Attacco

Nowadays, Attacco is a topic that has become increasingly relevant in today's society. With the advancement of technology and globalization, Attacco has become a fundamental aspect in people's daily lives. Whether on a personal, professional or social level, Attacco has left a significant mark on the way we interact with the world around us. In this article, we will explore different aspects related to Attacco, from its impact on mental health to its influence on the global economy. We will also look at how Attacco has evolved over time and how it has affected various communities and cultures around the world. Through a multidisciplinary approach, we will seek to understand the importance and implications of Attacco in modern society.

For the British musical group, see Attacco Decente.

Attacco, in music, indicates a short phrase, treated as a point of imitation; and employed, either as the subject of a fugue, as a subordinate element introduced for the purpose of increasing the interest of its development, as a leading feature in a motet, madrigal, full anthem, or other choral composition, or as a means of relieving the monotony of an otherwise too homogeneous part-song. The name comes from the Italian attaccare, "to unite" or "to bind together."

Attacco (It.) (Lit., a binding together.) A 'point' of imitation—that is, any short passage or figure proposed for treatment by imitation. In fugues the attacco is often made from a fragment of the subject or of the andamento, but is sometimes quite independent.[1]

A striking instance of an attacco used as the subject of a fugue is J. S. Bach's The Well-Tempered Clavier, No. 27.[2]

When used merely as an accessory, it almost always represents a fragment of the true subject; as in this passage from "Ye House of Gilead," from Handel's Jephtha.

{ \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \time 4/4 \key d \major \relative d'' { r4 r8 d fis e16 fis g8 fis16 e | fis8 s } }

In the madrigal and motet, a new attacco is usually introduced with each new paragraph of the verbal text; in the glee, properly so called, the part played by the attacco is less important; while in part-songs, its appearance as a prominent feature is still less frequent. It can, however, be found in John Wall Callcott's "Go, plaintive Breeze," in Felix Mendelssohn's four-part Lied Türkisches Schenkenlied: Setze mir nicht, du Grobian.

References

  1. ^ Stainer, John and Barrett, William Alexander (1898). Stainer and Barrett's Dictionary of Musical Terms, p.39. Novello. .
  2. ^ Grove, George; Fuller-Maitland, John Alexander; Pratt, Waldo Selden; and Boyd, Charles Newell; eds. (1906). Grove's dictionary of music and musicians, p.116. Macmillan. .
  • This article incorporates text from a publication now in the public domain: Grove, George, ed. (1900). "Attacco" . A Dictionary of Music and Musicians. London: Macmillan and Company.