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Inmusic, areprise (/rəˈpriːz/rə-PREEZ,[1]French:[ʁəpʁiz]ⓘ; from the verbreprendre 'to resume') is therepetition or reiteration of the opening material later in acomposition as occurs in therecapitulation ofsonata form, though—originally in the 18th century—was simply any repeatedsection, such as is indicated by beginning and endingrepeat signs.[2]
A partial or abbreviated reprise is known as apetite reprise (/pəˌtiːtrəˈpriːz/pə-TEET rə-PREEZ,French:[p(ə)titʁəpʁiz]). InBaroque music this usually occurs at the very end of a piece, repeating the final phrase with addedornamentation.
Reprise can refer to a version of a song which is similar to, yet different from, the song on which it is based.[citation needed] One example could be "Time", the fourth song fromPink Floyd's 1973 albumThe Dark Side of the Moon, which contains a reprise of "Breathe", the second song of the same album. Pink Floyd's 1979 albumThe Wall also features a reprise in the form ofIn the Flesh?/In the Flesh, with the former being the opening track, and the latter being a song towards the end of the record. Another example could be "Solo", the fifth song fromFrank Ocean's 2016 albumBlonde, and then "Solo (Reprise)", the tenth song of the same album.Be Here Now, the 1997 album byOasis, features a reprise of "All Around the World", while thetitle track ofSgt. Pepper's Lonely Hearts Club Band, which plays at the start of the album to introduce it, has a reprise at the end of the album to close it by replacing lines like "we hope you will enjoy the show" with "we hope you have enjoyed the show".Impera byGhost features a reprise on the final track, "Respite on the Spitalfields", of a riff previously featured in the opening track, "Imperium".
Inmusical theatre andopera, reprises are any repetition of an earlier song ortheme, usually with changed lyrics and shortened music to reflect the development of the story. Also, it is common for songs sung by the same character or regarding the samenarrative motif to have similar tunes and lyrics, or incorporate similar tunes and lyrics. For example, in the stage version ofLes Misérables, a song of the primaryantagonist ("Javert's Suicide") is similar in lyrics and exactly the same in tune to a soliloquy of theprotagonist when he was in a similar emotional state ("What Have I Done?"). At the end of the song, an instrumental portion is played from an earlier soliloquy of the antagonist, in which he was significantly more confident.Les Misérables in general reprises many musical themes.[citation needed].
Often the reprised version of a song has exactly the same tune and lyrics as the original, though frequently featuring different characters singing or including them with the original character in the reprised version. For example, inThe Sound of Music, the reprise of the title song is sung by the Von Trapp children and their father, the Captain; whereas the original was sung by Maria. In "Edelweiss" (reprise), the entire Von Trapp family and Maria sing and are later joined by the audience, whereas the original features Liesl and the Captain.[citation needed].
Also, in the musicalThe Music Man, the love song "Goodnight My Someone" uses the same basic melody (though with a more ballad quality to it) as the rousing march and theme song "Seventy-Six Trombones"; in the reprised versions, Harold and Marian are heard singing a snatch of each other's songs.[citation needed] And inJerome Kern andOscar Hammerstein II'sShow Boat, the song "Ol' Man River" is reprised three times after it is first sung, as if it were a commentary on the situation in the story.[citation needed] In some musicals, a reprise of an earlier song is sung by a different character from the one who originally sang it, with different lyrics.
InMamma Mia! (both the musical and its film adaptation), however, the reprises for thetitle track,Dancing Queen, andWaterloo have no altering of the lyrics, and are just shortened versions of the originals featured earlier.
InRENT, the song, "I'll Cover You" gets a reprise at Angel's funeral. It is sung primarily by Collins and is slower and more emotional to reflect Collins' emotional state. Nearing the end of the song, the rest of the company begins singing a slower version of the first verse of "Seasons of Love". In addition, the second half of "Goodbye Love" features the piano playing an instrumental which is a faster version of the instrumental in "Halloween".
InHamilton, the song, "Best of Wives and Best of Women" reprises the song "It's Quiet Uptown" with the same melody and similar lyrics, along with "The Story of Tonight" and "Ten Duel Commandments" being reprised several times.
InFrozen, the song, "For The First Time In Forever (reprise)" reprises the song "For The First Time In Forever" byKristen Bell andIdina Menzel. Both versions are sung by the same artists.
In theGilbert and Sullivan operettaIolanthe, the song "If you go in you're sure to win", sung by the Chancellor and his two lordly friends, gets a reprise in the final song "Soon as we may, off and away", sung by the whole ensemble, with the same melody, but with only two verses instead of three.
Inmusical competitions, it's named reprise or winner reprise to the winner's last performance, once its victory is proclaimed, and before the end of show. This tradition began inSan Remo Festival (1951) and was adopted by several competitions, asEurovision Song Contest.[3]
Inpostmodernism, the termreprise has been borrowed from musical terminology to be used in literary criticism by Christian Moraru:
....with postmodern authors or scriptors, representation-as-repetition challenges representation-as-origination. They set forth the alternate model of anesthétique du recyclage [aesthetic recycling] ... Anything but "neoclassical" or humbly imitative, driven by a complex cultural-aesthetic agenda, this model plays upon discriminate and polemical "repetition," upon a criticalreprise, to borrow—orreprise, in my turn—a term from music and adapt it to underscore the strategic difference toward which postmodernism's repetitive acts are frequently geared....postmodernism's self-acknowledgedreprises ever so oftensurprise us with their unexpected plot twists, media mixes, and other deflections, inflections, and irreverent revisions, both textual and contextual, sociocultural. – Christian Moraru[4]
From the postmodern perspective,reprise is a fundamentaldevice in the wholehistory of art.