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one-voice-per-part The practice of using solo voices on each musical line or part in choral music. ordinario (ord.) (Ital.) or position ordinaire (Fr.) In bowed string music, an indication to discontinue extended techniques such as sul ponticello, sul tasto or col legno, and return to normal playing. The same as "naturale". organ trio
The term is a directive to repeat the previous part of music, often used to save space, and thus is an easier way of saying to repeat the music from the beginning. In small pieces, this might be the same thing as a repeat. But in larger works, D.C. might occur after one or more repeats of small sections, indicating a return to the very beginning.
"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
What is most commonly taught in beginning music theory classes are guidelines to write in the style of the common practice period, or tonal music. Theory, even of music of the common practice period, may take other forms. [155] Musical set theory is the application of mathematical set theory to music, first applied to atonal music.
The Black Crook (1866), which some historians consider the first modern musical [23] Around 1850, the French composer Hervé was experimenting with a form of comic musical theatre that came to be called opérette. [24] The best known composers of operetta were Jacques Offenbach from the 1850s to the 1870s and Johann Strauss II in the 1870s and ...
The term "Romanticism" when applied to music has come to imply the period roughly from 1800 until 1850, or else until around 1900. Musical Romanticism is predominantly a German phenomenon—so much so that one respected French reference work defines it entirely in terms of "The role of music in the aesthetics of German romanticism". [114]
Applying that theory to music and ethnomusicology, Rice brings back the terms of musicology and musical experience. Because one's experience of music is simply an interpretation of preconceived symbols, one cannot claim musical experience as factual. Thus, systematizing fieldwork like one would a scientific field is a futile endeavor.
The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba ...