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In Ancient Rome, declamation was a genre of ancient rhetoric and a mainstay of the Roman higher education system. It was separated into two component subgenres, the controversia, speeches of defense or prosecution in fictitious court cases, and the suasoria, in which the speaker advised a historical or legendary figure as to a course of action.
This score for Handel's Lascia ch'io pianga shows the simple accompaniment for a recitative; much of the time, the basso continuo (the lower staff in bass clef) play half notes and whole notes underneath the vocalist's recitative part.
In popular music, especially country music, a recitation song or "recitation" as it is more commonly called, is a spoken narrative of a song, generally with a sentimental (or at times, religious) theme. Such numbers were quite popular from the 1930s into the 1960s, although there were only few in number.
Melodeclamation (from Greek “melos” = song, and Latin “declamatio” = declamation) was a chiefly 19th century practice of reciting poetry while accompanied by concert music. [1] It is also described as "a type of rhythmic vocal writing that bears a resemblance to Sprechstimme." [2]
The text declamation of the conductus can be either syllabic/neumatic or melismatic. The syllabic/neumatic type is coined the term musica cum littera. Monophonic pieces are mostly syllabic. The latter is called musica sine littera. The melismatic declamation can be applied to the caudae or the entire piece. The medieval theorist, Franco de ...
In classical music, arioso (; also aria parlante [1] [ˈaːrja parˈlante]) is a category of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means airy. The term arose in the 16th century along with the aforementioned styles and monody.
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Berlin performed the piece during September 1911 wearing a coat and tails, receiving star billing at the Hammerstein Victoria Theatre owned by Willie Hammerstein at Times Square. [8] Berlin refused calls for encores and received a favorable review from Variety. [8] Erik Satie used "That Mysterious Rag" in 1917 for his ballet Parade. [4]