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Title page of Franz Rigler's "Three Rondos" (1790) First page of the manuscript for Mozart's Adagio and Rondo for glass harmonica, flute, oboe, viola and cello. The rondo is a musical form that contains a principal theme (sometimes called the "refrain") which alternates with one or more contrasting themes, generally called "episodes", but also occasionally referred to as "digressions" or ...
Rondo form involves the repeated use of a theme (sometimes called the "refrain") set in the tonic key, alternating with episodes, resulting in forms such as ABACA (the five-part rondo) or ABACADA (the seven-part rondo). In a rondo, the refrain (A) may be varied slightly. The episodes (B, C, D, etc.) are normally in a different key than the tonic.
In music, form refers to the structure of a musical composition or performance.In his book, Worlds of Music, Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition or variation, the arrangement of the instruments (as in the order of ...
In summary, genre is a broader term and often refers to the overall style, structure, cultural context, or purpose of the music. For example, a rondo is based on alternation between familiar and novel sections (e.g. ABACA structure); a mazurka is defined by its distinctive meter and rhythm; a nocturne is based on the mood it creates, required ...
This stands in contrast to the practice, as for example occurs in Mozart's Italian- and German-language operas, of having a collection of songs interrupted by recitative or spoken dialogue. [4] Examples of the modern trend towards through-composed works in musical theater include the works of Andrew Lloyd Webber and Claude-Michel Schönberg.
The fast music uses the final quatrain for its main theme, and repeats parts of the earlier text (most often from the second quatrain) for the contrasting material. In later examples, where the fast sections become longer and more complex, material from all three stanzas came to be used. [9] [12]
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
However, Mozart's Rondo for Piano, K. 511, and the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form." [13] Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language". [14]