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In music, an ostinato (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".Ground bass or ''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."
In music, an ostinato (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.〔Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.〕
The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.〔Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1.〕 Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.
Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.〔Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0〕
Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.〔Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.〕
==Classical music==
''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''.〔 A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.
===Ground bass===
Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.〔DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.〕 The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality".〔 Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center".〔 Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".〔
Ground bass or ''basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.〔Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2〕 Aaron Copland〔Copland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0.〕 describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."
抄文引用元・出典: フリー百科事典『 Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディア（Wikipedia）』
■Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an '''ostinato''' (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
'basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."
In music, an ostinato (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.〔Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.〕
The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.〔Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1.〕 Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.
Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.〔Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0〕
Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.〔Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.〕
==Classical music==
''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''.〔 A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.
===Ground bass===
Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.〔DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.〕 The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality".〔 Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center".〔 Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".〔
Ground bass or ''basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.〔Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2〕 Aaron Copland〔Copland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0.〕 describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."
抄文引用元・出典: フリー百科事典『 Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディア（Wikipedia）』
■Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an '''ostinato''' (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."
In music, an ostinato (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.〔Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.〕
The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.〔Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1.〕 Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.
Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.〔Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0〕
Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.〔Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.〕
==Classical music==
''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''.〔 A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.
===Ground bass===
Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.〔DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5.〕 The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality".〔 Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center".〔 Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".〔
Ground bass or ''basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.〔Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2〕 Aaron Copland〔Copland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0.〕 describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."
抄文引用元・出典: フリー百科事典『 Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".Ground bass or ''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディア（Wikipedia）』
■Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an '''ostinato''' (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
'basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディア（Wikipedia）』
■Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an '''ostinato''' (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディア（Wikipedia）』
■Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".Ground bass or ''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an '''ostinato''' (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
'basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an '''ostinato''' (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".'''Ground bass''' or '''''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."">ウィキペディアで「In music, an ostinato (:ostiˈnaːto) (derived from Italian: ''stubborn'', compare English: 'obstinate') is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The best-known ostinato-based piece may be Ravel's ''Boléro'' or Donna Summer and Giorgio Moroder's I Feel Love.Bufe, Chaz (1994). ''An Understandable Guide to Music Theory: The Most Useful Aspects of Theory for Rock, Jazz, and Blues Musicians'', p. 59. ISBN 9781884365003.The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself.Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. ISBN 0-07-284484-1. Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. Strictly speaking, ostinati should have exact repetition, but in common usage, the term covers repetition with variation and development, such as the alteration of an ostinato line to fit changing harmonies or keys.Within the context of film music, Claudia Gorbman defines an ''obstinate'' as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action.Gorbman, Claudia. "Film Music". ''Film Studies: Critical Approaches''. Oxford: Oxford University Press. 2000. p. 43. ISBN 0-19-874280-0Ostinato plays an important part in improvised music (rock and jazz), in which it is often referred to as a ''riff'' or a ''vamp''. A "favorite technique of contemporary jazz writers", ostinati are often used in modal and Latin jazz and traditional African music including Gnawa music.Rawlins, Robert (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', pp. 132–133. ISBN 0-634-08678-2.==Classical music==''Ostinati'' are used in 20th-century music to stabilize groups of pitches, as in Stravinsky's ''The Rite of Spring'' ''Introduction'' and ''Augurs of Spring''. A famous type of ostinato, called the ''Rossini crescendo'', owes its name to a crescendo that underlies a persistent musical pattern, which usually culminates in a solo vocal cadenza. This style was emulated by other bel canto composers, especially Vincenzo Bellini; and later by Wagner (in pure instrumental terms, discarding the closing vocal cadenza). Mozart uses an ostinato phrase throughout the big scene that ends Act 2 of the ''Marriage of Figaro'', to convey a sense of suspense as the jealous Count Almaviva tries in vain to incriminate the Countess, his wife, and Figaro, his butler, for plotting behind his back.===Ground bass===Ground (music) and Basso ostinato redirect directly here-->Applicable in homophonic and contrapuntal textures they are "repetitive a rhythmic-harmonic schemes", more familiar as accompanimental melodies, or purely rhythmic.DeLone, Richard (1975). "Timbre and Texture in Twentieth-Century Music", ''Aspects of 20th Century Music'', p. 123. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. The technique's appeal to composers from Debussy to avant-garde composers until at least the 1970s "... lies in part in the need for unity created by the virtual abandonment of functional chord progressions to shape phrases and define tonality". Similarly, in modal music, "... relentless, repetitive character help to establish and confirm the modal center". Their popularity may also be justified by their ease as well as range of use, though, "... ostinato must be employed judiciously, as its overuse can quickly lead to monotony".Ground bass or ''basso ostinato''''' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
'basso ostinato'' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
' (obstinate bass) is a type of variation form in which a bass line, or harmonic pattern (see Chaconne; also common in Elizabethan England as ''Grounde'') is repeated as the basis of a piece underneath variations.Bartlette, Christopher, and Steven G. Laitz (2010). ''Graduate Review of Tonal Theory''. New York: Oxford University Press, p. 230 ISBN 978-0-19-537698-2 Aaron CoplandCopland, Aaron and Rich, Alan (2002). ''What to Listen for in Music'', p. 117. ISBN 0-451-52867-0. describes basso ostinato as "... the easiest to recognize" of the variation forms wherein, "... a long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, while the upper parts proceed normally (variation )". However, he cautions, "it might more properly be termed a musical device than a musical form."」の詳細全文を読む
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