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The use of characteristic, short, recurring motifs in orchestral music can be traced back to the early seventeenth century, such as L'Orfeo by Monteverdi.In French opera of the late eighteenth century (such as the works of Gluck, Grétry and Méhul), "reminiscence motif" can be identified, which may recur at a significant juncture in the plot to establish an association with earlier events.
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A recurring passage rolled chord See Arpeggio rondo A musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA roulade (Fr.) A rolling (i.e. a florid vocal phrase) rubato Stolen, robbed (i.e. flexible in tempo), applied to notes within a musical phrase for expressive ...
A phrase is a substantial musical thought, which ends with a musical punctuation called a cadence. Phrases are created in music through an interaction of melody, harmony, and rhythm. [3] Giuseppe Cambini—a composer, violinist, and music teacher of the Classical period—had this to say about bowed string instruments, specifically violin ...
A phrase originally presented as a motif may become a figure which accompanies another melody, as in the second movement of Claude Debussy's String Quartet (1893). [8] Play ⓘ White would classify the accompaniment as motivic material since it was, "derived from an important motive stated earlier". [9]
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In traditional music, repetition is a device for creating recognizability, reproduction for the sake of the music notes of that specific line and the representing ego. In repetitive music, repetition does not refer to eros and the ego, but to the libido and to the death instinct." Repetitive music has also been linked with Lacanian jouissance.