As the text of the recitative becomes more lyrical and its form expands, gaining more content in musically, recitative happens:
- dry (secco)
- measured (a tempo)
- melodious (ariosous singing).
In all three births correct, meaningful recitation is of great importance.
IN vocal music often use a mixture of three intermediate types of recitative, moving from one to another. For all recitatives, prose can serve as a text.
Recitative can also be used in the meaning of slang vocabulary, i.e. the number of jargon words in the lexicon.
Dry recitative
The dry recitative is in four-quarter time. The accompaniment consists of abrupt chords without figures and does not express the mood, but only serves to indicate to the singer the key and to emphasize punctuation marks. Chords are taken mainly where there is a break in the recitative. Sometimes, between two phrases that have a break, a short ritornello with a figure expressing the mood is inserted. This recitative has very little melodic content. Only one sound is required for each syllable of the text. The form of such a recitative is indefinite and is completely dependent on the text. The singer performs it freely, not in tempo. The alternation of tones is arbitrary, but still one should not make too frequent and sharp modulations into distant tones. A change in tone corresponds to a change in thought in the text. If there are no chords in the measure of the recitative, then the conductor does not beat out four quarter notes, but gives only one beat. The vocal part of such a recitative is written for the voice centrally, that is, in the middle register, leaving it (up or down) only in moments of a strong dramatic mood.
Measured recitative
Measured recitative (a tempo) comes in different counts - 4/4, 3/4, etc. When singing a recitative, which is not particularly rich in melody, the accompaniment comes entirely, in the form of chords sustained or played with a tremolo. There is no carried out motive, that is, a drawing, in such an accompaniment. The form is indefinite, the alternation of tones is arbitrary. There is one note for each syllable. This recitative is performed at tempo and conducted continuously.
Singing recitative
Singing recitative (ariosous singing) is the most developed form of recitative. The vocal part differs in melodic content. One syllable of a word can sometimes have two or more sounds. Like the measured one, this recitative is not constrained by the modulation plan. The form is most often free. The musical content of the accompaniment, in comparison with previous recitatives, is richer both in harmonic and rhythmic terms; it contains a figure (motive).
Singing that has roundness and great completeness, but lacks a knee joint, is called arioso.
see also
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2010.:Synonyms
See what “Recitative” is in other dictionaries: - (Italian recitativo, French recitatif). Singing that goes with speaking, speaking. Dictionary foreign words , included in the Russian language. Chudinov A.N., 1910. RECITATIVE in singing, performance close to dialect, long notes are absent and music in general... ...
Dictionary of foreign words of the Russian language - (Italian recitativo from recitare to recite), a type of vocal music that approaches natural speech while maintaining a fixed musical system and regular rhythm. Used in opera, oratorio, cantata. In the 17th and 18th centuries. appeared dry... ...
Big Encyclopedic Dictionary recitative - a, m. recitatif m. , it. recitativo. A form of vocal musical work that intonationally and rhythmically reproduces declamatory speech; melodious recitation. BAS 1. [Darina:] I take on Aria; but as for Recitative, that’s another matter.… …
Historical Dictionary of Gallicisms of the Russian Language RECITATIVE, recitative, husband. (Italian recitativo) (music). Singing (or sometimes unsinging) speech entering integral part into a vocal musical work. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ...
