"alternative for burlesque. Burletta In theater and music history, a burletta (Italian, meaning ""little joke"", sometimes burla or burlettina) is a brief comic opera. In eighteenth-century Italy, a burletta was the comic intermezzo between the acts of an ""opera seria"". The extended work Pergolesi's ""La serva padrona"" was also designated a ""burletta"" at its London premiere in 1750. In England, the term began to be used, in contrast to burlesque, for works that satirized opera but did not employ musical parody. Burlettas in English began to appear in the 1760s, the earliest identified as such being ""Midas"" by Kane O'Hara,"
"in 1760 near Belfast, and produced at Covent Garden in 1764. The form became debased when the term ""burletta"" began to be used for English comic or ballad operas, as a way of evading the monopoly on ""legitimate drama"" in London belonging to Covent Garden and Drury Lane. After the passage of the Theatres Act of 1843, which repealed crucial regulations of the Licensing Act of 1737, use of the term declined. The word ""burletta"" has also been used for scherzo-like instrumental music by composers including Max Reger and Bartók. In America, the word has sometimes been used as an"
"Cabaletta Cabaletta is a two-part musical form particularly favored for arias in 19th century Italian opera in the belcanto era until about the 1850s during which it was one of the era's most important elements. More properly, a cabaletta is a more animated section following the songlike cantabile. It often introduces a complication or intensification of emotion in the plot. Some sources suggest that the word derives from the Italian ""cobola"" (couplet). Another theory suggests that it derives from the Italian ""cavallo"" (horse), a reference to the pulsating rhythm of a galloping horse which forms the accompaniment of many famous"
"Ballata The ballata (plural: ballate) is an Italian poetic and musical form in use from the late 13th to the 15th century. It has the musical structure AbbaA, with the first and last stanzas having the same texts. It is thus most similar to the French musical 'forme fixe' virelai (and not the ballade as the name might otherwise suggest). The first and last ""A"" is called a ""ripresa"", the ""b"" lines are ""piedi"" (feet), while the fourth line is called a ""volta"". Longer ballate may be found in the form AbbaAbbaA, etc. Unlike the virelai, the two ""b"" lines"
"Zhaleika The zhaleika (""Жалейка"" in Russian, also known as ""брёлка"" or bryolka) is the most commonly possessed and used Russian wind instrument, also known as a ""folk clarinet"" or hornpipe. The zhaleika was eventually incorporated into the balalaika band, the Hungarian tarogato, and may have contributed to the development of the chalumeau, a predecessor of the clarinet. The zhaleika consists of a single reed that can be covered by a mouthpiece (or ""wind cap""). The design consists of a wooden barrel with finger holes and a flared bell that can be made of either natural or man-made materials. It can"
"mesurée, canzonetta, villanella, villotta, and the lute song. Mixed forms such as the motet-chanson and the secular motet also appeared. Purely instrumental music included consort music for recorders or viols and other instruments, and dances for various ensembles. Common instrumental genres were the toccata, prelude, ricercar, and canzona. Dances played by instrumental ensembles (or sometimes sung) included the basse danse (It. ""bassadanza""), tourdion, saltarello, pavane, galliard, allemande, courante, bransle, canarie, piva, and lavolta. Music of many genres could be arranged for a solo instrument such as the lute, vihuela, harp, or keyboard. Such arrangements were called intabulations (It. ""intavolatura"", Ger."
"and Lithuania, but now can only be seen in folk music orchestras. In 1900, V. V. Andreyev incorporated a modified zhaleika - called ""bryolka"" - into orchestras. It consisted of a double-reed oboe type with additional finger holes and vents for chromatic scale. Zhaleika The zhaleika (""Жалейка"" in Russian, also known as ""брёлка"" or bryolka) is the most commonly possessed and used Russian wind instrument, also known as a ""folk clarinet"" or hornpipe. The zhaleika was eventually incorporated into the balalaika band, the Hungarian tarogato, and may have contributed to the development of the chalumeau, a predecessor of the clarinet."
