Academic journal article International Journal of Communication Research

Communication through the Language of Voice "Aria Da Capo" Characteristics and Vocal Interpretative Potential in the Eighteenth - Century

Academic journal article International Journal of Communication Research

Communication through the Language of Voice "Aria Da Capo" Characteristics and Vocal Interpretative Potential in the Eighteenth - Century

Article excerpt

Aria is a vocal work with instrumental accompaniment piano or organ but also with orchestral accompaniment. Aria is known in musical drama from the operas of composers Giulio Caccini and Jacopo Peri. It is known that bipartite form of these musical productions, leaving folk song tradition so more and more choral lyric italian as french chanson is presentedin the form of Aria. She served at first to designate a instrument melody,that suites was composed of pieces or parts specific to certain dance moves such as the: sarabande, giga, courante, minuet, allemanda, bourrée. With time the italian word was reserved for solo voice piece of the orchestra. The Italian opera of the eighteenth - century the aria has taken particular importance, being reserved for psychological characterization, exposing a moral sense or defining traits of a hero, a character. Aria took the appearance known as Aria da capo, composed of two parts designed to contrast with each other, the first end by repeating A-B-A scheme. Composer Alessandro Scarlatti was the one who completed the Aria da capo features Italian type with ongoing: fast-slow-fast movements, characterizing the entire production of opera seria of the eighteenth - century. Jean Baptiste Lully was the one who completed French Aria da capo type movements: slow-fast-slow. Aria da capo form historians established since the seventeenth century.

The author Teodorescu-Ciocänea Livia writes in Tratat de forme §i analize muzicale1 (Treaty of forms and musical analysis) that, quote: "Aria da capo, specific Baroque has a complex construction (composite) ternary batch. Each part is itself a simple (usually bipartite) and has its own character and thematic material, ensuring tempo contrast between sections. Baroque da capo indication introduce forms tend to half, forms that will assert mainly in classicism and romanticism, especially Instrument work."

We know that music is a replay half by contrast, unlike simple repetition that includes instant replay and the presentation of the relationship between soloist and orchestra, the latter having only accompanist role but thematically bringing the orchestral tutti at the start point of the aria, where the name of ritornello2. It has similarities with formal structures of ternary composite type Minuet / Trio / Minuet or Scherzo / Trio / Scherzo, causing the three fundamental components of a speech in ternary form. If a trio it is tonal character closed, Aria da capo the tonal center B is generally open in character modulating role digression thematic and harmonic character cell interior unlike statism thematic and harmonic exposure rechallenges, otherwise the contrast between A and B is likely different in tempo and expression. The first part A is usually a Largo and the second part B is an Allegro, tonal it is known that B starts at the minor relative. Aria da capo always starts with a ritornello and throughout the paper takes the role of interlude, especially in the first part A. Ritornello can have themes or content totally different singer, so arranged as to be overlapped with the theme soloist with accompaniment role. Re-exposure is not always identical exposure or failure due to compression of joints sections. Specialized dictionary is written that take instrumental music with vocal-choreographic other, an aria that appear that episode sing contrast to the pre-classic dance suite Baroque. Plasticity her song will serve as a basis for developing specific instruments classified as variations called Baroque. Conventionalism opera production in the late seventeenth century and early eighteenth century dividing arias into classes, establishing the rule: two arias belonging to the same class does not have to follow one after the other.

For the first class belongs Aria cantabile, in slow motion and with simple continuo accompaniment, left to the discretion allowed ornamental improvisations technical possibilities and taste of the singer. Aria di portamento was the second class, with also moving slowly, have a marked rhythm and bass accompaniment in addition includes violins especially in ritornello. …

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