"The Sweet House of Horrors The Sweet House of Horrors (in original Italian, La dolce casa degli orrori) is a 1989 Italian horror film directed by Lucio Fulci, made initially for Italian TV, but released direct-to-video instead when it was deemed too horrific for television. After being brutally murdered by a burglar, a young couple return as spirits to watch over their two young orphaned children. The ghosts also seek revenge against their murderer, and try to prevent their house from being demolished. Mary and Roberto Valdi (Lubka Cibolo and Pascal Persiano) return home from a party to find a"
"Ostinato In music, an ostinato (derived from Italian: ""stubborn"", compare English, from Latin: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel's ""Boléro"" and popular songs such as Donna Summer and Giorgio Moroder's ""I Feel Love"" (1977), Henry Mancini's theme from ""Peter Gunn"" (1959), The Verve's ""Bitter Sweet Symphony"" (1997), and April Ivy's ""Be Ok"" (1997). In RCM (Royal Conservatory of Music), a level 8 theory definition for the term ""ostinato"" would be referred to as ""a recurring rhythmic or"
"Divertimento Divertimento (; from the Italian """" ""to amuse"") is a musical genre, with most of its examples from the 18th century. The mood of the """" is most often lighthearted (as a result of being played at social functions) and it is generally composed for a small ensemble. The term is used to describe a wide variety of secular (non-religious) instrumental works for soloist or chamber ensemble. It is usually a kind of music entertainment, although it could also be applied to a more serious genre. After 1780, the term generally designated works that were informal or light. As"
"""dolcezza"" [sweetness] and the ""suavità"" [suaveness] of music. Arcadelt has conferred upon this composition a quality which is very rare in sixteenth-century secular music, namely durability …"" The texture is mostly homophonic, with a hint of fauxbourdon in the harmony; the subject matter is erotic, with the orgasmic ""thousand deaths"" portrayed by a rising fourth figure in close imitation; brief bits of word-painting occur, such as the use of a flattened seventh on ""piangendo""; and the musical phrases overlap the lines of verse, blurring the formal division of the line, a technique known in music, as in poetry, as enjambment."
"Il dolce suono ""Il dolce suono"" (""The Sweet Sound"") is the incipit of the recitativo of a ""scena ed aria"" taken from Act III scene 2, ""Lucia di Lammermoor"" by Gaetano Donizetti. It is also commonly known as the ""mad scene"" sung by the leading soprano, Lucia. Lucia descends into madness, and on her wedding night, while the festivities are still being held in the Great Hall, she stabs her new husband, Arturo, in the bridal chamber. Disheveled, unaware of what she has done, she wanders in the Great Hall, recalling her meetings with Edgardo and imagining herself married to"
"Capriccio (music) A capriccio or caprice (sometimes plural: ""caprices"", ""capri"" or, in Italian, ""capricci""), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals. In the late 16th and early 17th centuries, it could"
"to music of Tchaikovsky, ""Le baiser de la fée"", while Joaquín Rodrigo called his 1982 cello concerto a ""Concierto como un divertimento"" (""Concerto like a divertimento""). Divertimento Divertimento (; from the Italian """" ""to amuse"") is a musical genre, with most of its examples from the 18th century. The mood of the """" is most often lighthearted (as a result of being played at social functions) and it is generally composed for a small ensemble. The term is used to describe a wide variety of secular (non-religious) instrumental works for soloist or chamber ensemble. It is usually a kind of"
"before this time. C.P.E. Bach commented that, in practice, Italians did not play tasto solo. Tasto solo Tasto solo is an Italian term used in music scores, usually on the continuo part, to indicate that a note or section should be played on its own, without harmony. The term ""tasto"" is Italian for ""key"" (as Italian “tastiera” is for ""fingerboard""), so the part is to be played solo by the fingerboard instrument (e.g. cello) and not by the harmony instrument (e.g. harpsichord) where a basso continuo line is played by more than one instrument. The phrase first appeared in music"
