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Dictionary of Music - Birding America

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omanesca 353volume, and violent stage antics; thrash, deathmetal, and speed metal, more extreme and stillangrier versions <strong>of</strong> heavy metal; blues rock, solid,intensely rhythmic, electrically amplified blues,with vocal styles heavily influenced by soul music;country rock, a combination <strong>of</strong> rock rhythmswith largely southern rural white folk music, withelements <strong>of</strong> gospel music; punk rock, later callednew wave or hardcore, uncomplicated, rough,percussive rock with lyrics expressing strong antiestablishmentprotest, <strong>of</strong>ten deliberately <strong>of</strong>fensive;art rock or progressive rock, a combination <strong>of</strong>classical music and rock, which began in GreatBritain with “translations” <strong>of</strong> traditional music intorock by clever recording-studio tricks and thenbecame, in New York, a kind <strong>of</strong> reductionism,reducing rock to its basic elements (an outstandingart-rock figure was Frank Zappa and his band, theMothers <strong>of</strong> Invention); and jazz rock or fusion, acombination <strong>of</strong> jazz and rock. By the 1980s many<strong>of</strong> the features <strong>of</strong> these forms had been combinedand recombined, so that it was not always possibleto distinguish between one or another kind <strong>of</strong> rock.Thus alternative rock, a development <strong>of</strong> the mid-1980s, blended the progressive social causes <strong>of</strong> folkrock and punk rock with experimental musicaltouches. See also BLUES; COUNTRY MUSIC; GOSPELMUSIC; RHYTHM AND BLUES; SOUL.rococo (English rə kō′kō; French rô kô kō′). Aterm borrowed from painting and other visual arts todescribe a light, highly ornamented style used bycertain eighteenth-century composers, especially inkeyboard music. It is virtually the same as the GAL-LANT STYLE. See also PRECLASSIC.Rodgers (rä′jərz), Richard, 1902–1979. An<strong>America</strong>n composer who became known for hismusical comedies, outstanding particularly for theirmelodies. Beginning with his first great success, TheGirl Friend (1926), Rodgers went on to write suchshows as A Connecticut Yankee (1927), The Boysfrom Syracuse (1938), On Your Toes (1936), and PalJoey (1940), all with lyrics by Lorenz Hart(1895–1943). After Hart’s death Rodgers found anew collaborator in Oscar Hammerstein II(1895–1960), with whom he wrote two <strong>of</strong> the mostsuccessful musical comedies ever written, Oklahoma(1943) and South Pacific (1949). Their otherworks include Carousel (1945), The King And I(1951), The Flower Drum Song (1958), and TheSound <strong>of</strong> <strong>Music</strong> (1959). Rodgers also wrote NoStrings (1962), Do I Hear a Waltz? (1965), and Twoby Two (1970).roll A series <strong>of</strong> very rapid, even drumbeats that givethe effect <strong>of</strong> a single sustained sound. On the snaredrum a roll is played by alternating double beats witheach hand; on the bass drum it is played by alternatingthe heads <strong>of</strong> the double-headed beater. On thetenor drum a single-stroke roll is produced by a rapidsuccession <strong>of</strong> single beats. See also under TIMPANI.romance (English rō mans′, rô′mans; French rōmäNs′). Also, German, Romanze (rō män′dze).1 A lyrical (songlike) piece for instruments, voice, orboth. Examples include Fauré’s Romance for violinand orchestra, op. 28; Beethoven’s two Romanzen,for violin and orchestra, op. 40 and op. 50; Schumann’sDrei Romanzen (“Three Romances”) foroboe and piano, op. 94, and Romanzen for chorus,op. 67 and op. 75. 2 A slow, lyrical movement withina longer work. Examples include the second movements<strong>of</strong> Mozart’s Piano Concerto in D minor, K.466, and Schumann’s Symphony no. 4.romanesca (rô mä nes′kä) Italian. A pattern <strong>of</strong>bass harmonies that was used again and again bycomposers <strong>of</strong> songs and dances during the sixteenthand seventeenth centuries. (See the accompanyingexample for the exact pattern; the rectangular notesfig. 200 p/u from p. 369are double whole notes, each having the value <strong>of</strong>two whole notes.) Like the passamezzo, folia, andsimilar bass patterns, the romanesca was used as abass for continuous variations in pieces for lute, guitar,vihuela, violin, or a keyboard instrument (seealso OSTINATO). In songs, the singer <strong>of</strong>ten improviseda melody in the top part. The romanesca wasparticularly popular in Italy and Spain. Among thosewho used it are the Spanish composers Luis de

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