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ritornello    
n. 十七世纪歌剧的咏唱或剧前剧后所奏器乐

十七世纪歌剧的咏唱或剧前剧後所奏器乐


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  • What differs between the rondo and its Baroque counterpart, the ritornello?
    So, ever since I heard the term ritornello, I have wondered what makes it different from the rondo So I’ve listened to several pieces in ritornello form to try to find the difference, but I couldn
  • What is it called when the same melody is played at different speeds by . . .
    Ritornello is somewhat related to the idea of antiphony but it involves the contrast of a solo instrument or small instrumental group against a full orchestra in the concerto form Often the ritornello repeats a melodic idea so that hearing it, for example, first in the orchestra then again from the soloist provides a definite timbral contrast
  • What forms can a classical composition be? [closed]
    Ritornello Form: Often seen in Baroque concerti This describes an alternation of textures between tutti (full orchestra) and solo Each tutti section is called a ritornello and is usually based on the same initial set of musical ideas (or some variation of them), while the solo sections, sometimes called episodes, tend to be more independent
  • Fugue Structure - Music: Practice Theory Stack Exchange
    So, invertible counterpoint allows you to play the same countersubjects on a lower or higher voice? Is that the entire structure of an exposition just the presentation of the subjects? Also in more voices than 2, do you require additional countersubjects for the other voices playing?
  • notation - Is there a way to write an AABA lead sheet without writing . . .
    This is normally achieved using Da Capo along with specific description about what to do then: that form is normally used with "al segno" or "al coda", but if the last A is actually identical to the second volta, you could just write it in text, eg : "D C to 2 " or "D C senza ritornello" (or "no rep "), which normally assumes the second volta as implicit Note, though, that it's relatively
  • In orchestral writing, how did (Baroque) composers think about two . . .
    It's important to consider pre-baroque practices as well; that is, not just "how has our practice changed," but "how did theirs " Renaissance (and prior) instrumentation in general did a lot of doubling, and was perhaps less concerned about how differences in ornamentation affected that doubling It was folks like Lully who wanted to increase the uniformity of unison playing
  • What can I call these sustained tones, under which the harmony . . . - theory
    In an analysis of Haydn's "Piano Variations in F minor" my student has used the term "pedals" to describe the first 3 Es of the piece in the top line right hand and also the 3 Fs at the end of ba
  • terminology - Whats the term for the place where the singer stops . . .
    I'm looking for the term (jargon) that used in music or orchestra and says where the singer stops singing and lets the orchestra playing instrumentally What's it called?
  • baroque period - Music: Practice Theory Stack Exchange
    Wikipedia says that a ciaccona (chaconne) is a musical composition involving variations on a harmonic progression or melody (motif), similar to the passacaglia Both originated from Spain in the ba
  • F Lydian chord progression: is that correct?
    Two of the posted answers make a case for the key of C which I agree with because there really isn’t a Lydian quality to the piece Another important thing to be aware of is that the first chord of a progression is not necessarily the tonic





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