the rhyme of the opening two-line refrain, or ritornello
, is maintained
El papel de la tan mentada ambiguedad de las dimensiones lectoras vuelve hacia nosotros en un cuasi eterno ritornello
. Sin estos juegos de repeticion y reconversion, donde lo metaforico, el tiempo, el mito, el pasado y el lenguaje reconfiguran al lector en otras articulaciones, no existiria una disciplina como la Historia de la Lectura.
The final section of the book, its ritornello
, perhaps, is devoted to the story of the Handel opera stage.
The concerto is of the Italian type, with the first and final movements in the form of ritornello
, whose remarkable purity was not overly common in the transalpine countries.
Stanford's approach is consistent: every song has a short piano ritornello
that is a variation of the melody's first line, and the accompaniment is mostly chordal, with some running eighth notes and an occasional dissonance, permeated by the conservative Victorian sound of his oeuvre.
II ritorno solo del corpo (sulla scia della filastrocca modificata, "Occhio malocchio prezzemolo finocchio") mantiene come motivo conduttore il ritornello
infantile, come proiezione ridicolizzata di se, minuto ritrattino autoironico di un sopravvissuto, quello stesso delfautocorriera vuota, della piazza svuotata.
Thus we could also see the vibration of these eventail ("fan" but also "event") poems as vibrating the universe of language, bringing this language-totality "far from equilibrium." We might also see (hear) these as musical poems insofar as Delueze-Guattari in A Thousand Plateaus define music as the deterritorialization of the refrain (ritornello
, "return," "repetition"), where the "refrain" is defined in terms of the trans-human sphere of animal communication, for example birdsong.
Jimenez Urresti era scandito dal ritornello
della Teoria epistemologica, cosi quello di L.
It is a constant, persistent ritornello
, or recurring theme, even in the midst of difficulties; it requires confidence in God, for "who else will put up security for me?" (Job 17:3; cf.
Unique to the concerto first-movement form is the structure of of the orchestral ritornello
sections and how they are conected to the solo sections, which Koch describe' at length in its treatise.