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	Da capo - Wikipedia, the free encyclopedia
		Da Capo is a musical term in Italian, meaning from the beginning, often abbreviated D.C. It is a composer or publisher's directive to repeat the previous part of music.
		Da Capo al coda (D.C. al Coda): repeat from beginning to an indicated place and then play the tail part (the coda).
		Da Capo, Swedish band Ace of Base's fourth album, released in parts of Europe in 2002.
	en.wikipedia.org /wiki/Da_capo (177 words)

	AllRefer.com - aria (Music: Theory, Forms, And Instruments) - Encyclopedia (Site not responding. Last check: 2007-10-21)
		Italian opera composers developed the aria da capo, a throughcomposed (nonstrophic) three-part structure in which the beginning section is repeated after a contrasting middle section.
		But in French operas, especially those of Christoph W. von Gluck, there was a development leading to greater similarity of recitative and aria, which eventually culminated in the complete abandonment of arias in the late operas of Richard Wagner, who substituted a highly melodic recitative called Sprechgesang [Ger.,=speech-song].
		The form continued to be preferred by Italian opera composers, however, and the romantic aria reached its height in the works of Giuseppe Verdi.
	reference.allrefer.com /encyclopedia/A/aria.html (411 words)

	Sonic Glossary: Da Capo Aria
		A da capo aria is a solo vocal form with instrumental accompaniment, consisting of two sections followed by a repeat of the first, resulting in a three-part structure A B A.
		Da capo aria form was used extensively in operas, oratorios, and cantatas from the middle of the 17th-century to the latter part of the 18th.
		A da capo aria is a vocal form that consists of two sections followed by a repeat of the first.
	www.columbia.edu /ccnmtl/draft/paul/sonic/dacapo.html (1313 words)

	Da capo aria (Site not responding. Last check: 2007-10-21)
		The da capo aria was common in the musical genres of opera and oratorio.
		A da capo aria is in ternary form, meaning it is in three sections.
		The da capo aria depended for its success on the ability of the singer to improvise variations and ornamentss during the third section, to keep it from being a mere repetition of the first.
	www.sciencedaily.com /encyclopedia/da_capo_aria (375 words)

	Musical Forms - Aria
		Arias as melodies or schemes for songs were printed during much of the 16th century and well into the 17th in instrumental as well as vocal publications.
		Most Venetian opera arias before 1660 are in triple time or a mixture of triple and duple; many early arias have four or more verses, though after 1650 two became the standard in opera.
		In Puccini too the aria tends to become part of the dramatic texture; and in Wagner's mature operas the extended sections for single voice cannot usually be extracted without mutilation.
	w3.rz-berlin.mpg.de /cmp/g_aria.html (605 words)

	A Brief History of Singing
		The structure of the da capo aria was built on musical key relationships and became rigidly established.
		Da capo arias were used less frequently in oratorio than in opera, and there are only two in Messiah: He was Despised (technically, a dal segno) and The Trumpet shall Sound, though the bravura bass aria, Why do the Nations, is an implied one.
		The aria di bravura employed an allegro tempo and was often written simply as an opportunity to display the singer's agility, range or skill of execution.
	www.lawrence.edu /fast/koopmajo/standard.html (2669 words)

	Baroque Artists of Champaign-Urbana
		The earliest type was a strophic song, sometimes with varied accompaniments, but by the later 17th century, the da capo aria had become standard.
		The words da capo followed, directing a return “to the beginning” for a repeat of the “A” section, which, however, was often embellished by the singer.
		Many, though not all, are based on a chorale (hymn), using the tune in several different settings and paraphrase the verses for arias and recitatives between the statements of the tune.
	www.baroqueartists.org /forms.asp (3622 words)

	Britannica Concise Encyclopedia - The online encyclopedia you can trust!
		By the mid-17th century the leading form had become the da capo aria, in which the initial melody and text were repeated after an intervening melody and text had been sung (i.e., ABA).
		Arias might assume different moods and were classified as aria cantabile (lyric aria), aria di bravura (virtuoso aria), aria parlante (speechlike aria), and so on.
		The da capo aria was also a staple constituent of cantatas and to a lesser extent of oratorios.
	www.britannica.com /ebc/print_toc?tocId=9009408 (671 words)

	ARTSZONE: Making Elisir: L'Elisir d'Amore (Site not responding. Last check: 2007-10-21)
		Arias are the pieces for solo voice with instrumental accompaniment that are found in operas, oratorios, and cantatas.
		As opera evolved, however, arias became much more melodious and musically interesting, and a division of labor developed: reciting style, or recitative, became "drier" and faster and was used mostly to impart information and advance the action, while the aria became the vehicle for emotional response, for the expression of passion.
		Da capo is Italian for "from the beginning." A da capo aria has three sections: an opening section, a contrasting second section, and a repeat, "from the beginning," of the first section.
	www.ovationtv.com /artszone/programs/elisir/matter.html (3619 words)