Ushakov's Explanatory Dictionary RECITATIVE, ah, husband. (specialist.). Chanted speech in a vocal musical work. Read recitative (chanting). | adj. recitative, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 …
Male, Italian talking, singing with a tongue: speaking in a sing-song manner; singing at church speech singing like simple speech, without measure, or with arbitrary arrangement and stretching, loud, speaking. Dahl's Explanatory Dictionary. IN AND. Dahl. 1863 1866 … Dahl's Explanatory Dictionary
Noun, number of synonyms: 6 sayings (4) melodious recitation (2) singing (42) ... Synonym dictionary
A vocal musical form not subject to symmetrical rhythm, a kind of melodious conversation. There are phrases that, due to an excess of feeling, require P.: a more developed musical form would be unnatural here (for example, O grief, O joy, O Lord... Encyclopedia of Brockhaus and Efron
A type of vocal music that approximates natural speech while maintaining a fixed musical structure and regular rhythm. Big Dictionary in cultural studies.. Kononenko B.I.. 2003 ... Encyclopedia of Cultural Studies
Recitative- (Italian recitativo, from recitare to recite), 1) in opera, cantata, oratorio of the late 17th - 19th centuries. section preceding the aria (A. Scarlatti, J.S. Bach, W.A. Mozart). 2) vocal style, approaching natural speech, but preserving... ... Illustrated Encyclopedic Dictionary
Italian recitativo, from recitare - to recite; French recitatif, German Resitativ, English. recitative
A type of vocal music based on the desire to approach natural speech. However, this is inevitably of a conditional nature, since free intonation of speech cannot be accurately reproduced in a system of fixed music. structure and regular rhythm (see Intonation). The main intonations of the recitative are muses. an analogy of the most characteristic and stable speech intonations (for example, question, exclamation, address, etc.). Like their speech prototypes, they combine typical and individual features, reflecting not only the general nature of the speech utterance, but often very subtle emotions. shades. The phrasing and rhythm of R. are determined by the syntactic. text structure and distribution of speech accents. Thematic repetition and symmetry are not characteristic of rhyme. The origins of rhyme go back to the depths of time: in the musical and speech genres of folk music. art (for example, epic songs of various peoples) and in the most ancient genres of prof. art (for example, liturgical psalmody).
R. in his own. sense of the word arose in connection with the birth of opera and monodics close to it. genres. A new kind of wok. music was conceived by its creators - the figures of the Florentine Camerata - as a revival of the melodious recitation of the ancient. tragedy. In early operas, R., alternating with more melodious choral or solo episodes, occupied the main position. place, sometimes achieving great drama. expressiveness (C. Monteverdi). Declamation in R. was not opposed to melodiousness, which is reflected in the term recitare cantando (to recite melodiously), used by Marco da Galliano in the preface to the opera Daphne. R.'s accompaniment was recorded in the form of basso continuo (see 1st example).
Melodious. and the declamatory principles, united in the early examples of opera, became isolated over time: each began to perform its own functions in the opera. Basic music the content was concentrated in arias expressing the feelings of the hero, but static in the dramatic. respect. Development of action in dialogue or narration about someone. events became the function of R.
J. Peri. "Eurydice", prologue.
At the end of the 17th century. In the works of composers of the Neapolitan opera school, two types of R were formed. The first, performed in a “talk”, in a free rhythm, supported by extended cymbal chords, was called secco (“dry”). Such R., schematically recorded in equal durations and in a close range, in the stage. performance could acquire the expressiveness of live speech (as evidenced by the Italian performing tradition). This was especially evident in opera buffa, where the type P. secco survived into the 19th century. Dr. type R., with a precisely fixed rhythm, more expressive intonation and performed with an orc. accompaniment was called accompagnato (accompanied). He often preceded an aria, performing with it the same function as a monologue in a drama. A freer form compared to the aria made it possible to convey complex psychological states and the struggle of feelings in R.
R.'s close connection with specific features of language and intonations of speech determined. its differences in individual nationalities. schools. R. early French. operas (J.B. Lully) was formed under the influence of the structure of the French. syllabich. verse and speech manner of French. classicist tragedy. R. in cantata-oratorio op. J. S. Bach (especially in the St. John Passion) is far ahead of the intonation of the opera of his time. variety, drama, realism. Much attention Two great opera reformers of the 18th century paid attention to R.: K.V. Gluck and W.A. Mozart, especially the first. His mature operas smooth out the differences between the two traditions. in R. types and even in R. secco type the accompaniment is entrusted to the orchestra. Gluck assigns a particularly important place to P. accompagnato, which sometimes turns into an arioso or freely constructed monologue. scene with a detailed orc. a game that reveals emotional overtones.
