Aria
From The Art and Popular Culture Encyclopedia
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| - | :''[[19th century music]]'' | + | An '''aria''' ([[Italian language|Italian]] for ''air''; [[plural]]: ''arie'' or ''arias'' in common usage) in [[music]] was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with [[orchestra]]l [[accompaniment]]. Perhaps the most common context for arias is [[opera]], although there are many arias that form movements of [[oratorio]]s and [[cantata]]s. Composers also wrote [[Concert Aria|'concert arias']], which are not part of any larger work, such as "Ah Perfido" by [[Ludwig van Beethoven|Beethoven]], and a number of concert arias by [[Wolfgang Amadeus Mozart|Mozart]]. |
| - | :''[[List of Romantic composers]], [[Romantic music]], [[music history of the United States in the late 19th century]]'' | + | |
| - | ==Tin Pan Alley== | + | |
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| - | In the later decades of the 19th century, the music industry became dominated by a group of publishers and song-writers in New York City that came to be known as [[Tin Pan Alley]]. Tin Pan Alley's representatives spread throughout the country, buying local hits for their publishers and pushing their publisher's latest songs. Song demonstrators were fixtures at department stores and music stores across the country, and traveling song demonstrators made circuits of rural areas. The industry was driven by the profits from the sales of [[sheet music]]. A [[piano]] was considered a must in any [[middle-class]] or higher home. Major 19th century Tin Pan Alley hits included "Only a Bird in a Guilded Cage" and "After the Ball Is Over". | + | |
| - | ==19th-century opera== | + | |
| - | In opera, the forms for individual numbers that had been established in classical and baroque opera were more loosely used. By the time [[Richard Wagner|Wagner's]] operas were performed, [[aria]]s, [[Choir|chorus]]es, [[recitative]]s and ensemble pieces often cannot easily be distinguished from each other in the continuous, through-composed music. | + | |
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| - | The decline of [[castrati]] led to the heroic leading role in many operas being ascribed to the [[tenor]] voice. The chorus was often given a more important role. | + | |
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| - | In France, operas such as [[Bizet]]'s ''[[Carmen]]'' are typical, but towards the end of the Romantic period, [[verismo]] opera became popular, particularly in Italy. It depicted realistic, rather than historical or mythological, subjects. | + | |
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| - | ==19th-century classical music== | + | |
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| - | [[Sonata form]] matured during the Classical era to become the primary form of instrumental compositions throughout the 19th century. Much of the music from the nineteenth century was referred to as being in the [[Romantic music|Romantic]] style. Many great composers lived through this era such as [[Ludwig van Beethoven]], [[Franz Liszt]], [[Frédéric Chopin]], [[Piotr Ilyich Tchaikovsky]] and [[Richard Wagner]]. The list includes: | + | |
| - | *[[Ludwig van Beethoven]] | + | |
| - | *[[Hector Berlioz]] | + | |
| - | *[[Georges Bizet]] | + | |
| - | *[[Alexander Borodin]] | + | |
| - | *[[Johannes Brahms]] | + | |
| - | *[[Anton Bruckner]] | + | |
| - | *[[Frédéric Chopin]] | + | |
| - | *[[Claude Debussy]] | + | |
| - | *[[Antonín Dvořák]] | + | |
| - | *[[Edvard Grieg]] | + | |
| - | *[[Scott Joplin]] | + | |
| - | *[[Gustav Mahler]] | + | |
| - | *[[Franz Liszt]] | + | |
| - | *[[Felix Mendelssohn]] | + | |
| - | *[[Modest Mussorgsky]] | + | |
| - | *[[Jacques Offenbach]] | + | |
| - | *[[Niccolò Paganini]] | + | |
| - | *[[Camille Saint-Saëns]] | + | |
| - | *[[Antonio Salieri]] | + | |
| - | *[[Franz Schubert]] | + | |
| - | *[[Robert Schumann]] | + | |
| - | *[[Gilbert and Sullivan]] | + | |
| - | *[[Piotr Ilyich Tchaikovsky]] | + | |
| - | *[[Giuseppe Verdi]] | + | |
| - | *[[Richard Wagner]] | + | |
| + | The aria first appeared in the 14th century when it signified a manner or style of singing or playing. Aria could also mean a melodic scheme (motif) or pattern for singing a poetic pattern, such as a sonnet. It was also attached to instrumental music, though this is no longer the case. Over time, arias evolved from simple melodies into a structured form; in about 17th century, the aria was written in [[ternary form]] (ABA); these arias were known as ''[[da capo aria]]s''. The aria later "invaded" the opera repertoire with its many sub-species (''Aria cantabile'', ''Aria agitata'', ''Aria di bravura'', and so on). By the mid-19th century, many operas became a sequence of arias, reducing the space left for ''[[recitative]]'', while other operas (for instance those by [[Richard Wagner|Wagner]]) were entirely [[through-composed]], with no section being readily identifiable as a self-contained aria. | ||
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An aria (Italian for air; plural: arie or arias in common usage) in music was originally any expressive melody, usually, but not always, performed by a singer. The term is now used almost exclusively to describe a self-contained piece for one voice usually with orchestral accompaniment. Perhaps the most common context for arias is opera, although there are many arias that form movements of oratorios and cantatas. Composers also wrote 'concert arias', which are not part of any larger work, such as "Ah Perfido" by Beethoven, and a number of concert arias by Mozart.
The aria first appeared in the 14th century when it signified a manner or style of singing or playing. Aria could also mean a melodic scheme (motif) or pattern for singing a poetic pattern, such as a sonnet. It was also attached to instrumental music, though this is no longer the case. Over time, arias evolved from simple melodies into a structured form; in about 17th century, the aria was written in ternary form (ABA); these arias were known as da capo arias. The aria later "invaded" the opera repertoire with its many sub-species (Aria cantabile, Aria agitata, Aria di bravura, and so on). By the mid-19th century, many operas became a sequence of arias, reducing the space left for recitative, while other operas (for instance those by Wagner) were entirely through-composed, with no section being readily identifiable as a self-contained aria.