"example is the 1927 burlesque operetta by Ernst Krenek entitled ""Schwergewicht"" (""Heavyweight"") (1927). Some orchestral and chamber works have also been designated as burlesques, of which two early examples are the Ouverture-Suite ""Burlesque de Quixotte"", TWV 55, by Telemann and the Sinfonia Burlesca by Leopold Mozart (1760). Another often-performed piece is Richard Strauss's 1890 Burleske for piano and orchestra. Other examples include the following: Burlesque can be used to describe particular movements of instrumental musical compositions, often involving dance rhythms. Examples are the Burlesca, in Partita No. 3 for keyboard (BWV 827) by Bach, the ""Rondo-Burleske"" third movement of Symphony"
"Sonata Sonata (; Italian: , pl. ""sonate""; from Latin and Italian: ""sonare"", ""to sound""), in music, literally means a piece ""played"" as opposed to a cantata (Latin and Italian ""cantare"", ""to sing""), a piece ""sung"". The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance, and is vague. By the early 19th century, it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue—as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though"
"Libretto A libretto (lit. ""booklet"") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term ""libretto"" is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet. ""Libretto"" (; plural ""libretti"" ), from Italian, is the diminutive of the word ""libro"" (""book""). Sometimes other language equivalents are used for libretti in that language, ""livret"" for French works and ""Textbuch"" for German. A libretto is distinct from a synopsis or"
"Banda (opera) In opera, a banda (Italian for ""band"") refers to a musical ensemble (normally of wind instruments) which is used in addition to the main orchestra and plays the music which is actually heard by the characters in the opera. A banda sul palco (band on the stage) was prominently used in Rossini's Neapolitan operas. Verdi used the term ""banda"" to refer to a ""banda sul palco"", as in the score for ""Rigoletto"". He used the term ""banda interna"" (internal band), to refer to a band which is still separate from the orchestra but heard from the off-stage wings."
"Roulade (music) A roulade is an elaborate embellishment of several notes sung to one syllable. It is most associated with (but not restricted to) the operatic coloratura vocal style. It consists of a single phrase, or could even be part of a longer phrase. It is more extended than ornaments such as a trill, mordent or turn, but not to the extent that it could be called a cadenza (which is usually more than one phrase and is extended enough to be considered a musical section in itself). It is usually performed in a rhythmically free style, either by use"
"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"
"A famous Verdian cabaletta appears in his 1853 ""La traviata"" in act 1. It follows Violetta's pensive ""È strano! è strano...Ah fors'è lui"" in which she considers that the man whom she has just met may be the one for her. But this leads by degrees to her resolve to remain ""always free"" in ""Sempre libera"", with its rapid and defiant pyrotechnics. Verdi's 1846 ""Attila"" is regarded by contemporaneous critics as the ""height of cabalettismo"" Notes Sources Cabaletta Cabaletta is a two-part musical form particularly favored for arias in 19th century Italian opera in the belcanto era until about the"
"are needed in order to make a thorough reading of an entire show. Notes Sources Libretto A libretto (lit. ""booklet"") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term ""libretto"" is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet. ""Libretto"" (; plural ""libretti"" ), from Italian, is the diminutive of the word ""libro"" (""book""). Sometimes other language equivalents are used for libretti in that language, ""livret"""
"Canzonetta In music, a canzonetta (; pl. canzonette, canzonetti or canzonettas) is a popular Italian secular vocal composition that originated around 1560. Earlier versions were somewhat like a madrigal but lighter in style—but by the 18th century, especially as it moved outside of Italy, the term came to mean a song for voice and accompaniment, usually in a light secular style. In its earliest form, the canzonetta was closely related to a popular Neapolitan form, the villanella. The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects. The rhyme and stanza schemes of the poems varied but"