W. A. Mozart. "The Marriage of Figaro", act 2, No. 14 (recitativo secco).
In the 19th century in connection with the gradual development of opera into music. drama, and the "numbered" composition - into the composition " end-to-end development"Russianism becomes an essential musical and dramatic element. The recitative principle penetrates into arias and even into ensembles. The vocal parts in R. Wagner's musical dramas represent a melodized rhyme, freely transitioning into ariatic episodes. The main musical content is concentrated in them in a symphonized orc part. Bright samples dramatic R.-arioso is not uncommon in G. Verdi, especially in late operas (“Othello”). In him we also find brilliant examples of R. - "talk" in the best traditions of the opera buffa ("Falstaff").
K.V. Gluck. "Armida", act 5, scene 4 (recitativo accompagnato).
In Western Europe opera con. 19-20 centuries Ch. develop arr. Wagnerian principles of music. recitation. At the same time, recitative intonations are often exaggerated, acquiring increased expressiveness (R. Strauss). On the other hand, C. Debussy’s purely recitative piece “Pelléas et Mélisande” was written in an exquisite chamber style. In the stage prod. composers of the new Viennese school (A. Schoenberg, A. Berg), along with R. or replacing it, used speech recitation with refined pitch and rhythm (Sprechstimme, Sprechgesang). To record this method of intonation, a special kind of notation is used: crosses with stems (a cross is placed in place of the note head and indicates the pitch of the sound, the stem indicates its duration).
In Russian music Special attention R. was given to A. S. Dargomyzhsky, who strived for the unity of music and words. His opera "The Stone Guest", written entirely in a recitative style, is distinguished by the subtle individualization of each part and a variety of declamatory techniques: from "talk" to wide chanting. speech intonations. This tradition was continued by M. P. Mussorgsky, who created a recitative opera based on prose. text ("Marriage"). From fixing individual speech intonations, Mussorgsky later moves on to their music. generalization, expanding the capabilities of R. through the use of elements of narration. music speech genres (jokes, jokes, epic tales) and striving for “a melody created by human speech.” Elements of folk-epic and epic poetry were also developed by N. A. Rimsky-Korsakov (“Sadko”, “The Legend of the City of Kitezh and the Maiden Fevronia”). In the operas of P. I. Tchaikovsky, R.-arioso is used especially widely and variedly, to which the composer gave the form either of an intimate “recitative-conversation” (B. V. Asafiev) or of a vividly dramatic monologue.
In Sov. S. S. Prokofiev showed special skill in the field of opera in the field of opera, creating accurate and vivid “intonation portraits.” No less characteristic are R. in the operas of D. D. Shostakovich, who is not alien to the satirical method. hyperbolization of speech intonations. In modern owls In opera, along with R., others are used that are close to it in musical and speech. types of intonation: Sprechgesang, melodic and rhythmic declamation.
P. I. Tchaikovsky. "Mazeppa", act 1st. No 5.
R. is also used in chamber woks. music, most often in the genre of ballad (F. Schubert) or dramatized song-sketch (Dargomyzhsky, Mussorgsky). Individual elements of recitative declamation can be found in the most melodious, melodious works. Imitation of “speaking” intonations and free rhythm of R. is also used in instruments. music (fantasy from the cycle “Chromatic Fantasy and Fugue” by Bach, the finale of Beethoven’s 9th Symphony, “Recitative and Romance” in Shostakovich’s 2nd Quartet).
Literature: Druskin M., Questions musical dramaturgy operas, Leningrad, 1952; Yarustovsky B., Russian Dramaturgy opera classics, M., 1952; Reformatsky A., Speech and music in singing, in: Issues of speech culture, vol. 1, M., 1955; Ogolevets A., Word and music in vocal and dramatic genres, M., 1960; his, Vocal Drama of Mussorgsky, M., 1966; Dolivo A., Recitatives in vocal art, in: Issues of musical performing arts, vol. 3, M., 1962; Vasina-Grossman V., Music and the poetic word, part 1, Rhythm, ch. 2, M., 1972; Rousseau J.-J., Recitatif, in his book: Dictionnaire de musique, P., 1768 (Russian translation in the book: Materials and documents on the history of music, edited by M. V. Ivanov-Boretsky, t. . 2, M., 1934, pp. 79-81; Rolland R., L "opera au XVII siecle en Italie - Les origines de l"opera allemand - L "opera anglais au XVIIe siecle, in the book: Encyclopedie de la musique et dictionnaire du Conservatoire..., v. 2-3, P., 1913 (Russian translation - Rolland P., Opera in the 17th century in Italy, Germany and England, M., 1931).
