Dictionary of Music - Birding America

ock 351lē′nô dä rē pye′nô). The Italian term for second violin.—senza ripieni (sen′ dzä rē pye′ nē). A directioncalling for the leader of each orchestral section(first oboe, first horn, etc.) only, the others of thesection remaining silent.ripresa (rē prā′zä) Italian. 1 In the fourteenthcenturyBALLATA, the refrain. 2 In the sixteenth andseventeenth centuries, a short instrumental passagethat appears before, after, or between repetitions ofthe principal music of a song or dance. This laterwas called a RITORNELLO. 3 In general, any REPEAT.risoluto (rē sô loo — ′tô) Italian. A direction to performin a firm, vigorous manner.rit. An abbreviation for RITARDANDO (not forritenuto).ritardando (rē tär dän′do) Italian: “retarding.”Also, tardando. A direction to slow down gradually.The same as RETARD and RALLENTANDO. Oftenabbreviated rit.riten.An abbreviation for RITENUTO.ritenuto (rē te noo — ′tô) Italian. A direction to holdback, meaning to perform somewhat more slowly,but immediately, not gradually. Sometimes abbreviatedriten.A direction to per-ritmico (rēt′mē kô) italian.form in exact time.ritmo (rēt′mô) Italian: “rhythm.” Used in theterms ritmo di tre (due, quattro) battute (“in arhythm of three [two, or four] measures”), meaningthat a certain number of measures (three, two, orfour) are to be played quite fast, grouped together asa single metrical phrase.ritornello (rē tôr nel′ô) Italian: “return.” 1 In thefourteenth-century madrigal, a closing section at theend of each verse; it differed from a refrain in that itcontained new material each time it appeared (seeCACCIA; MADRIGAL, def. 1). 2 In seventeenth-centuryvocal music (opera, oratorio, cantata), a shortinstrumental part that was used at the beginning aswell as at the end of an aria. 3 In the baroque concertogrosso (seventeenth and eighteenth centuries),a section that was repeated throughout by the fullorchestra (as opposed to the soloists), as well as atthe end of the work.Rochberg (rok′bûrg), George, 1918– . AnAmerican composer whose style was influenced inturn by neoclassic models, serialism, and, from thelate 1960s on, tonal works of the nineteenth century.Rochberg’s compositions of the 1940s, like NightMusic, reflect the influence of Stravinsky and Hindemith.In the 1950s he wrote serial music, at first inSchoenberg’s twelve-tone idiom and later in theexpanded serial style of Webern. Some of his musicof the 1960s represents quotation and collage; hisquartet Contra mortem et tempus, for flute, clarinet,violin and piano, quotes from Ives, Boulez, Varèse,and Berio. Still later works reflect the influence ofMahler and Beethoven. Rochberg’s output includessix symphonies, seven string quartets and numerousother chamber works, piano pieces, and songs.rock A type of American music that became popularin America, England, and elsewhere, and in the1960s replaced jazz as the popular American music.Its main distinguishing feature is a driving rhythmbased on eighth notes of equal duration, the eightto-the-barof boogie woogie. The meter frequentlyis a solid 4/4, with accents on the second and fourthbeats of the measure instead of the traditional firstand third. The melodies often are built from theolder modes instead of confining themselves tomajor and minor; the Dorian, Mixolydian, and othersoccasionally appear (see CHURCH MODES). Harmoniesrange from the common triad of classicalharmony to formerly forbidden parallel fourths andfifths, as well as every kind of dissonant harmonicprogression. Entire songs may be built up from asfew as one or two chords. Unlike earlier Americanpopular music, rock does not necessarily consist offour-, eight- or sixteen-bar phrases, rather usingsuch divisions as seven or nine bars, or sixteen barsdivided into ten and six (instead of eight and eight),or the twelve-bar phrase of blues. Also unlike earlierpopular styles, the lyrics of rock are not only