French reprise, from reprendre – to renew
1) Repetition of a topic or group of topics after the stage of its (their) development or presentation of a new thematic. material. A single rhythm creates a 3-part ABA scheme (where B is the development of the initial material or new material) and forms the structural basis of simple reprise forms (2- and 3-part), as well as complex 3-part and sonata forms. Repeated reprise ABABA or ABASA forms the basis of double and triple 3-part forms, as well as the forms of rondo, rondo-sonata.
R.’s big role in music. the form is determined by the trace. fundamental principles: R., creating symmetry, performs the function of an architectonic, constructive fastening of the form; R., returning the initial thematic. material, emphasizes its role as the main one, in relation to which the material of the middle section (B) receives the value of a secondary one.
R. does not necessarily exactly repeat the initial section. Its textural changes create a varied rhythm (P. I. Tchaikovsky, Nocturne cis-moll for piano, op. 19 No 4). Reproduction of the initial section with an increase in its expressiveness leads to the formation of a dynamized (or dynamic) rhythm (S. V. Rachmaninov, Prelude cis-moll for piano).
R. can reproduce the initial material in a different key – this is how a tonal-shifted R. arises (N. K. Medtner, Fairy tale in f minor for piano op. 26 No 3). There is also only tonal R. without repeating the initial thematic. material (F. Mendelssohn, “Songs without Words” for piano, No 6). In sonata form, the subdominant rhythm is widespread (F. Schubert, 1st part of the piano quintet A-dur).
False R. is the moment of reproduction of the initial theme in a non-main key at the end of cf. part of the form, after which the original R. begins. Mirror R. reproduces the previously presented material, consisting of two or more themes, in reverse order (F. Schubert, the song “Shelter”, scheme AB C BA).
2) Previously, R. was called a part of the form, delimited by two repetition signs – || : : ||. The name has fallen into disuse.
References: see under the article Musical form.
V. P. Bobrovsky