V. A. Vasina-Grossman
A style of singing that approaches recitation, reflecting the desire to convey human speech. Recitative arose in the early examples of operas and was conceived by its creators as a revival of the melodious recitation of ancient tragedy. Further development of the genre led to the separation of recitative and melodic principles.
With the advent of the “numbered” structure in opera, the quintessence of which was the aria with its melody (see also bel canto), recitative began to be performed dramatic function, associated with the development of action, as opposed to arias and other types of ensembles in which the actual musical content of the work was concentrated.
At the end of the 17th century. Two types of recitatives developed: “secco” (“dry”) and “accompagnato”. The 1st was a fairly free declamation (intonated speech), accompanied by cymbal chords; 2nd - a more rhythmically and musically organized recitation accompanied by an orchestra.
In the 19th century, when, under the influence of Wagner’s reform, opera began to gradually turn into musical drama, and the “number system” gave way to end-to-end musical development, it is this type of recitative that is most widespread.
RECITATIVE ( Recitative) - vocal musical form, a type of melodious conversation.
There are phrases that, due to an excess of feeling, require recitative; a more developed musical form would be unnatural here; recitative is speech brought to the highest degree of expressiveness, thanks to precise, definite musical rhythm, as well as the precise designation of the rise and fall of the voice.
As the text of the recitative becomes more lyrical and its form expands, becoming more musically meaningful, the recitative is of three types :
1) Dry (Secco); 2) Measured (a Tempo); 3) Melodious (A rios singing).
In all three categories, correct, meaningful recitation is of great importance.
Dry It is four quarters in size. The accompaniment consists of abrupt chords without figures and does not express the mood, but only serves to indicate to the singer the key and to emphasize punctuation marks.This recitative has very little melodic content. Only one sound is required for each syllable of the text. The form of such a recitative is indefinite and is completely dependent on the text. The singer performs it freely, not in tempo. A change in tone corresponds to a change in thought in the text.
Recitative measured (a tempo) can be in different counts - 4/4, 3/4, etc. When singing a recitative, which is not particularly rich in melody, the accompaniment comes entirely, in the form of chords sustained or played with a tremolo. There is no carried out motif, i.e., drawing, in such an accompaniment. The form is indefinite, the alternation of tones is arbitrary. There is one note for each syllable. This recitative is performed at a tempo.
Singing recitative (ariosous singing) is the most developed form of recitative. The vocal part differs here in its melodic content. One syllable of a word can sometimes have two or more sounds. Like the previous one, this recitative is not constrained by the modulation plan. The form is free. The recitative may end in a different key and is not subject to the requirements of a rounded form. The musical content of the accompaniment, in comparison with previous recitatives, is richer both in harmonic and rhythmic terms; it contains a figure (motive). The purpose of accompaniment is to express mood.
In vocal music they often use a mixture of three intermediate types of recitative, moving from one to another. For all recitatives, prose or blank verse can serve as text.
rap, hip-hop, rhythm and blues
(Hip-hop, Rap, R&b)
Hip-hop(English) Hip-hop) - youth subculture that emerged in the United States in the late 1970s among African Americans. It is characterized by its own music (also called “hip-hop”), its own jargon, its own fashion , dance styles ( brakedance etc.), graphic art ( graffiti) and your cinema . By the beginning of the 1990s. hip-hop has become part of youth culture in many countries around the world. This article examines hip-hop music and the general elements of the hip-hop subculture.
