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Which of the following was NOT a way that programmatic composers portrayed nationalistic sentiments in nineteenth-century music?Evoking the country's landscapeUtilizing ritornello formBasing the work on regional folkloreCelebrating a national hero

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Utilizing ritornello form was NOT a way that programmatic composers portrayed nationalistic sentiments in nineteenth-century music. Returning form. The Baroque Period's distinctive ritornello form alternates between tutti and solo passages.

The recurrent musical subject or portion that is repeated between two contrasting or dissimilar melodic passages is known as a ritornello. The ritornello can be performed exactly as before or slightly differently, for example, in a different key or style. Ritornello translates to "small return" in Italian. The section A returns after each new part in ritornello style. In the Baroque era, it was frequently employed. The A-section ritornello frequently recurs in tonic-related keys, such as the relative minor or the dominant. One of the musical forms created during the Baroque era was the ritornello form. It is distinguished by a recurrent A segment that appears between new musical sections and is frequently referred to as "ABACA," where the A section has a separate theme. Numerous arias from the Baroque era exhibit the ritornello form, but two of the most well-known are found in George Frederic Handel's "Messiah": "He is Despised" and "The Trumpet Shall Sound." The musical part known as The Ritornello, which translates to "small return," is heard again throughout the composition.

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