"and finally a return to the opening theme or a variation thereof. The Italian guitar virtuoso Mauro Giuliani, (1781–1829) entitled a number of his works ""potpourris"": ""Potpourri"", Opp. 18, 26, 28, 31, 42, and ""Potpourri Romano"", Op. 108 There are many more pieces called ""potpourris"": ""If music is frozen architecture, then the potpourri is frozen coffee-table gossip... Potpourri is the art of adding apples to pears..."" (""Arnold Schoenberg: ""Glosses on the Theories of Others"" (1929), See ""Style and Idea"", Faber and Faber 1985, p. 313–314"") Potpourri (music) Potpourri or Pot-Pourri (; French, literally ""putrid pot"") is a kind of musical"
"scent of desire is all around me, it makes me happy! And you, while knowing, reminding and longing, you shrink from me? I know it very well: you don't want to express your anguish, but you feel as if you're dying!</poem> Quando m'en vo' ""Quando me'n vo' "", also known as ""Musetta's Waltz"", is a soprano aria, a waltz in act two of Puccini's opera ""La bohème"". It is sung by Musetta, in the presence of her bohemian friends, hoping to reclaim the attention of her occasional boyfriend Marcello. This scene takes place at the Cafe Momus. <poem lang=""it"" style=""float:left;"">"
"Italian Beat Italian Beat () is the Italian form of beat music (), between circa 1965 to 1972, inspired mainly by British popular music of the 1960s. Italy is iconic worldwide for his mainstream ""neapolitan"" melodic singing style, and historically, very xenophile but quite slowly receptive to musical influences from abroad. State (then monopolistic) radio and TV, and domestic show-business executives were lukewarm, or frankly hostile to the early rock'n'roll wave of the 1950s. Rock and roll was seen as a gimmick, or just noise for ""teddy-boys"" (actual term for young rogues) taste; only some mild-mannered ""modern-style"" singers (like Tony"
"it is a collection of well-known Neapolitan songs composed in the late 19th and early 20th centuries, such as ""Marechiaro"" and ""Rundinella"", backed by north African string and percussion instruments. Also, the English term ""musical"" (or, occasionally, the Italian ""commedia musicale""—a translation of ""musical comedy"") has come to be used over the last few decades in Italy, in general, and Naples, in particular, to describe a kind of musical drama not native to Italy, a form that employs the American idiom of jazz-pop-and rock-based music and rhythms to move a story along in a combination of songs and dialogue. Obviously,"
"as ""Trecento"". Italian music has alway been known for its lyrical or melodic character, and this goes back to the 14th century in many respects. Italian secular music of this time (what little surviving liturgical music there is, is similar to the French except for somewhat different notation) featured what has been called the ""cantalina"" style, with a florid top voice supported by two (or even one; a fair amount of Italian Trecento music is for only two voices) that are more regular and slower moving. This type of texture remained a feature of Italian music in the popular 15th"
"Maestoso Maestoso () is an Italian musical term and is used to direct performers to play a certain passage of music in a stately, dignified and majestic fashion (sometimes march-like) or, it is used to describe music as such. ""Maestoso"" also is associated with the advent of Classicism, Romanticism, and the newer forms of Neo-Classicism and Neo-Romanticism. The interpretation of ""maestoso"" is varied by the conductor depending upon the overall style in which the piece is written. Used as more of an interpretive choice, this term is not always associated with a specific tempo or tempo range. The term is"
"Cavatina Cavatina (Italian diminutive of ""cavata"", the producing of tone from an instrument, plural ""cavatine"") is a musical term, originally meaning a short song of simple character, without a second strain or any repetition of the air. It is now frequently applied to any simple, melodious air, as distinguished from brilliant arias or recitatives, many of which are part of a larger movement or scena in oratorio or opera. One famous cavatina is the 5th movement of Beethoven's String Quartet in B-flat major, Opus 130. ""Ecco, ridente in cielo"" from Gioachino Rossini's opera ""Il Barbiere di Siviglia"", ""Porgi amor"" and"
"century inhabits the ""Intrada"" and ""Rhapsody"" from Gerald Finzi's exquisite cantata, ""Dies Natalis"". Siciliana The siciliana or siciliano (also known as the sicilienne or the ciciliano) is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow or time with lilting rhythms, making it somewhat resemble a slow jig or tarantella, and is usually in a minor key. It was used for arias in Baroque operas, and often appears as a movement in instrumental works. Loosely associated with Sicily, the siciliana evokes a pastoral mood,"