	Serious and Comic Opera in Eighteenth-Century Italy
		The arias, which reigned supreme in the opera seria of this period, were the vehicles of emotional expression for the actors, in which they sang to great extent about a given situation or occurrence and its effect on them.
		The orchestral accompaniment to the da capo aria never obscured the preeminence of the melodic line; often, in fact, the first violins would play the melody in unison with the vocal line, allowing the singer to embellish and ornament his part as he so desired.
		The arias remained simple, and even greater freedom was given to them by around 1750, when the da capo aria was for the most part abandoned in opera buffa.
	www.nthuleen.com /papers/M52opera.html (2059 words)

	Andreas Voellmy
		Bach's reason for composing the duet as a da capo aria is not altogether clear from the text of the movement.
		Rather, the reason Bach composed this duet as a da capo aria is to fulfill his scheme of requiring the first aria of the cantata to match in form with the last aria in the preceding cantata.
		Indeed, this is the case: the last aria of the Cantata No. 77 was a contralto da capo aria.
	www.haverford.edu /musc/multimedia/music230/voellmy/essay1.html (2085 words)

	Aria (Site not responding. Last check: 2007-10-21)
		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.
		In the 17th century, the aria was written in ternary form (ABA); these arias were known as arie col da capo).
		In the 18th century, operas became a sequence of arias, reducing the space left for recitative.
	www.theezine.net /a/aria.html (128 words)

	index.htm
		It is at the tonal level that "Bereite dich" exceeds the simplistic formulation of a traditional Da Capo aria from this period.
		The unity achieved in this aria through tonal commonalties challenges Greene's assertion that ternary form is largely determined by tonal contrast in the B section--a movement typically to the dominant--and therefore contributes to the blurring of the traditional Da Capo form.
		An interesting characteristic of the aria is the overall impact of the ritornello on the aria as a whole.
	www.humanities.mcmaster.ca /~mus701/Megan/index1.htm (2677 words)

	index.htm
		Perhaps Bach's avoidance of sharp delineation between the A and B sections in "Bereite dich, Zion" was owing to a lack of contradictory elements in the text.
		In baroque da capo arias, the presence, absence, or reduced prominence of instruments emphasizes textural contrasts between the sections.
		The aria begins with the anticipated a minor triad, reinforced by the melodic motion from g-sharp to a in the oboe/violin of m.
	www.humanities.mcmaster.ca /~mus701/Megan (2704 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		Edna St. Vincent Millay’s “Aria da Capo” is a harlequinade, an almost absurd script written in 1919 on the heels of World War I, while Harold Pinter’s mid-1980s “One for the Road” is a much grittier tale of government oppression, based on the playwright’s visit to Turkey.
		Indeed, “Aria da Capo” is a strange, abstract bit of stagecraft, the first play by a writer better known for her poetry.
		“Aria” is rife with flowery language, and its plot line mimics the musical form that is the play’s namesake: The story is circular, beginning with two characters, Columbine and Pierrot, who we first see dining on macaroons amid a colorful, symbol-laden set.
	www.citypaper.com /arts/printready.asp?id=9202 (1165 words)

	aria on Encyclopedia.com
		Alfredo Arias reçoit un Molière en mai 2000 Le comédien et metteur en scène argentin Alfredo Arias montera avec une équipe.
		Alfredo Arias reçoit un Molière en 2000 Metteur en scène et comédien de théâtre, Alfredo Arias, qui a toujours flirté avec.
		Arias lost his leg in a motorcycle accident in Mississippi.
	www.encyclopedia.com /html/a1/aria.asp (858 words)

	Bach Choir of Bethlehem
		The aria is a da capo aria, with the B section contrasting in almost every imaginable way:
		The alto aria is set in e minor, the relative minor key of Cantata 151.
		the soprano aria is a da capo aria; the alto aria is not, but feels as though it is because of the clear double return of the melody and text for "In Jesu Demuth kann ich Trost" about two-thirds of the way through the aria.
	www.bach.org /bach101/cantatas/cantata151.html (531 words)

	LEO/Performing Arts (Site not responding. Last check: 2007-10-21)
		ARIA DA CAPO and THE BALD SOPRANO (produced by Roundtable Theatre; directed by Peter Howard, with Jeni Aebersold, Peter Howard, Carol Tyree Williams, Jim Reid, Laura Naff and John Hess).
		"Aria da Capo" and "The Bald Soprano" are both 20th-century theatrical masterpieces.
		"Aria da Capo," by Edna St. Vincent Millay, intertwines the stories of a socialite couple and two shepherds.
	www.louisville.com /leo/pfar217.shtml (629 words)

	[No title]
		By convention one omits the repeats the second time and concludes at the end of the minuet's second strain, fine or not.
		da capo aria : Baroque aria form involving an A part, a B part (often in reduced texture), and a da capo return to the opening material.
		It is customary for the soloist to add improvisation on the da capo.
	hector.ucdavis.edu /Evenings/Glossary/D.htm (690 words)

	CSIndy: I Spy (July 27 - August 2, 2000)
		Revised in 1991, Aria da Capo is still very fresh and entirely relevant, in part because it deals with a perennial theme: the cyclical patterns of human ambition that lead nations and people from peace, to war and back again, time after time.
		As for Gamer's Aria da Capo, it's to be performed with Susan Grace on piano and local actor Herb Beaty narrating.
		In Millay's Aria da Capo, the action begins with one character proclaiming her love of macaroons, after which the drama slowly descends into chaos and destruction.
	www.csindy.com /csindy/2000-07-27/ispy.html (1387 words)