Hip hop music
Characteristic
Despite the development various types artistic expression in hip-hop culture, music remains the main generator of its ideology. Actually, hip-hop music consists of two main elements: rap (rhythmic recitative with clearly defined rhymes) and the rhythm set by DJ ; at the same time, compositions without vocals are not uncommon. In this combination, rap artists call themselves “MC” ( English MC – Microphone Controller or Master of Ceremony ). Art is considered the priority and most appreciated rhymes , which MCs, in pursuit of innovation, often compose to the detriment of the meaning of the text, which, in turn, turns it into confusing riddles(eg. Guestface Killa says that he deliberately strives to compose such rhymes so that no one but him will understand what is being said). The task of one or more DJs is to program the rhythm to drum machine, sampling (using fragments of other people's compositions, especially bass and synthesizer parts), manipulations with vinyl records and sometimes “beatboxing” (imitating the rhythm of a drum machine with your mouth). On stage, the musicians are often also accompanied by a dance ensemble.
Currently, hip-hop is one of the most commercially successful types of modern entertainment music and is stylistically represented by many directions within the genre.
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Origins and development of hip-hop music
Hip-hop originated in the black community Bronx, New York City borough , in the second half of the 1970s. At the time, it was party music made by disc jockeys (called"DJs" ), who worked in extremely primitive technology at that time sampling : it often boiled down to repeating someone else’s musical passage dance composition. First"MC" were literally typical entertainer (“Master of Ceremony” is short for MC; this acronym has since absorbed many other meanings), they introduced the DJs, and also kept the audience engaged with energetic cheers and tirades. (It should be noted that on Jamaica a similar style of performance was developed at the turn of the 1960s and 70s. thanks to the emerging technology daba.)
The popularity of the music at these parties led to the fact that local DJs began to sell cassettes with live recorded “sets” (performance program), in which rhythms and bass parts taken from compositions in styles were skillfully mixed disco and funk , over which the MCs rapped. It was a purely amateur activity, and at that time (1977-78) there were no studios or official releases of rap records.
The situation changes dramatically when at the beginning of autumn 1979 in the USA The single “Rapper's Delight” is released, performed by Sugarhill Gang and makes a sensation in the American market popular music. The single is considered the first rap recording, despite the fact that several more slightly earlier recorded songs dispute the glory of primacy; however, it was thanks to this 15-minute composition that the American public and the media learned about such a phenomenon as hip-hop, however, despite the popularity of the song, most agreed that it was just a musical joke from which nothing would come of it. The song was written by a black group, assembled almost by chance the day before recording (paradoxically, the group’s musicians were not from Bronx , but from another state altogether). Rhythm (classical disco ) and the bass guitar part were taken from the then hit Chic “Good Times” was overlaid with rap performed by three MCs. One of the advantages of the composition is that already in this first rap 1979 years, typical rhymes were given, as well as the fundamental themes of hip-hop: details of everyday life, competitions MC, sex , mockery and ostentatious vanity.
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At the very beginning of the 1980s. Among rappers, there was a strong interest in European electronic pop music (primarily Kraftwerk and Gary Numan , widely sampled), the technological discoveries of which, coupled with the developed"breakbeat" - with a broken, completely new rhythm - contributed to the separation of hip-hop from rhythmic dependence on disco and funk . Breakbeat rhythm combined with the more developed Jamaican technique by that time duba brought hip-hop to new level. The innovators of early hip-hop were Curtis Blow, Afrika Bambatha, Grandmaster Flash and Whodini , - namely their records from 1980-84. (now referred to as the “old school of hip-hop”) were decisive for the formation of the genre. Collectives picked up the baton of innovation Run DMC, Mantronix, Beastie Boys , each of whom brought their own discoveries to hip-hop: Run DMC played minimal drum machine breakbeat, Mantronix have received recognition for their revolutionary mixing techniques, and Beastie Boys combined elements punk rock and rap and became the first white rap group to achieve success. It is worth mentioning that one of the earliest examples of white hip-hop were the compositions The Clash , especially their single"The Magnificent Seven" 1980 , which received promotion on black radio stations New York).
By the mid-1980s, hip-hop music had ceased to focus solely on the party atmosphere, and the next generation of rappers began to develop various topics, e.g. socially aggressive raps Public Enemy brought them cult status among listeners not only in the black community. By the end of the 1980s. rap music has reached a level of popularity comparable to rock, country and the stage, and such large institutions music industry HowAmerican Recording Academy, head of awards Grammy and American Music Awards in 1988 categories for rap were established. The personification of this popularity in America was MC Hammer, Criss Cross and others, who addressed their music to a wider listening audience, which, in turn, gave impetus to the development of more uncompromising genres in hip-hop. Soon gained wide popularity"gangsta rap" , reflecting the criminal life of the black ghettos.
