The second half of the record is near-perfect, from the romantic 'Feels Like Love' to the symphonic 'Aria,' which makes for a great finale. The weakest part is the chorus of 'Enough's Enough.' A great investment, if you like this type of music. Find Download song information on AllMusic. In music, an aria (; Italian: air; plural: arie, or arias in common usage, diminutive form arietta, plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work.An aria is a formal musical composition unlike its counterpart, the recitative. The typical context for arias is opera, but. ARIA BAND - LIVE - LAILA DERA KHAISTA DA & SABARU - Mast Pashto Songs - Duration: 6 minutes, 28 seconds.

1. Marching Band Songs
2. Aria Song Opera
3. Aria Band Songs Download Free
4. Concert Band Songs

Aria (Russian: Ария) is a Russianheavy metal band that was formed in 1985 in Moscow. Although it was not the first Soviet band to play heavy music, Aria was the first to break through to mainstream media and commercial success.^[1] According to several public polls, Aria ranks among top 10 most popular Russian rock bands.^[2][3][4] Their sound resembled that of NWOBHM bands, for which they were dubbed the 'Russian Iron Maiden' in the media.^[5]

The band has most of its lyrics written by professional poets, Margarita Pushkina and Alexander Yelin commonly, and not by its band members. Since the band was founded, several of its founder members have gone on to form bands of their own resulting in Aria becoming the root of the so-called 'Aria Family'. Master, a band formed by four ex-members of Aria, is one of the most influential Russian metal bands. Kipelov is another example of a band formed by lead vocalist Valery Kipelov, who remained with the band til 2002.^[6]

History[edit]

Early days[edit]

The band was founded by Vladimir Holstinin and Alik Granovsky, two members of the VIA Poyushchie Serdtsa (Singing Hearts). They both had played in the band Alpha, dissolved by that time. Holstinin's idea of creating a heavy metal band was enthusiastically accepted by Granovsky. By 1985 they had most of the material for their album ready, all that remained was to find a recording studio and a vocalist. They asked Victor Vekshtein to be the band's manager and allow them to use his studio. The vocalist position was soon filled by Valery Kipelov.

The name Aria was given to the band because it was short, catchy and easily transliterated. There's a version that the band's name was thought up by Holstinin, who owns a guitar from the eponymous manufacturer. Both fans and members of Aria are often informally referred to as 'ariytsi' (Russian for Aryans).

According to the band's website, Aria's birthday is celebrated on 31 October 1985; the date they finished working on their first album, Megalomania. The album was noticed by heavy music fans because it was much unlike any hard rock music played in the USSR at the time.

Megalomania was recorded with only Holstinin playing guitar (with Alexander Lvov on drums and Kirill Pokrovsky on keyboards). The band needed a second guitarist to be able to play live. As a result, Andrey Bolshakov joined the band. In addition, Igor Molchanov (who had played in Alpha, too) replaced Lvov on drums.

Aria's first live show was on 5 February 1986 in DK MAI. The band was well received by the public, and soon became a laureate of the Rock-Panorama-86 and Lithuanika-86 festivals. Although they were still being ignored by the media, their popularity kept rising.

In November 1986, Aria released their second album, Who Are You With?. By this time, the band was divided by arguments concerning both the direction the band was heading, and Victor Vekshtein's management skills. After a tour in January 1987, Granovsky, Bolshakov, Molchanov, and Pokrovsky left the band (Granovsky and Bolshakov later formed the thrash metal band Master). They were replaced by Vitaly Dubinin (Holstinin's university friend and former bandmate) as the bass guitarist, Sergey Mavrin as the second guitarist, and Maxim Udalov on the drums. Their first large show after the reorganization, and the subsequent tour proved that despite all rumours, the band was not dead.

Rise to fame[edit]

In August 1987, Aria started working on their new album, Hero of Asphalt (originally named Serving the Forces of Evil), which is considered one of the band's best albums.^{[citation needed]}Hero.. was Aria's first album published by the state music publishing monopoly Melodiya. Every show on the subsequent two-year tour sold out.^{[citation needed]} Over a million copies of the album's LP have been sold.^{[verification needed]} A music video for the song 'Rose Street' was filmed, with the band's fans in mass scenes.