"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,"
"Bağlama The bağlama (, from ""bağlamak"", ""to tie"", ) is a stringed musical instrument. It is sometimes referred to as the saz (from the Persian , meaning an instrument), it is also sometimes referred to as the ""cura"", although the term ""saz"" actually refers to a family of plucked string instruments, long-necked lutes used in Ottoman classical music, Turkish folk music, Iranian music, Azerbaijani music, Kurdish music, Assyrian music, Armenian music and in parts of Syria, Iraq and the Balkan countries. According to ""The New Grove Dictionary of Music and Musicians"", ""the terms 'bağlama' and 'saz' are used somewhat interchangeably"
"Bagatelle (music) A bagatelle is a short piece of music, typically for the piano, and usually of a light, mellow character. The name bagatelle literally means ""a short unpretentious instrumental composition"" as a reference to the light style of a piece (; ). Although bagatelles are generally written for solo piano, they have also been written for piano four hands, harpsichord, harp, organ, classical guitar, vibraphone, unaccompanied oboe, clarinet, violin, viola, various chamber-music configurations, orchestra, band, voice and piano, and a cappella choir. The earliest use of the name ""bagatelle"" for a musical work was by François Couperin, in his"
"Chitarra battente The chitarra battente (in Italian ""strumming guitar"", however ""battente"" literally means ""beating"" related to the fact that this guitar thumps the rhythm of the music) is a musical instrument, a chordophone of the guitar family. It is similar to the 5-course baroque guitar, but larger and typically strung with five double strings, traditionally made of brass, but currently - steel. Nowadays it is typically used by folk musicians, mainly in the southern Italian regions of Calabria, Apulia, Basilicata, and Campania, as well as in other areas of southern Italy; in past centuries the instrument was found in most"
"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"
"Musica ficta Musica ficta (from Latin, ""false"", ""feigned"", or ""fictitious"" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of ""musica recta"" or ""musica vera"" (""correct"" or ""true"" music) as defined by the hexachord system of Guido of Arezzo . Today, the term is often loosely applied to all unnotated inflections (whether they are actually ""recta"" or ""ficta"" notes; see below) that must be inferred from the musical context and added either by an editor"
"a complex style of music that has achieved some international attention, especially Dionigi Burranca, Antonio Lara, Luigi Lai and Efisio Melis; Burranca, like many of the most famous launedda musicians, is from Samatzai in Cagliari. An ancient instrument, dating back to at least the 8th century BC, launeddas are still played during religious ceremonies and dances (""su ballu""). Distinctively, they are played using extensive variations on a few melodic phrases, and a single song can last over an hour. The ottava, or eight-line stanza, is a common lyrical form in Sardinia, one which allows the performer a certain amount of"
"Furlana The furlana (also spelled furlane, forlane, friulana, forlana) is an Italian folk dance from the Italian region of Friuli Venezia Giulia. In Friulian, ""furlane"" means ""Friulian"", in this case ""Friulian Dance"". In Friuli there has been a Slav minority since the Slavic settlement of the Eastern Alps , and the furlana may well have originated as a Slavonic dance. It dates at least to 1583, when a ""ballo furlano"" called ""L'arboscello"" was published in Pierre Phalèse the Younger’s ""Chorearum molliorum collectanea"" and in Jakob Paix’s organ tablature book, though its chief popularity extended from the late 1690s to about"
"of Richard Harvey's ""Concerto Antico"" for guitar and orchestra. Furlana The furlana (also spelled furlane, forlane, friulana, forlana) is an Italian folk dance from the Italian region of Friuli Venezia Giulia. In Friulian, ""furlane"" means ""Friulian"", in this case ""Friulian Dance"". In Friuli there has been a Slav minority since the Slavic settlement of the Eastern Alps , and the furlana may well have originated as a Slavonic dance. It dates at least to 1583, when a ""ballo furlano"" called ""L'arboscello"" was published in Pierre Phalèse the Younger’s ""Chorearum molliorum collectanea"" and in Jakob Paix’s organ tablature book, though its"