In the 1990s gg. formed modern sound hip-hop, among popular artists that decade can be called 2Pac, Dr.Dre, Dogg Pound, Snoop Dogg, Onyx, Wu-Tang Clan, Puff Daddy. In 1998 year, a white rapper gained fame Eminem . Since that decade, hip-hop has been fueled stylistically and technologically modified by him rhythm and blues (“r&b”).
In modern hip-hop, as in other major styles of popular music, big role played by producers, on whom the entire industry depends. Hip-hop artists, despite its initial Negrocentrism, can be found in most countries of the world, from Argentina to Japan.
Subculture aesthetics
Hip-hop became the first music that most fully and uniquely embodied the ideology of modern African-American culture. This ideology was built on antagonism to American Anglo-Saxon culture, so hip-hop, being an integral part of the original black culture, will most likely continue to develop (contrary to predictions that hip-hop music will freeze and die), as evidenced by million-dollar contracts new rap artists. Over the past decades, its own fashion , radically different from the traditional fashion of the white population, its jargon and its own cultivated manner pronunciation , dance styles, your own graphic art -"graffiti" (images and inscriptions on the walls made with aerosol cans or special markers with paint) and in Lately also movies (not necessarily about rappers, but taking themes from the black environment, see movies"Salon", "Hustle And Flow" ; rappers are also increasingly becoming film actors). Thus, it becomes difficult to draw a clear boundary between hip-hop itself and the black subculture.
Despite the hip-hop fashion changing every year, in general it has a number of characteristic features. Clothing is usually loose, sporty: sneakers and baseball caps from well-known brands (eg. Adidas ), T-shirts and basketball jerseys, jackets with hoods, ski hats pulled down over the eyebrows, baggy pants (the so-called “tubes”), lowered wide shorts. Short hairstyles, although short ones are also popularafrican braids. Massive gold jewelry (chains, medallions, etc.) is popular among rappers themselves.
Russian hip-hop
The first experiments with rap in Russia apparently date back to 1984, when Kuibyshev Disc jockey of the Canon disco Alexander Astrov, together with the local group Chas Rik, recorded a 25-minute program, which was soon distributed throughout the country in the form of a magnetic album "Rap".
In addition to these experiments, hip-hop in Russia gained fame, rather narrowly, in the second half of 80's when the hobby began breakdancing , although the actual English-language rap compositions were little known to music lovers. The first Russian-speaking rap performers appeared in the early 1990s and enjoyed fame Bogdan Titomir , on the other hand, more underground forms of Russian hip-hop ("MD&C Pavlov" ) were not successful. The market for Russian hip-hop as an industry was formed only in the late 1990s, confirmed by the emergence of many groups of this genre ("Bad Balance", "Caste", "Legal business"). IN 1999 In 2018, the global revival of breakdancing contributed to its revival in Russia.
Reproduces the rhythmic and intonation pattern of natural speech.
As the text of the recitative becomes more lyrical and its form expands, becoming more musically meaningful, the recitative becomes:
- dry (secco)
- measured (a tempo)
- melodious (ariosous singing).
In all three categories, correct, meaningful recitation is of great importance.
In vocal music they often use a mixture of three intermediate types of recitative, moving from one to another. For all recitatives, prose can serve as a text.
In operas and oratorios, recitative is usually accompanied by dry accompaniment and serves as a link between arias. At the same time, the recitatives reflect dramatic action, and in arias - emotional reaction characters on it.