During that time, the band's relationship with their manager had reached a critical point. In October 1988, Udalov left the band because of the conflict, and in November Aleksandr Maniakin was invited to replace him. In 1989, the band then released their next album, Playing With Fire, with Yuriy Fishkin as their manager.

In 1990, Dubinin and Mavrin signed up with the band Lion Heart, and left for Munich, only to return in August after finding an opportunity to cancel their contract. After celebrating their five-year anniversary with several live shows, the band began to work on their fifth album Blood for Blood, which was released in 1991.

1990s[edit]

Marching Band Songs

In the early 1990s, the band decreased their activity significantly, greatly reducing the number of live shows they performed. In 1994, they created their own studio: 'ARIA Records', and signed a five-year contract with the label MOROZ Records. As a result, in the summer of 1994, the band's first five albums were released, including the earlier unreleased Megalomania and Who Are You With?. In September, they toured through Germany for two weeks, with live shows in seven cities, including Berlin's Hard Rock Cafe.^{[citation needed]}

By the end of the 1994 tour in Germany, the band had a disagreement with the organizers, which also reflected on the relationship within the band. After the tour ended, Kipelov stopped showing up at the studio, where the band was hard at work at their next album. Within a month's time, he was found out to be playing with Master. In December, Alexey Bulgakov (the lead singer for the band Legion) tried out as Kipelov's replacement. In January 1995, Sergey Mavrin left the band, stating that he did not believe that the band would succeed without his friend Kipelov. Sergey Terentyev was invited to replace him as a session musician, and later becomes a permanent member of the band.

Kipelov returned to the band soon after they were threatened with sanctions by MOROZ Records for breaching their contract. He recorded the vocal parts for the new album Night is Shorter Than Day, which was released in September 1995. The band played a series of concerts in the Moscow area, with Sergey Zadora as their new manager, recording a live album Made in Russia, which ranked highly in the charts.

In 1997 Kipelov and Mavrin reunited in the duo album Dark Ages. Dubinin and Holstinin also recorded their own, entitled AvARIA (Russian for car incident), where Vitaly participated as a vocalist. In 1998 Aria released Generator of Evil, the album where Terentyev made his début as a songwriter. Next came Chimera and the breakthrough single Lost Paradise, which did well in the Nashe Radio chart and raised Aria to the new level of popularity.

Judgement Day[edit]

In 2001 Aria headlined the NASHEstvie festival, where they played with a symphonic orchestra. This gave the band the idea for a 'Classical Aria' tour with an orchestra and a live album of the same name. Unfortunately, this was never released. During the tour, tension among the musicians and the band's management arose. Kipelov refused to record a new album, already written by Dubinin and Holstinin, and declared he wanted to start a solo career. Sergey Terentyev, Alexander Maniakin, and the band's manager Rina Lee supported him, opposing the two band leaders and producer Yuri Sokolov. 'Classical Aria' became the band's farewell tour. After the final gig on 31 August 2002 at Luzhniki, Moscow, which was entitled 'Judgement Day' (this later became the name for the whole incident), Kipelov, Terentyev, and Maniakin left Aria. The next day, they started a new band named Kipelov.

With Arthur Berkut[edit]

In November 2002 a new line-up of Aria was announced. Sergey Popov from Master became the second guitarist, Arthur Berkut (ex-Autograph) was invited to be the new vocalist, and drummer Max Udalov returned to the band. On 5 December, Aria released the single 'Coliseum' followed by the album Baptism by Fire. A video for 'Coliseum' was shot. The release was successful, the songs 'Coliseum' and 'Baptism by Fire' reached No. 1 on the rock charts, though many fans criticized it, arguing that Berkut's voice did not fit Aria's music.

Berkut and Holstinin participated in the Elven Manuscript (Эльфийская Рукопись, 2004) metal opera by Epidemia. Arthur played the role of Irdis the elven wizard while Vladimir played the lute and also produced the opera.

In 2005 Aria celebrated its 20th anniversary with a new tour. The band's former members were invited to participate in the anniversary tour. 'Master' and Sergey Mavrin played at it, but Kipelov did not, because of his own tour schedule.

The newest album Armageddon released by CD Maximum, came out in 2006, where Aria invited two new lyricists and Berkut made his début as composer.

On 3 April 2008, Kipelov and Mavrin made a brief re-union with Aria, during the tour celebrating the 20-year anniversary of the release of Geroy Asfalta.

