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This conversational paradigm – which refers to the way one instrument introduces a melody or motif and then other instruments subsequently "respond" with a similar motif – has been a thread woven through the history of chamber music composition from the end of the 18th century to the present.
Chamber jazz is a genre of jazz involving small, acoustic-based ensembles where group interplay is important. [1] It is influenced aesthetically by the small ensembles of chamber music in musical neoclassicism and is often influenced by classical forms of Western music, [2] music as well as non-Western music or culture.
A chamber choir is a small or medium-sized choir of roughly 8 to 40 singers (occasionally called "chamber singers"), typically singing classical or religious music in a concert setting. [1] This is distinct from, for example, a church choir, which sings in religious services, or choirs specializing in popular music such as a barbershop chorus.
The term sonata da camera was originally used in its literal meaning of "chamber music", but later came to be used figuratively to contrast this genre of composition with the sonata da chiesa, which literally meant "church music", but generally comprised a suite of four movements with tempos following a largo–allegro–largo–allegro pattern.
Chamber opera is a designation for operas written to be performed with a chamber ensemble rather than a full orchestra. Early 20th-century operas of this type include Paul Hindemith's Cardillac (1926). Earlier small-scale operas such as Pergolesi's La serva padrona (1733) are sometimes known as chamber operas. [1]
Chamber pop (also called baroque pop [7] [8] and sometimes conflated with orchestral pop or symphonic pop [1]) is a music genre that combines rock music [1] with the intricate use of strings, horns, piano, and vocal harmonies, and other components drawn from the orchestral and lounge pop of the 1960s, with an emphasis on melody and texture.
As a separate genre, it appears to have no specific form, although most of the divertimenti of the second half of the 18th century go either back to a dance suite approach (derived from the 'ballet' type of theatrical divertimento), or take the form of other chamber music genres of their century (as a continuation of the merely instrumental theatrical divertimento).
Classical music is also performed in honour of gods and scholars such as to Confucius in temples and shrines. These categories are defined as Nhã Nhạc ("elegant music" or "ritual and ceremonial" music), Đại nhạc ("great music"), and Tiểu nhạc ("small music") are classified as chamber music, often for entertainment for the ruler.