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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. The Italian word libretto ( pronounced [liˈbretto] , plural libretti [liˈbretti] ) is the diminutive of the word libro ("book").
Although initially developed by technicians at The Santa Fe Opera, the Metropolitan Opera was the first to install the system which they describe as Met Titles. [1] In the U.S., the electronic libretto system was further developed and patented as "Simultext" by Figaro Systems of Santa Fe, New Mexico with The Santa Fe Opera becoming the second ...
Personal subtitle system at the Santa Fe Opera. The electronic libretto system uses individual screens placed in front of each seat allowing patrons either to view a translation or to switch them off during the performance. New York's Metropolitan Opera installed the patented Met Titles, becoming the first house in the United States to use this ...
The smallest pitch difference between notes (in most Western music) (e.g. F–F ♯) (Note: some contemporary music, non-Western music, and blues and jazz uses microtonal divisions smaller than a semitone) semplice Simple sempre Always sentimento Feeling, emotion sentito lit. "felt", with expression senza Without senza misura Without measure ...
Possible classifications proliferate (under anthem, ballad, blues, carol, folk song, hymn, libretto, lied, lullaby, march, praise song, round, spiritual). Nursery rhymes may be songs, or doggerel: the term does not imply a distinction. The ghazal is a sung form that is considered primarily poetic. See also rapping, roots of hip hop music.
(3)As described above (Does music have a syntax?), music has a hierarchical structure in terms of pitch organization and organization of tensioning and releasing in music. Pitch organization concerning chords means, that in a musical phrase the tonic is the most stable chord and experienced as the resting point.
When music writer Charles Osborne describes the libretto as "inadequate as an adaptation of Schiller's excellent play [but] Cammarano's Luisa Miller is, in its own right, a very fine libretto", [12] he continues by comparing it with Cammarano's previous libretto for La battaglia di Legnano, which contrasts:
Rosen suggests that not just the words of these passages, but even the music is didactic: "The morality of Die Zauberflöte is sententious, and the music often assumes a squareness rare in Mozart, along with a narrowness of range and an emphasis on a few notes very close together that beautifully illuminate the middle-class philosophy of the ...