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Recitative (, also known by its Italian name "recitativo" ((:retʃitaˈtiːvo))) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech. The mostly syllabic recitativo secco ("dry", accompanied only by continuo) is at one end of a spectrum through recitativo accompagnato (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition. The term recitative (or occasionally liturgical recitative) is also applied to the simpler formulas of Gregorian chant, such as the tones used for the Epistle and Gospel, preface and collects. ==Origins== The first use of recitative in opera was preceded by the monodies of the Florentine Camerata in which Vincenzo Galilei, father of the astronomer Galileo Galilei, played an important role. The elder Galilei, influenced by his correspondence with Girolamo Mei on the writings of the ancient Greeks and with Erycius Puteanus on the writings of Hucbald〔Hope 1894, p. ??〕 and wishing to recreate the old manner of storytelling and drama, pioneered the use of a single melodic line to tell the story, accompanied by simple chords from a harpsichord or lute. In the baroque era, recitatives were commonly rehearsed on their own by the stage director, the singers frequently supplying their own favourite baggage arias which might be by a different composer (some of Mozart's so-called concert arias fall into this category). This division of labour persisted in some of Rossini's most famous works; the recitatives for ''The Barber of Seville'' and ''La Cenerentola'' were composed by assistants.〔Gossett 2006, p. 249〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Recitative」の詳細全文を読む スポンサード リンク
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