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Solita forma
In 19th-century Italian opera, la (literally conventional form or multipartite form or double aria) is the formal design of scenes found during the ''bel canto'' era of Rossini, Bellini, Donizetti up to the late operas of Verdi.〔Harold S. Powers, "La Solita Forma" and "The Uses of Convention", ''Acta Musicologia'', Vol 59, Fasc. 1 (Jan–Apr 1987) pp. 65–90〕 The English phrase—"multipartite form"—is most often used by American musicologist Philip Gossett, beginning with a 1974 essay,〔Philip Gossett, "Verdi, Ghislanzoni, and ''Aida'': The Uses of Convention", in ''Critical Inquiry'' 1, no. 2 (1974), pp. 291–334.〕 where referring to a general framework of melodramatic scene types, especially duets. Each scene gradually progresses from an opening static lyric moment to a finale through several standard musical tempos and set pieces, gradually adding characters and adding or unraveling complexity in the plot.
Because composers wrote operas in short spans of time, the standardized form of scenes ensured a time-tested dramatic and musical structure. The term itself comes from a work of criticism by Abramo Basevi〔Basevi 1859, p. 191〕
== Origins ==
Opera in the 18th century tended to emphasize solo arias with very few ensemble numbers. Faced with this state of things and wanting to achieve new dramatic situations, Rossini and his librettists experimented with ensembles to make them dramatically integral to the opera while concomitantly allowing for their lyrical expression. Because Rossini's operas dominated early 19th-century Italian opera and because his solutions to musico-dramatic situations were so successful, his works became to be regarded as models that became part of a standardized convention.〔Gossett, 2006, p. 43.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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