"a refrain and narrative verses, often in contrasting relative or parallel major and minor keys. In non-musical terms, this means that many Neapolitan songs can sound joyful one minute and melancholy the next. The music of Francesco Tosti was popular at the turn of the 20th century, and is remembered for his light, expressive songs. His style became very popular during the ""Belle Époque"" and is often known as salon music. His most famous works are ""Serenata"", ""Addio"" and the popular Neapolitan song, ""Marechiaro"", the lyrics of which are by the prominent Neapolitan dialect poet, Salvatore di Giacomo. Recorded popular"
"a steady pulse while the percussionist is improvising or playing difficult compositions in counterpoint. While there may be scores of individually talented instrumentalists, there are very few who are capable of playing the lehra for a Tabla / Pakhawaj solo performance. Ostinato In music, an ostinato (derived from Italian: ""stubborn"", compare English, from Latin: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include both classical compositions such as Ravel's ""Boléro"" and popular songs such as Donna Summer and Giorgio Moroder's ""I Feel Love"" (1977), Henry Mancini's"
"are part of the more general influence of the Romance lyric. Canzone Literally ""song"" in Italian, a canzone (, plural: ""canzoni""; cognate with English ""to chant"") is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria ""Voi che sapete"" from Mozart's Marriage of Figaro. The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th"
"refer to madrigals, music intended alternatively for voices or instruments, or for strictly instrumental pieces, especially keyboard compositions . Listed by composer: Capriccio (music) A capriccio or caprice (sometimes plural: ""caprices"", ""capri"" or, in Italian, ""capricci""), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in"
"Canzone Literally ""song"" in Italian, a canzone (, plural: ""canzoni""; cognate with English ""to chant"") is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria ""Voi che sapete"" from Mozart's Marriage of Figaro. The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th and early 17th century. Often works designated as such are ""canzoni"
"Toccata Toccata (from Italian ""toccare"", literally, ""to touch"") is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera ""L'Orfeo"" being a notable example). The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gabrieli,"
"to this remake of a classic song. With ""Quatt’ore ‘e tiempo"" and we have one of the few moments more classic and traditional. The lyrics tell of a sequence of images that chases almost dancing in the rhythm of the melody. Neapolitan drama away from the usual melodic Neapolitan, the song is a free implementation of the famous “Pietà Signor” composed by Alessandro Stradella. ""Chi sarà"" is the composition by Simon Luca. The melody is charming and the simplicity of both the music and lyrics make for a great song. The layering of Mina’s voice adds an interesting layer to"
"music, and serenades can be subtly inserted into a chamber music program. A serenade can be considered somewhere in between a suite and a symphony, but is usually of a light and romantic nature—casual and without too many overly dramatic moments. Serenade In music, a serenade (; also sometimes called serenata, from the ) is a musical composition and/or performance delivered in honor of someone or something. Serenades are typically calm, light pieces of music. The term comes from the Italian word , which itself derives from the Latin . In the oldest usage, which survives in informal form to"
"Canzone Napoletana Canzone napoletana (), sometimes referred to as Neapolitan song ( ), is a generic term for a traditional form of music sung in the Neapolitan language, ordinarily for the male voice singing solo, although well represented by female soloists as well, and expressed in familiar genres such as the love song and serenade. Many of the songs are about the nostalgic longing for Naples as it once was. The genre consists of a large body of composed popular music—such songs as ""'O sole mio""; ""Torna a Surriento""; ""Funiculì, Funiculà""; ""Santa Lucia"" and others. The Neapolitan song became a"