	Glimmerglass Opera - Opera Insights (Site not responding. Last check: 2007-10-21)
		The style was imbued with formal convention, the most significant of which was the alternation of recitatives and arias depicting action and reflection respectively.
		Indeed, many in the 18th Century derided the ever-present da capo aria as a showcase for virtuosic profligacy at the expense of dramatic integrity.
		The dramatic force of Handel's operas comes largely from these formal twists - we expect a da capo aria for the entrance of the grand hero Orlando, but are rather left hanging by a contemplative arioso that immediately sets up (musically and dramatically) the contradictions of love and war that eventually drive him mad.
	www.glimmerglass.org /insights/orlando/seria_intro.html (376 words)

	Systematic Discussions of Bach's Other Vocal Works: Matthaus-Passion BWV 234 - Part 5: Mvts. 41-50 (Site not responding. Last check: 2007-10-21)
		The aria's delicate scoring and its expression (which could perhaps be described as bittersweet pain?) serves, among other things, as a sharp contrast to the repeated "Lass ihn kreuzig" cries from the crowd, which come both before and after it.
		The problem in Henrici’s aria text is the shifting perspective from 1st person dative singular “mir” [“to me”] to the 3rd person singular present [historical present] “der Sohn wirft” [the son throws/has thrown.] The imperative forms “Gebt” [“give”] and “Seht” [“look/see”] become ambiguous because of the shifting perspective.
		Both arias have the same orchestration (solo violin and string orchestra), but with their basic ‘affects’ being diametrically opposed to each other: the alto aria expresses strongly the tears of regret, for which the corresponding key of B-minor, the emphatic motifs and the general character of the mvt.
	www.bach-cantatas.com /VD/BWV244-Part5.htm (5094 words)

	CD Reviews (Site not responding. Last check: 2007-10-21)
		I was very moved by the final piece, the Aria da Capo, which recaps the original Aria.
		And to think that this whole work is based upon an aria which originally appeared in the notebook of Anna Magdalena Bach in 1725, is followed by 30 variations and topped off by a recapitulation of the original theme.
		It is a keyboard work based on an aria followed by 30 variations and a restatement of the theme.
	www.pangaea-productions.com /eng/reviews.php (2545 words)

	[No title]
		The Project Gutenberg EBook of Aria da Capo, by Edna St. Vincent Millay #5 in our series by Edna St. Vincent Millay Copyright laws are changing all over the world.
		ARIA DA CAPO A PLAY IN ONE ACT Copyright, 1920 By Edna St. Vincent Millay Printed in the U. Pierrot Columbine Cothurnus, Masque of Tragedy Thyrsis -\ Shepherds Corydon -/ [Scene: A stage] [The curtain rises on a stage set for a Harlequinade, a merry fl and white interior.
		Since the production of Aria da Capo by the Provincetown Players, I have received a great many letters from the directors of little theatres, asking for copies of it with a view to producing it.
	www.gutenberg.org /dirs/etext04/rdcap10.txt (6688 words)

	MSN Encarta - Search Results - Da Capo
		Da Capo (Italian, "from the beginning"), term in written music instructing a player that the music at that point starts from the beginning.
		Songs frequently take the form ABA (ternary or three-part form, often called song form).
		In the da capo aria of 17th- and 18th-century opera, the...
	encarta.msn.com /Da_Capo.html (115 words)

	Classical New Jersey Society - In Other Words - D
		An aria in ABA form in which the second A is a duplicate of the first.
		It is common for the second time through to be extemporaneously elaborated by the soloist.
		The abandonment of the da capo aria in opera marked a new freedom to have arias carry the plot forward rather than be contemplations of a scene or situation.
	classicalnjsociety.org /IOW/IOW_D.htm (1766 words)

	CLASSICAL MUSIC ARCHIVES: Definition of ARIA (Site not responding. Last check: 2007-10-21)
		Arias used to be rather minutely classified as (a) aria cantabile, slow and smooth; (b) aria di portamento, in long notes and dignified, to be sung in legato style; (c) aria di mezzo carattere, more passionate and with often elaborate orch.
		acc.; (d) aria parlante, declamatory; (e) aria di bravura (or d'agilità, or d'abilità), requiring great v.-control; (f) aria all'unisono, with acc.
		in unison or octaves with the vocal part; (g) aria d'imitazione, imitative of bird-song, hunting hns., etc.; (h) aria concertata with elaborate acc.; and so on.
	www.classicalarchives.com /dict/aria.html (221 words)

	Chapter 10: Outline 1 (Site not responding. Last check: 2007-10-21)
		The number of arias in an opera grew from ca.
		Continuo arias were arias with continuo accompaniment, although the orchestra might have had ritornellos
		Da capo means "to the head," the words at the close of the second section that tell the performers to repeat the first section
	www.wwnorton.com /grout/chapter_10_outline.htm (1239 words)

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