Dictionary of Music - Birding America

350 ribibleribibleAnother name for RABAB.ribs The side walls of stringed instruments thathave a boxlike body, such as the guitar and violin.ricercar (rē′′cher kär′) Italian. 1 An instrumentalcomposition of the sixteenth and seventeenthcenturies in imitative counterpoint, that is, with severalvoice-parts taking up the melody in turn. Suchricercars, written either for organ or for an instrumentalensemble, were the instrumental counterpartof the vocal MOTET. Among the composers whowrote organ ricercars were Andrea Gabrieli, Frescobaldi,Froberger, Pachelbel, and Bach, whoincluded a famous ricercar in his MusikalischesOpfer (“Musical Offering,” 1747). Ricercars forinstrumental ensemble were written by Willaert,Domenico Gabrielli, and others. The ricercar alsowas called fantasia (see FANTASIA, def. 2; TIENTO).2 A sixteenth-century Italian composition for lute,similar to a short prelude and usually not in imitativestyle. 3 A sixteenth- or seventeenth-centurycomposition for viols and other stringed instruments,and also for voice, similar to an exercise forstudy purposes.ricochet (ri kô shā′) French.JETÉ.ride cymbalSee under CYMBAL.Another term forriff In jazz and other popular music, a briefmelodic figure that is repeated or imitated over achanging chord pattern. It is similar to the OSTINATOof baroque music.rigadoonSee RIGAUDON.rigaudon (rē gō dôN′) French. Also, English,rigadoon (rig′′ ə doo — n′). A lively dance in duplemeter (any meter in which there are two basic beatsper measure, such as 2/2 or 2/4). Originating inProvence (part of southern France), it was used inFrench operatic ballets of the seventeenth century(by Lully and others), and occasionally was used asa movement in eighteenth-century instrumentalsuites (by Bach and others).rigore, con (kôn rē gô′ re) Italian. Also, rigore ditempo (rē gô′re dē tem′pô). A direction to performstrictly, especially with regard to time.rilasciando (rē läsh yän′dô) Italian.to perform more slowly.A directionRimsky-Korsakov (rēm′skē kôr sä kôf′), Nikolay(nē′kô lī), 1844–1908. A Russian composerwho was one of the Five, the group of composerswho wanted to found a truly Russian style of music(see FIVE, THE). Beginning his career in the navy,Rimsky-Korsakov studied music with Balakirev. Hecontinued in the navy for some years, but in 1871 hebecame professor at the St. Petersburg Conservatory,where he remained for most of his life. Among hispupils was Igor Stravinsky. Although his majorinterest lay in founding a national style of music,Rimsky-Korsakov became a skillful craftsman, particularlywith regard to orchestration, on which hewrote a two-volume treatise. The best-known of hisworks—the symphonic poems Sadko andScheherazade, the Russian Easter Overture, andCapriccio espagnol (“Spanish Caprice”)—all showhis skill in effective use of instruments. Among hisother works are fourteen operas, of which the mostnotable is the last, The Golden Cockerel (1909). Healso orchestrated Borodin’s opera Prince Igor andrevised and reorganized many of Mussorgsky’sworks, including Boris Godunov.rinf.An abbreviation for RINFORZANDO.rinforzando (rēn fôr tsän′dô) Italian. 1 A directionmeaning the same as SFORZANDO. Often abbreviatedrf, rfz, or rinf. 2 In earlier music and occasionallytoday, a direction for a sudden increase involume (loudness) for a particular note or passage.ring modulation See under MODULATION, def. 2.ripieno (rē pye′nô) Italian: “full.” 1 In thebaroque concerto grosso, the full orchestra, asopposed to the soloists (called CONCERTINO, def. 2).2 In organs, a PRINCIPAL (def. 1) stop. —registrodi ripieno (re jis′ trô dē rēpye′nô). The Italian termfor MUTATION STOP. —violino da ripieno (vē ô