/garageband-ilife-09-free-download.html. In November 2010, Berkut and Kipelov sang on stage together with Aria for the 25th Anniversary of the band.^[7] The concert was called the AriaFest and there were events in Saint Petersburg, Moscow and Ekaterinburg.

In 2011, Aria announced that Berkut was fired. No specific reason was given, but there were rumors that the band was unhappy with Arthur's life performances. He was replaced by Mikhail Zhitnyakov, vocalist of heavy metal band Grand Courage.

With Mikhail Zhitnyakov[edit]

In 2011, Aria released Phoenix, followed the next year by Live in the Studio. On 25 November 2014, Aria released their next album, Through All Times. On 13 November 2018, Ariya released album Proklyat'ye morey (The Curse of the Seas)

Band members[edit]

1985–1986

• Valery Kipelov (Валерий Кипелов) – Lead vocals
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Alik Granovsky (Алик Грановский) – Bass guitar
• Alexander Lvov (Александр Львов) – Drums
• Kirill Pokrovsky (Кирилл Покровский) – Keyboards http://www.kirillpokrovsky.com

1986–1987

• Valery Kipelov (Валерий Кипелов) – Lead vocals
  Aria's guitarist Sergey Popov at a show in Vladivostok
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Andrey Bolshakov (Андрей Большаков) – Guitar
• Alik Granovsky (Алик Грановский) – Bass guitar
• Igor Molchanov (Игорь Молчанов) – Drums
• Kirill Pokrovsky (Кирилл Покровский) – Keyboards

1987–1989

• Valery Kipelov (Валерий Кипелов) – Lead vocals
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Sergey Mavrin (Сергей Маврин) – Guitar
• Vitaly Dubinin (Виталий Дубинин) – Bass guitar, Backing vocals
• Maxim Udalov (Максим Удалов) – Drums

1989–1994

• Valery Kipelov (Валерий Кипелов) – Lead vocals
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Sergey Mavrin (Сергей Маврин) – Guitar
• Vitaly Dubinin (Виталий Дубинин) – Bass guitar, Backing vocals
• Aleksandr Maniakin (Александр Манякин) – Drums

1995–2002

• Valery Kipelov (Валерий Кипелов) – Lead vocals
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Sergey Terentyev (Сергей Терентьев) – Guitar
• Vitaly Dubinin (Виталий Дубинин) – Bass guitar, Backing vocals
• Aleksandr Maniakin (Александр Манякин) – Drums

2002–2011

• Arthur Berkut (Артур Беркут) – Lead vocals
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Sergey Popov (Сергей Попов) – Guitar
• Vitaly Dubinin (Виталий Дубинин) – Bass guitar, Backing vocals
• Maxim Udalov (Максим Удалов) – Drums

Current

• Mikhail Zhitnyakov (Михаил Житняков) – Lead vocals
• Vladimir Holstinin (Владимир Холстинин) – Guitar
• Sergey Popov (Сергей Попов) – Guitar
• Vitaly Dubinin (Виталий Дубинин) – Bass guitar, Backing vocals
• Maxim Udalov (Максим Удалов) – Drums

Timeline[edit]

Discography[edit]

• 1985: Мания Величия (Megalomania)
• 1986: С Кем Ты? (Who Are You With?)
• 1987: Герой Асфальта (Hero of Asphalt)
• 1989: Игра с огнём (Play with Fire)
• 1991: Кровь за кровь (Blood For Blood)
• 1995: Ночь короче дня (Night is Shorter Than Day)
• 1998: Генератор Зла (Generator of Evil)
• 2001: Химера (Chimera)
• 2003: Крещение огнём (Baptism by Fire)
• 2006: Армагеддон (Armageddon)
• 2011: Феникс (Phoenix)
• 2014: Через все времена (Through All Times)
• 2018: Проклятье морей (Curse of the Seas)

Music videos[edit]

