Synonymer & Anagram | Engelska ordet RECAPITULATION

Exempel på hur man kan använda RECAPITULATION i en mening

• Haeckel promoted and popularised Charles Darwin's work in Germany and developed the influential but no longer widely held recapitulation theory ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or ontogeny, parallels and summarises its species' evolutionary development, or phylogeny.
• Fugues can also have episodes, which are parts of the fugue where new material often based on the subject is heard; a stretto (plural stretti), when the fugue's subject overlaps itself in different voices, or a recapitulation.
• Analogies to recapitulation theory have been formulated in other fields, including cognitive development and music criticism.
• The development primarily focuses on the main and closing themes, and the recapitulation consists of a repetition of the main theme as well as a transposition of the second and closing themes up a semitone.
• Sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation.
• In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key.
• For the development, the music modulates to G minor, then B major, then C minor, then G minor and finally back to G major, at which point the recapitulation occurs followed by a short coda.
• Despite Bartók calling the third section a "recapitulation" it is not a straight repetition of the music from the prima parte, being somewhat varied and simplified.
• Additionally, the first movement, which is in a sort of sonata form, is itself arch-like, in that each section of exposition is given in reverse order during the recapitulation – the melodies of each section are also inverted (played upside-down).
• The poet connected the first recitative to the following aria by starting the two thoughts in the recitative by a related line from the aria as a motto, and ending both with the a recapitulation of the first line.
• Part of the novel is a fast-forward recapitulation of the events described in On the Road, which was also about Kerouac and Neal Cassady.
• The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary, a frequent phenomenon in early sonata form movements written by Schubert.
• The expositional closing theme, a jerky version of the first theme, leads into the recapitulation, which involves a developmental episode that emphasises the parallel major.
• 83 marks the beginning of the development section which begins with more fugal motives before transitioning into a chordal, then a fugal chordal section, and finally a recapitulation is reached at m.
• The recapitulation sees a dissonant version of the fate motif displaced by a cor anglais solo which restates the second subject.
• Shortly before the recapitulation, the strings break into a homophonic fortissimo statement of rising quarter notes for eleven measures, marked pesante (measures 310–320), before the full orchestra joins in for the retransition into the recapitulation in D major.
• The development is elaborate and mainly based on the first subject of the movement and explores a long harmonic progression (starting from A major, reaching B major, passing F major at the end); it also refines the juxtaposition and combination of the orchestral instruments (woodwinds and strings); the recapitulation is almost coherent with the exposition; the coda reminisces the motivic work of the development before it closes the movement with strongly repeated chords played by the whole orchestra.
• As became one of Beethoven's many tools for emotional manipulation, delaying the grandiosity of the recapitulation for several bars after the establishment of the tonic key allowed Beethoven to heighten expectation of a definitive statement.
• After a grave climax with gigantic orchestral chords and a last "struggle" in marching rhythms, the ethereal recapitulation ensues, in which the first and second themes are integrated, although much reduced and played softer, as if only the shadow of what was before remains.
• The quiet second theme bears a resemblance to the second theme in the final movement of the fourteenth piano sonata, made even more explicit in the recapitulation where this theme is restated ominously in the bass in minor mode, after initially appearing in C major.

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