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All; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutti.
The genre of orchestral song tends to longer programmed pieces than songs accompanied by piano. For this reason the orchestral song may be either a longer single song or, more commonly, a cycle. An example of a single long song text is found in Sibelius' tone poem Luonnotar. [5] Other examples include Grieg's Den Bergtekne, op. 32.
16 mm film showing a sound track at right [1]. A soundtrack [2] is a recorded audio signal accompanying and synchronised to the images of a book, drama, motion picture, radio program, television program, or video game; colloquially, a commercially released soundtrack album of music as featured in the soundtrack of a film, video, or television presentation; or the physical area of a film that ...
The score contains all the parts for the singers and the accompaniment parts and melodies for the orchestra. Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble , such as a concert band ) or of adapting music composed for another medium for an orchestra.
Lauda – Devotional song popular in the medieval Italian church. Madrigal – Polyphonic musical setting of poetry, usually sung without instrumental accompaniment. Madrigal comedy – Collection of madrigals arranged to tell a story, often comic or satirical. Madrigale spirituale – Type of Italian madrigal adapted for religious texts.
While piano-vocal scores tend to consist of the vocal lines and a piano reduction of the whole orchestra onto two staves, piano-conductor scores tend to consist of the vocal lines and one of the orchestral piano parts that already exists, coupled with another staff containing the rest of the orchestral reduction (in contrast to a piano-vocal score, where the piano and other orchestral parts ...
In reviewing Laufey’s August concert with the LA Philharmonic, Variety wrote, “Laufey feels like she was born to play the Hollywood Bowl, with her rapturously received pop/jazz/classical set.”
It would take until 1908 for Kahnt to agree publication the full scores of those songs with orchestral accompaniments, [28] and 1910 for these scores to appear, along with Mahler's settings of 'Revelge' and 'Der Tamboursg’sell' from Der Knaben Wunderhorn in Sieben Lieder aus letzter Zeit (Seven Songs of Latter Days) in 1910.