Dry recitative
The dry recitative is in four-quarter time. The accompaniment consists of abrupt chords without figures and does not express the mood, but only serves to indicate to the singer the key and to emphasize punctuation marks. Chords are taken mainly where there is a break in the recitative. Sometimes, between two phrases that have a break, a short ritornello with a figure expressing the mood is inserted. This recitative has very little melodic content. Only one sound is required for each syllable of the text. The form of such a recitative is indefinite and is completely dependent on the text. The singer performs it freely, not in tempo. The alternation of tones is arbitrary, but still one should not make too frequent and sharp modulations into distant tones. A change in tone corresponds to a change in thought in the text. If there are no chords in the measure of the recitative, then the conductor does not beat out four quarter notes, but gives only one beat. The vocal part of such a recitative is written for the voice centrally, that is, in the middle register, leaving it (up or down) only in moments of a strong dramatic mood.
Measured recitative
Measured recitative (a tempo) comes in different sizes - 4/4, 3/4, etc. When singing a recitative, which is not particularly rich in melody, the accompaniment comes entirely, in the form of chords sustained or played with a tremolo. There is no carried out motive, that is, a drawing, in such an accompaniment. The form is indefinite, the alternation of tones is arbitrary. There is one note for each syllable. This recitative is performed at tempo and conducted continuously.
Singing recitative
Singing recitative (ariosous singing) is the most developed form of recitative. The vocal part differs in melodic content. One syllable of a word can sometimes have two or more sounds. Like the measured one, this recitative is not constrained by the modulation plan. The form is most often free. The musical content of the accompaniment, in comparison with previous recitatives, is richer both in harmonic and rhythmic terms; it contains a figure (motive).
Singing that has roundness and great completeness, but lacks a knee joint, is called arioso.
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Excerpt characterizing the Recitative
The Countess watched over the cleaning of things, was dissatisfied with everything and followed Petya, who was constantly running away from her, jealous of him for Natasha, with whom he spent all his time. Sonya alone managed the practical side of the matter: packing things. But Sonya has been especially sad and silent all this time. Nicolas's letter, in which he mentioned Princess Marya, evoked in her presence the countess's joyful reasoning about how she saw God's providence in Princess Marya's meeting with Nicolas.“I was never happy then,” said the countess, “when Bolkonsky was Natasha’s fiancé, but I always wanted, and I have a presentiment, that Nikolinka would marry the princess.” And how good that would be!
Sonya felt that this was true, that the only way to improve the Rostovs’ affairs was to marry a rich woman and that the princess was a good match. But she was very sad about it. Despite her grief, or perhaps precisely as a result of her grief, she took upon herself all the difficult worries of orders for cleaning and packing things and was busy all day long. The Count and Countess turned to her when they needed to be ordered something. Petya and Natasha, on the contrary, not only did not help their parents, but for the most part everyone in the house was bothered and disturbed. And all day long you could almost hear their running, screaming and causeless laughter in the house. They laughed and rejoiced not at all because there was a reason for their laughter; but their souls were joyful and cheerful, and therefore everything that happened was a reason for joy and laughter for them. Petya was happy because, having left home as a boy, he returned (as everyone told him) a fine man; It was fun because he was at home, because he had left Belaya Tserkov, where there was no hope of getting into battle soon, and ended up in Moscow, where one of these days they would fight; and most importantly, it was cheerful because Natasha, whose mood he always obeyed, was cheerful. Natasha was cheerful because she had been sad for too long, and now nothing reminded her of the reason for her sadness, and she was healthy. She was also cheerful because there was a person who admired her (the admiration of others was the ointment of the wheels that was necessary for her car to move completely freely), and Petya admired her. The main thing is that they were cheerful because the war was near Moscow, that they would fight at the outpost, that they were distributing weapons, that everyone was running, leaving somewhere, that in general something extraordinary was happening, which is always joyful for a person, especially for a young person.
On August 31, Saturday, in the Rostov house everything seemed to be turned upside down. All the doors were opened, all the furniture was taken out or rearranged, mirrors, paintings were removed. There were chests in the rooms, hay, wrapping paper and ropes lying around. The men and servants carrying out things walked with heavy steps along the parquet floor. Men's carts were crowded in the yard, some already topped and hitched, some still empty.
