from The American Heritage® Dictionary of the English Language, 4th Edition
- n. A musical composition built on the alternation of a principal recurring theme and contrasting episodes.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. A musical composition, commonly of a lively, cheerful character, in which the first strain recurs after each of the other strains.
- n. A small, disk-shaped piece of food, especially a single-serving dessert or small piece of candy.
- n. A dark-skinned, hybrid grape officially of the species Vitis vinifera
from the GNU version of the Collaborative International Dictionary of English
- n. A composition, vocal or instrumental, commonly of a lively, cheerful character, in which the first strain recurs after each of the other strains.
- n. See Rondeau, 1.
from The Century Dictionary and Cyclopedia
- n. In music: Same as round, 7 .
- n. A setting of a rondeau or similar poem.
- n. A work or movement in which a principal phrase or section is several times repeated in its original key in alternation with contrasted phrases or sections in the same or other keys.
- n. A game of hazard played with small balls on a table.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. a musical form that is often the last movement of a sonata
The student should note particularly the problem of repetition and contrast (mentioned in Sec. 134) as here worked out, as the rondo was the first monophonic form in which this matter was at all satisfactorily solved, and its construction is especially interesting because it is readily seen to be one of the direct predecessors of the highest form of all -- the sonata.
On his way to the gourbi, his mental occupation was a very laborious effort to put together what he was pleased to call a rondo, upon a model of versification all but obsolete.
The marker was a scrap of paper torn from the scribbling pad and on it, in Knighton's stylized 'rondo' handwriting, were written a few lines of verse.
There is only one air, a kind of rondo in the second act, where she has an opportunity of sustaining her voice, and thus showing what she can do.
But as just one of its many felicities, the rondo-like slow movement's steadily paced march theme is also eerily reminiscent of similar ones by the composer's other beloved predecessor, Franz Schubert.
Xavi talks about the rondo – piggy in the middle – as the cornerstone of everything.
Orozco-Estrada may have been too indulgent of her slow adagio, but her clear vision of the final rondo again underlined a real artist in the making.
Uchida gave an almost classical strictness to the sonata's opening movement, before turning the scherzo into a fleet, almost dreamlike vision, colouring the modulations of the Largo quite magically, and romping exuberantly through the rondo finale.
The orchestra in that rondo relishes the twists in the bass line and, throughout, is a model of sophistication.
An early draft of “The Day the Pig Fell into the Well” – a long story with elaborate Chekhovian nuances, meant to “operate something like a rondo,” as Cheever wrote his friend and New Yorker editor William Maxwell – was completed in 1949, though the magazine did not make space for it until five years later.
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