Search results
Results from the WOW.Com Content Network
A work for one or more solo instruments accompanied by an orchestra Concertino: little concert: A short concerto; the solo instrument in a concerto Concerto grosso: big concert: A Baroque form of concerto, with a group of solo instruments Da capo aria: from the head aria: A three-section musical form Dramma giocoso: jocular drama: A form of ...
Some Italian music terms are derived from the common Italian language. Others come from Spanish , or Neapolitan , Sicilian , Sardinian or other regional languages of Italy . The terms listed here describe a genre, song form, dance, instrument, style, quality of music, technique or other important aspect of Italian music.
A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Get AOL Mail for FREE! Manage your email like never before with travel, photo & document views. Personalize your inbox with themes & tabs. You've Got Mail!
Tempo rubato (Italian for 'stolen time'; UK: / ˈ t ɛ m p oʊ r ʊ ˈ b ɑː t oʊ /, US: / r uː-/, [1] [2] Italian: [ˈtɛmpo ruˈbaːto];) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor.
abaco - abacus; abat-jour - bedside lamp; abate - abbot; abbacchiato - depressed/down; abbacinare - to dazzle; abbacinato - dazzled; abbagliante - dazzling
In the first example, Rodolfo's first aria in La sonnambula (1831), the portamento is indicated by the slur between the third and fourth notes. The second example, Judit's first line in Bluebeard's Castle (1912) by composer Béla Bartók, employs an inclining, wavy line between the fourth and fifth notes to indicate a continuous, steady rise in pitch.