"from Verdi's ""Il trovatore"" (1853). In later parlance, cabaletta came to refer to the fast final part of any operatic vocal ensemble, usually a duet, rather than just a solo aria. For example, the duet between Gilda and Rigoletto in Act 1, Scene 2 of ""Rigoletto"" ends with a relatively slow cabaletta, whereas the cabaletta for their duet in the finale of Act 2 is quite rousing. The cabaletta is often used to convey strong emotions: overwhelming happiness (Linda's famous cabaletta ""O luce di quest anima"" from Donizetti's ""Linda di Chamounix""), great sorrow (Lucia's ""Spargi d'amaro pianto"" from ""Lucia di"
"Novelette (music) A novelette is ""a short piece of lyrical music, especially one for the piano"". The word was used by the composer Robert Schumann as a title for some piano pieces, a choice that reflected his literary background and interests. The music in question (op. 21, and op. 99 no. 9) is episodic, however, and does not especially resemble a narrative. The name may also allude to Clara Novello. Schumann was followed by Niels Gade, Theodor Kirchner, Stephen Heller and much later by Poulenc (""Trois novelettes""), Lutosławski (""Novelette for Orchestra""), Chaminade, Tcherepnin, Josef Tal and George Gershwin (""Novelette in"
"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 wolf spider, named ""tarantula"" after the region,"
"contralto and a singer whose voice imitates a guitar (""chitarra""). As the names of parts suggest, the imitation of instrumental styles replaces traditional vocal polyphony: this is a distinguishing feature of this genre. Nine singers are considered a normal line-up: one each of chitarra, tenor, contralto, baritone and five basses. Group harmony in Liguria is historically associated with mountain villages, where two voices (usually a tenor and a baritone) sung over accompaniment by bass or drone. A repertoire of traditional songs evolved over time, and the style moved to the docks of Genoa, a noted port city. There, metal-workers, longshoremen"
"Tuplet In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is ""any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)"" . This is indicated by a number (or sometimes two), indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur. The most common type of tuplet is the triplet. The modern term 'tuplet' comes from a rebracketing of compound"
"Turlutte (music) In Quebec, the turlutte is a form of traditional popular song, which is associated with specific melody ornaments. It is more accurately characterized as a song or vocal style in the French chanson tradition. It is associated particularly with the working class or trade union tradition in the Canadian encyclopedia. These include the following: A skilled proponent of the turlutte is La Bolduc, whose satirical and sometimes racy songs were based on the Quebec and Irish folk traditions. She is considered an expert ""turlutte"". Turlutte is also the name of a fiddle tune in Quebec. It lends itself"
"Birch trumpet The birch trumpet (Norwegian: neverlur, Swedish: näverlur, Latvian: taure, Lithuanian: ragas, daudytė) is a type of natural trumpet made of spruce covered with birch bark, known in Norway, Sweden, Finland, England, Denmark, Latvia, Lithuania, Belarus and Estonia. Even cruder and less durable versions were made of plain birch bark. They are associated with the early European Chalet culture, where it was presumably used to intimidate predators, frighten supernatural enemies, and convene council meetings. The neverlur, as a natural horn, thus has no fingerholes or valves. Normally, a player can play 10 tones from the natural scale on the"
"Intabulation Intabulation, from the Italian word ""intavolatura"", refers to an arrangement of a vocal or ensemble piece for keyboard, lute, or other plucked string instrument, written in tablature. Intabulation was a common practice in 14th–16th century keyboard and lute music. A direct effect of intabulation was one of the early advantages of keyboards, the ability to render multiple instruments' music on one instrument. The earliest intabulation is from the mid-14th century ""Robertsbridge Codex"", also one of the first sources of keyboard music still in existence. Some other early sources of intabulated music are the ""Faenza Codex"" and the Reina manuscripts"