The voices and footsteps of the huge servants and the men who arrived with carts sounded, calling to each other, in the yard and in the house. The Count went somewhere in the morning. The Countess, who had a headache from the bustle and noise, lay in the new sofa with vinegar bandages on her head. Petya was not at home (he went to see a comrade with whom he intended to move from the militia to active army). Sonya was present in the hall during the installation of crystal and porcelain. Natasha was sitting in her ruined room on the floor, between scattered dresses, ribbons, scarves, and, motionless looking at the floor, holding an old ball gown, the same (already outdated in fashion) dress that she wore for the first time at the St. Petersburg ball.
Such as opera, operetta, musical. Often small musical forms cannot do without it. And it happens that it completely displaces the usual understanding of music, becoming the head of a musical work. What is recitative and what role does it play in music, we find out in this article.
Concept
Recitative is a vocal form in music that is not subject to rhythm and melody. It can sound with the presence of accompaniment or, in fact, it sounds as if among the general musical frame. To understand what recitative is in music, it is necessary to examine in more detail musical works, in which this element is present.
Recitative cannot be classified as an ordinary recitation of poetry, since rhyme is not always present in this passage. If we consider recitative as a means of expressiveness, then it is it that often reflects the emotional state of the hero and basic experiences that cannot be expressed by melodic devices.
How the new form was born
If we talk about the origins, they go deep into antiquity. Epic and ritual songs, folk songs and nursery rhymes were often nothing more than recitatives. Professional music of antiquity was also rich in conversational moments. First of all, this applied to sacred music: psalms, liturgies.
However, the very concept of what recitative is was born with the advent opera genre. Its first manifestations were melodious recitation. Actually, the early recitative was called upon to revive ancient tragedy with her style of sing-song recitation.
Over time, melody lost its importance, and by the end of the 17th century, recitative acquired clear outlines, firmly entrenched in vocal music as an independent genre.
What are the types of recitatives?
Despite the fact that recitative does not obey the generally accepted laws of music, rhythm and melody, there are still rules that allow this genre to be harmoniously included in a musical work.
If a recitative piece has no rhyme or clear rhythm, then it is considered a dry secco. It is pronounced with sparse accompaniment of staccato chords. Accompaniment in in this case serves to enhance the dramatic effect.
When a recitative is endowed with rhyme or simply a clear rhythm, then it is called measured a tempo and is performed accompanied by an orchestra.
It also happens that this genre is framed by a melodic line. In order to understand what recitative is in this case, you should refer to the definition musical form. Recitative singing simply may not have it. Free form and the manner of performance will indicate the presence of a melodious recitative or arioso.
Where do recitatives live?
The most common use of the spoken form is in classical opera music. Exactly vocal genre opened up unlimited possibilities for the development of recitative. Its main purpose in the opera was to oppose the general musical content and creating dramatic accents. On stage it can be performed by one vocalist, an ensemble or even a choir.
This genre found great use in the works of J. S. Bach. He manifested himself especially clearly in the Passion of John. It must be said that in this sense J. S. Bach surpassed all his contemporaries. The favorite dramatic device was recitative for K.V. Gluck and W.A. Mozart.
In Russian opera music, recitative appeared somewhat later. It was most clearly manifested in the music of A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov. P.I. Tchaikovsky especially masterfully used the arioso form. As for the Soviet classics, S.S. Prokofiev and D.D. Shostakovich made a special contribution to the development of recitative.
Recitative: examples in modern music
Remember, in the film “The Irony of Fate, or Enjoy Your Bath,” the main characters perform “The Ballad of a Smoky Car” by A.S. Kochetkov:
How painful, honey, how strange,
Connected in the ground, intertwined with branches,
How painful, honey, how strange
Split under the saw.
If you think that recitative songs are a phenomenon unique to classical music, try to find them in modern times. To do this, it is enough to imagine reciting poetry or prose accompanied by music.
The recitative presented above is considered dry because it is not subject to instrumental accompaniment.
The most striking example of measured recitative in modern times can be considered rap and hip-hop. It was these directions of modern music that opened up new facets and possibilities of recitative.
It is impossible to imagine such a genre of modern music as rock opera without recitative singing. As in the classical operatic version, the singing occasionally switches to spoken language.
Even an experienced musician can get confused in the variety and forms. But now you know what recitative is, and you won’t confuse it with anything.