"by combinations of the preceding ( See ). Until the advent of polyphony and even later, this remained the basis of the concept of consonance/dissonance (""symphonia""/""diaphonia"") in Occidental theory. In the early Middle Ages, the Latin term ""consonantia"" translated either ""armonia"" or ""symphonia"". Boethius (6th century) characterizes consonance by its sweetness, dissonance by its harshness: ""Consonance (""consonantia"") is the blending (""mixtura"") of a high sound with a low one, sweetly and uniformly (""suauiter uniformiterque"") arriving to the ears. Dissonance is the harsh and unhappy percussion (""aspera atque iniocunda percussio"") of two sounds mixed together (""sibimet permixtorum"")"" . It remains unclear,"
"Music dictionaries: Examples of musical scores: Tempo In musical terminology, tempo (""time"" in Italian) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a ""metronome mark"" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo may be separated from articulation and meter, or these aspects"
"James & His Orchestra, called ""Trumpet Blues and Cantabile"". A cantabile movement, or simply a ""cantabile"", is the first half of a double aria, followed by a cabaletta. The cantabile movement would be slower and more free-form to contrast with the structured and generally faster cabaletta. Louis Spohr subtitled his violin concerto No. 8 """"in moda d'una scena cantata,"""" ""in the manner of a sung [operatic] scene""; opera arias exerted a strong influence on the ""singable"" ""cantabile"" melodic line in Romantic writing for stringed instruments. Cantabile In music, cantabile , an Italian word, means literally ""singable"" or ""songlike"". In instrumental"
"Siciliana The siciliana or siciliano (also known as the sicilienne or the ciciliano) is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow or time with lilting rhythms, making it somewhat resemble a slow jig or tarantella, and is usually in a minor key. It was used for arias in Baroque operas, and often appears as a movement in instrumental works. Loosely associated with Sicily, the siciliana evokes a pastoral mood, and is often characterized by dotted rhythms that can distinguish it within the"
"Sinfonia Sinfonia () is the Italian word for symphony, from the Latin ""symphonia"", in turn derived from Ancient Greek συμφωνία ""symphōnia"" (agreement or concord of sound), from the prefix σύν (together) and ϕωνή (sound). In English it most commonly refers to a 17th- or 18th-century orchestral piece used as an introduction, interlude, or postlude to an opera, oratorio, cantata, or suite (, who gives the origin of the word as Italian) . The word is also found in other Romance languages such as Spanish or Portuguese. In the Middle Ages down to as late as 1588, it was also the"
"to describe Susanna as a lecher. (Remember, this is being written in 1915, not 2015!) Susanna enjoys lustful thoughts not all that different from the ones that tortured the red-eyed elders. That is the erotic music that at the end plays a “constant sacrament of praise” and ""Hosannas,"" not to God but to her former lovers. I My fingers’ pressing these keys to make musical sounds resembles the way the musical sounds evoke feelings in me. Music is more than just sounds. It evokes feelings in listeners. Since I feel desire for you, that feeling must be music.The music that"
"Squillo Squillo is a technical term for the resonant, trumpet-like sound in the voices of opera singers. It is also commonly called ""singer's formant"", ""ring"", ""ping"", ""core"", and other terms. Squillo enables an essentially lyric tone to be heard over thick orchestrations, e.g. in late Verdi, Puccini and Strauss operas. Achieving a proper amount of ""squillo"" in any performing context is imperative: too much and the tone veers towards the shrill; too little and the purpose of the ""squillo"" cannot be achieved. ""Squillo"" is easily recognizable by a distinctive brilliant, ringing quality in the timbre of the voice. This perception"
"expanded the traditional vocabulary of classical dance. Tarantella ' () is a group of various folk dances characterized by a fast upbeat tempo, usually in time (sometimes or ), accompanied by tambourines. It is among the most recognized forms of traditional southern Italian music. The specific dance-name varies with every region, for instance ""tammurriata"" in Campania, ""pizzica"" in the Salento region, ""Sonu a ballu"" in Calabria. Tarantella is popular in Southern Italy and Argentina. The term may appear as ' in a linguistically masculine construction. In the Italian province of Taranto, Apulia, the bite of a locally common type of"