• Pozadi Amerika (Позади Америка/America behind)
• Volya i razum (Воля и Разум/Will and reason)
• Ulitsa roz (Улица Роз/Street of roses)
• Vse, chto bylo (Всё,Что Было/All that was)
• Otshel'nik (Отшельник/Hermit)
• Gryaz' (Грязь/Dirt)
• Voz'mi moe serdtse (Возьми Моё Сердце/Take my heart)
• Igra s ognyom (Игра С Огнём/Playing with fire)
• Poteryannyi Rai (Потерянный Рай/The lost paradise)
• Bespechnyi Angel (Беспечный Ангел/cover version of Golden Earring – Going to the Run)
• Oskolok L'da (Осколок Льда/Splinter of ice)
• Shtil (with Udo Dirkschneider) (Штиль/Calm)
• Kolizei (Колизей/Coliseum)
• Kreshenie ognyom (Крещение Огнём/Baptism by fire)
• Tam visoko (Там Высоко/High up there)
• Poslednyi zakat (Последний Закат/The last sunset)
• Vremya Zatmeniy (lyrics video) (Время Затмений/Time of eclipses)
• Tochka Nevozvrata (Точка Невозврата/Point of noreturn)

References[edit]

1. ^'Meet Aria, the band known as 'the Russian Iron Maiden''. DangerousMinds. 20 February 2017. Retrieved 29 January 2018.
2. ^'Ромир: Цифры и факты'. Archived from the original on 3 March 2010. Retrieved 13 November 2009.
3. ^Zakharov, Leonid (6 July 2004). 'Группы, которые изменили наш мир' (in Russian). Komsomolskaya Pravda. Retrieved 7 December 2009.
4. ^Читатели 'КП' выбрали лучшие рок-группы страны: 'Кино', 'КиШ' и 'Алиса' (in Russian). By Yulia Mazur. Komsomolskaya Pravda.
5. ^Ария: Легенда о динозавре (fb2). lib.rus.ec
6. ^Wikipedia, Source (August 2011). Russian Hard Rock Musical Groups: Russian Heavy Metal Musical Groups, Russian Punk Rock Groups, Aria, Merlin, Grazhdanskaya Oborona, Alisa. General Books. ISBN9781233146543.
7. ^'Aria 25 Anniversary concert'(Metal Traveller Website). 2010. Retrieved 7 December 2010.

External links[edit]

• Official website(in Russian)
• Aria on MySpace(in English)
• Unofficial forum(in English)

In music, an aria ([ˈaːrja]; Italian: air; plural: arie[ˈaːrje], or arias in common usage, diminutive form arietta[aˈrjetta], plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestralaccompaniment, normally part of a larger work. An aria is a formal musical composition unlike its counterpart, the recitative.

The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, sharing features of the operatic arias of their periods. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer.

Origins of the term[edit]

The term, which derives from the Greek ἀήρ and Latin aer (air) first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; melodic madrigals, free of complex polyphony, were known as madrigale arioso.^[1]

In opera[edit]

Aria form in late 17th century French and Italian opera[edit]

In the context of staged works and concert works, arias evolved from simple melodies into structured forms. In such works, the sung, melodic, and structured aria became differentiated from the more speech-like (parlando) recitative – broadly, the latter tended to carry the story-line, the former carried more emotional freight and became an opportunity for singers to display their vocal talent.

The aria evolved typically in one of two forms. Binary form arias were in two sections (A–B); arias in ternary form (A–B–A) were known as da capo arias (literally 'from the head', i.e. with the opening section repeated, often in a highly decorated manner).^[2] In the da capo aria the 'B' episode would typically be in a different key – the dominant or relative major key. Other variants of these forms are found in the French operas of the late 17th century such as those of Jean-Baptiste Lully which dominated the period of the French baroque; vocal solos in his operas (denominated of course by the French term, airs) are frequently in extended binary form (ABB') or sometimes in rondeau form (ABACA),^[3] (a shape which is analogous to the instrumental rondo).

In the Italian school of composers of the late 17th and early 18th century, the da capo form of aria came gradually to be associated with the ritornello (literally, 'little return'), a recurring instrumental episode which was interspersed with the elements of the aria and eventually provided, in early operas, the opportunity for dancing or entries of characters.^[4] This version of aria form with ritornelli became a dominant feature of European opera throughout the 18th century. It is thought by some writers to be the origin of the instrumental forms of concerto and sonata form.^[5] The ritornelli became essential to the structure of the aria – 'while the words determine the character of a melody the ritornello instruments often decided in what terms it shall be presented.'^[6]

18th century[edit]

By the early 18th century, composers such as Alessandro Scarlatti had established the aria form, and especially its da capo version with ritornelli, as the key element of opera seria. 'It offered balance and continuity, and yet gave scope for contrast. [..] The very regularity of its conventional features enabled deviations from the normal to be exploited with telling effect.'^[7] In the early years of the century, arias in the Italian style began to take over in French opera, giving rise eventually to the French genre of ariette, normally in a relatively simple ternary form.^[8]

Types of operatic aria became known by a variety of terms according to their character – e.g.aria parlante ('speaking-style', narrative in nature),^[9]aria di bravura (typically given to a heroine),^[10]aria buffa (aria of a comic type, typically given to a bass or bass-baritone),^[11] and so on.

