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DOI:https://doi.org/10.25807/PBH.22225064.2020.59.81.93
The article is devoted to the consideration of the typology of musical forms in the arias of G.F. Handel. The interrelation of Handel’s arias with the aesthetic requirements of the Baroque era and the “theory of affects”, where, according to I. Matteson, “each sound had to express some kind of affect” is emphasized as a special specifi city. Musical-
analytical material considers only two types of musical form in Handel’s arias: a simple one-part and a simple three-part — da capo aria, which is very popular in baroque operas. The article suggests a possible discussion of this fi eld of research and its main problems.
Keywords: сomposer, opera, baroque, form, content, aria, specifi city, realization,
singer-vocalist.
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