing their identity as the
157:, in which the recurring section remains in the same key. Vivaldi also established a convention of using ritornello form for the quick opening and closing movements, with a contrasting slow movement in between. Many later Baroque composers such as
130:, who wrote hundreds of concertos using a modification of Torelli's scheme. Vivaldi's ritornello form established a set of conventions followed by later composers in the eighteenth century:
168:
Some scholars argue that "ritornello form quickly disappeared as a general constructive principle" in the early years of the nineteenth century, due to the structural innovations of
126:
wrote many violin concertos in which the fast movements used a recurring ritornello in between two extended solo passages of entirely new material. This form was standardized by
115:
arias could be subdivided further, with ritornello sections framing each of the singer's solo sections, forming the scheme | R--A1—R--A2—R | B | R--A1—R--A2—R ||.
111:
form, which essentially consisted of an A section followed by a contrasting B section, which was in turn followed by a return of the A section. Many
474:
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that contrasted with the rest of the song. Scholars suggest that the word "ritornello" comes either from the
Italian word
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416:
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238:
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Later statements of the ritornello are usually partial, comprising only one or some of the units, sometimes varied.
366:
336:
403:
Classical Forms: A Theory of Formal
Functions for the Instrumental Music of Haydn, Mozart, and Beethoven
370:
1023:
486:
56:
The earliest use of the term "ritornello" in music referred to the final lines of a fourteenth-century
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Oxford
History of Western Music, Volume 1: Music from the Earliest Notations to the Sixteenth Century
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Ritornellos for the full orchestra alternate with episodes for the soloist or soloists.
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The idea of an orchestral ritornello played an important role in the structure of
72:(meaning turnaround or flourish). Literally, in Italian it means "little return".
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The ritornello was also crucial in the development of the
Italian instrumental
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passage can be traced back to the music of sixteenth-century
Venetian composer
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In these visits to different keys, ritornello form differs from the later
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followed
Vivaldi's models in composing their own concertos.
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Ritornello construction faded with the advent of the new
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albeit subsumed within the tonal and formal plan of the
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in the eighteenth century. The most common form for an
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216:
188:but received renewed interest in the 20th century.
96:style" which Gabrieli is credited with developing.
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1045:
92:, these repeating passages are "endemic to the
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337:"Rondo and Ritornello Forms in Tonal Music"
60:, which were usually in a rhyme scheme and
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28:(Italian; "little return") is a recurring
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261:. Oxford University Press. p. 352.
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288:Early Music: A Very Short Introduction
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23:
292:. Oxford University Press. pp.
407:. Oxford University Press. p.
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229:(7 ed.). W.W. Norton. p.
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16:Recurring passage in Baroque music
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440:The Oxford Dictionary of Opera
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107:during the Baroque period was
80:The ritornello as a recurring
1:
356:Burkhart et al. 2006, p. 429.
325:Burkhart et al. 2006, p. 425.
221:; Palisca, Claude V. (2006).
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316:Burkhart et al. 2006, p. 400
7:
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122:during the Baroque period.
10:
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225:A History of Western Music
68:(meaning return), or from
1054:Italian opera terminology
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377:. Oxford University Press
438:and West, Ewan (1992),
271:Taruskin 2010, p. 784.
970:Stile rappresentativo
282:Kelly, Thomas Forrest
25:[ritorˈnɛllo]
217:Burkhart, J. Peter;
643:Tragédie en musique
512:Concert performance
375:Oxford Music Online
975:Tenore contraltino
335:Renwick, William.
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255:Taruskin, Richard
219:Grout, Donald Jay
172:. Others such as
86:Giovanni Gabrieli
34:Renaissance music
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980:Tenore di grazia
735:Aria di sorbetto
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52:Early history
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38:Baroque music
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1059:Musical form
940:Solita forma
929:
820:Da capo aria
714:Sprechgesang
674:Kammersänger
613:Haute-contre
567:Sung-through
439:
402:
391:
379:. Retrieved
374:
371:"Ritornello"
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340:. Retrieved
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920:Prima donna
895:Opera seria
815:Convenienze
805:Comprimario
795:Chiaroscuro
557:Patter song
552:Opera house
507:Chest voice
186:sonata form
138:ritornello.
1048:Categories
1011:Hovsångare
930:Ritornello
925:Recitative
915:Portamento
875:Melodramma
850:Intermezzo
845:Impresario
835:Falsettone
800:Coloratura
628:Répétiteur
522:Head voice
381:17 October
342:17 October
204:References
94:concertato
21:ritornello
985:Tessitura
910:Pasticcio
905:Passaggio
840:Fioritura
810:Contralto
780:Cantabile
770:Cabaletta
750:Bel canto
709:Spieloper
704:Sitzprobe
699:Singspiel
694:Regieoper
684:Leitmotif
618:Intermède
608:Entr'acte
572:Surtitles
542:Monodrama
537:Melodrama
532:Mad scene
489:by origin
170:Beethoven
151:Classical
42:orchestra
965:Stagione
935:Sinfonia
860:Libretto
830:Falsetto
790:Cavatina
785:Castrato
765:Burletta
760:Brindisi
648:Travesti
623:Overture
562:Prompter
517:Duodrama
399:(1998).
284:(2011).
257:(2010).
192:See also
163:Telemann
120:concerto
70:tornando
58:madrigal
995:Vibrato
990:Verismo
960:Squillo
945:Soprano
870:Maestro
865:Licenza
775:Cadenza
755:Bravura
723:Italian
633:Roulade
495:English
198:Refrain
113:da capo
109:da capo
66:ritorno
30:passage
1024:Portal
955:Spinto
890:Musico
855:Legato
740:Arioso
657:German
638:Timbre
603:Encore
588:Claque
581:French
547:Number
446:
415:
300:
237:
179:sonata
46:chorus
1004:Other
900:Ossia
745:Banda
487:terms
484:Opera
296:–59.
155:rondo
153:form
145:keys.
101:opera
82:tutti
62:meter
825:Diva
730:Aria
664:Fach
444:ISBN
413:ISBN
383:2015
344:2015
298:ISBN
235:ISBN
161:and
159:Bach
105:aria
40:for
36:and
409:243
231:136
48:.
44:or
32:in
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373:.
369:.
294:58
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19:A
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243:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.