M. F. Robinson describes the standard aria in opera seria in the period 1720 to 1760 as follows:

The first section normally began with an orchestral ritornello after which the singer entered and sang the words of the first stanza in their entirety. By the end of this first vocal paragraph the music, if it were in a major key as it usually was, had modulated to the dominant. The orchestra then played a second ritornello usually shorter than the first. The singer re-entered and sang the same words through a second time. The music of this second paragraph was often slightly more elaborate than that of the first. There were more repeats of words and perhaps more florid vocalisations. The key worked its way back to the tonic for the final vocal cadence after which the orchestra rounded the section off with a final ritornello.^[12]

The nature and allocation of the arias to the different roles in opera seria was highly formalized. According to the playwright and librettistCarlo Goldoni, in his autobiography,

The three principal personages of the drama ought to sing five arias each; two in the first act, two in the second, and one in the third. Best garageband songs ipad. The second actress and the second soprano can only have three, and the inferior characters must be satisfied with a single aria each, or two at the most. The author of the words must [..] take care that two pathetic [i.e. melancholy] arias do not succeed one another. He must distribute with the same precaution the bravura arias, the arias of action, the inferior arias, and the minuets and rondeaus. He must, above all things, avoid giving impassioned arias, bravura arias, or rondeaus, to inferior characters.^[13]

By contrast, arias in opera buffa (comic opera) were often specific in character to the nature of the character being portrayed (for example the cheeky servant-girl or the irascible elderly suitor or guardian).^[14]

By later in the century it was clear that these formats were becoming fossilized. Christoph Willibald Gluck thought that both opera buffa and opera seria had strayed too far from what opera should really be, and seemed unnatural. The jokes of opera buffa were threadbare and the repetition of the same characters made them seem no more than stereotypes. In opera seria the singing was devoted to superficial effects and the content was uninteresting and stale. As in opera buffa, the singers were often masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody. Gluck wanted to return opera to its origins, focusing on human drama and passions and making words and music of equal importance. The effects of these Gluckist reforms were seen not only in his own operas but in the later works of Mozart; the arias now become far more expressive of the individual emotions of the characters and are both more firmly anchored in, and advance, the storyline. Richard Wagner was to praise Gluck's innovations in his 1850 essay 'Opera and Drama': ' The musical composer revolted against the wilfulness of the singer'; rather than 'unfold[ing] the purely sensuous contents of the Aria to their highest, rankest, pitch', Gluck sought 'to put shackles on Caprice's execution of that Aria, by himself endeavouring to give the tune [..] an expression answering to the underlying Word-text'.^[15] This attitude was to underlie Wagner's would-be deconstruction of aria in his concept of Gesamtkunstwerk.

19th century[edit]

Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of Gioachino Rossini and Gaetano Donizetti), bravura arias remained focal attractions, and they continued to play a major role in grand opera, and in Italian opera through the 19th century.

A favoured form of aria in the first half of the 19th century in Italian opera was the cabaletta, in which a songlike cantabile section is followed by a more animated section, the cabaletta proper, repeated in whole or in part. Typically such arias would be preceded by recitative, the whole sequence being termed a scena. There might also be opportunities for participation by orchestra or chorus. An example is Casta diva from the opera Norma of Vincenzo Bellini.^[16]

After around 1850, aria forms in Italian opera began to show more variety – many of the operas of Giuseppe Verdi offer extended narrative arias for leading roles that enable, in their scope, intensification of drama and characterisation. Examples include Rigoletto's condemnation of the court, 'Cortigiani, vil razza dannata!' (1851).^[16]

Later in the century, the post-1850 operas of Wagner were through-composed, with fewer elements being readily identifiable as self-contained arias;^[17] whilst the Italian genre of verismo opera also sought to integrate arioso elements although still allowing some 'show-pieces'.^[16]

Concert arias[edit]

Concert arias, which are not part of any larger work, (or were sometimes written to replace or insert arias in their own operas or operas of other composers) were written by composers to provide the opportunity for vocal display for concert singers;^[18] examples are Ah! perfido, Op. 65, by Beethoven, and a number of concert arias by Mozart, including Conservati fedele.

Instrumental music[edit]

The term 'aria' was frequently used in the 17th and 18th centuries for instrumental music used for dancing or variation, and modelled on vocal music.^[19] For example, J. S. Bach's so-called 'Goldberg Variations' were titled at their 1741 publication 'Clavier Ubung bestehend in einer ARIA mit verschiedenen Verænderungen' ('Keyboard exercise, consisting of one ARIA with diverse variations.')

Aria Song Opera

The word is sometimes used in contemporary music as a title for instrumental pieces, e.g. Robin Holloway's 1980 'Aria' for chamber ensemble.^[20] or Harrison Birtwistle's brass band piece, 'Grimethorpe Aria' (1973).^[21]

See also[edit]

• See Category:Arias for notable arias which have articles on Wikipedia.

References[edit]

Notes

1. ^Westrup et al. (n.d.), 1: Derivation
2. ^Westrup et al. (n.d.), 2: Seventeenth century vocal music
3. ^Anthony (1991), 202–205.
4. ^Talbot (n.d.); Solie (1977), 54–5
5. ^Solie (1977), 31. See also e.g. Rosen (1988)
6. ^Lewis (1959), 97.
7. ^Lewis (1959), 96
8. ^Anthony (1991) 213–5.
9. ^Merriam-Webster dictionary onlineArchived 2013-02-02 at the Wayback Machine accessed 21 March 2013.
10. ^Moore, John Weeks (1880) [1854]. 'Aria di bravura' . Complete Encyclopaedia of Music. New York: C. H. Ditson & Company.
11. ^'Aria buffa' in Webster's 1913 Dictionary
12. ^Robinson (1962) 34–5.
13. ^Cited in Robinson (1962) 33. (Translation slightly adapted).
14. ^Platoff (1990) 99–100.
15. ^Wagner (1995) 26–7.
16. ^ ^abcWestrup (n.d), §5.1.
17. ^Westrup (n.d), §5.2.
18. ^The Oxford Companion to Music, 'Concert aria'
19. ^Westrup et al. (n.d.), Introduction
20. ^Boosey and HawkesArchived 2013-05-04 at the Wayback Machine website, accessed 21 March 2013
21. ^'Birtwistle - Grimethorpe Aria for brass ensemble - Universal Edition'. Universal Edition. Archived from the original on 28 April 2018. Retrieved 28 April 2018.

Sources

Aria Band Songs Download Free

• Anthony, James R. (1991), 'Air and Aria added to French Opera from the Death of Lully to 1720', in Révue de Musicologie, vol.77/2, pp. 201–219.
• Lewis, Anthony (1959), 'Handel and the Aria', in Proceedings of the Royal Musical Association, vol. 85, pp. 95–107.
• Platoff, John (1990), 'The Buffa Aria in Mozart's Vienna', in Cambridge Opera Journal, vol.2 no.2, pp. 99–120
• Robinson, M. F. (1962), 'The Aria in Opera Seria, 1725–1780', in Proceedings of the Royal Musical Association, vol. 88, pp. 31–43.
• Rosen, Charles (1988), Sonata Forms, New York: Norton ISBN9780393302196
• Solie, John F. (1977), 'Aria Structure and Ritornello Form in the Music of Albinoni', in The Musical Quarterly, vol.63 no. 1, pp. 31–47
• Talbot, Michael (n.d.), 'Ritornello', in Grove Music Online (subscription only), accessed 22 March 2013.
• Wagner, Richard (1995), tr. W. Ashton Ellis, Opera and Drama, Lincoln and London: University of Nebraska Press. ISBN9780803297654.
• Westrup, Jack, et al. (n.d.), 'Aria', in Grove Music Online (subscription only), accessed 20 March 2013.

Concert Band Songs

External links[edit]

• Dictionary definition of aria and arietta at Wiktionary