"\u30EA\u30C1\u30A7\u30EB\u30AB\u30FC\u30EC (ricercare) \u306F\u30EB\u30CD\u30B5\u30F3\u30B9\u97F3\u697D\u3084\u521D\u671F\u30D0\u30ED\u30C3\u30AF\u97F3\u697D\u306B\u304A\u3051\u308B\u5668\u697D\u66F2\u69D8\u5F0F\u306E1\u3064\u3002\u300C\u30EA\u30C1\u30A7\u30EB\u30AB\u30FC\u30EC ricercare\u300D\u306F\u300C\u63A2\u6C42\u300D\u3092\u610F\u5473\u3059\u308B\u30A4\u30BF\u30EA\u30A2\u8A9E\u3067\u3001\u82F1\u8A9E\u306E research \u3068\u8A9E\u6E90\u3092\u4E00\u306B\u3059\u308B\u3002\u3053\u306E\u540D\u79F0\u306F15\u4E16\u7D00\u306B\u306F\u3059\u3067\u306B\u7528\u3044\u3089\u308C\u3066\u3044\u308B\u304C\u3001\u3053\u308C\u306F\u524D\u594F\u66F2\u7684\u306A\u6A5F\u80FD\u3092\u793A\u3057\u3066\u304A\u308A\u3001\u5F8C\u306B\u7D9A\u304F\u697D\u66F2\u306E\u65CB\u6CD5\u3084\u8ABF\u3092\u300C\u63A2\u3057\u6C42\u3081\u308B\u300D\u3053\u3068\u306B\u7531\u6765\u3059\u308B\u3002"@ja . . . . . . "\uB9AC\uCCB4\uB974\uCE74\uB808 \uB610\uB294 \uB9AC\uCCB4\uB974\uCE74(Ricercare, Ricercar)\uB294 '\uD0D0\uAD6C\uD558\uB2E4'\uB77C\uB294 \uB73B\uC758 \uC774\uD0C8\uB9AC\uC544\uC5B4\uC5D0\uC11C \uC720\uB798\uD55C, '\uBAA8\uBC29'\uC758 \uAE30\uBC95\uC73C\uB85C \uC4F4 \uBC14\uB85C\uD06C \uC2DC\uB300 \uC804\uBC18\uC758 \uC911\uC694\uD55C \uAE30\uC545\uACE1\uC774\uB2E4. \uB9AC\uCCB4\uB974\uCE74\uB808\uB294 16\uC138\uAE30 \uCD08\uC5D0 \uC131\uC545 \uBAA8\uD14C\uD1A0\uC758 \uC591\uC2DD\uC744 \uAE30\uC545\uC5D0 \uC751\uC6A9\uD55C \uB370\uC11C \uC0DD\uACBC\uB2E4. \uCC98\uC74C\uC5D0\uB294 \uB958\uD2B8, \uB2E4\uC74C\uC5D0\uB294 \uC624\uB974\uAC04\uC774\uB098 \uAE30\uC545\uD569\uC8FC\uB97C \uC704\uD574\uC11C \uB9CC\uB4E4\uC5B4\uC84C\uACE0, \uCC28\uCC28 \uB3C5\uC790\uC801 \uAE30\uC545\uD615\uC2DD\uC73C\uB85C \uBC1C\uC804\uD558\uC5EC \uD478\uAC00\uC758 \uC804\uC2E0\uC774 \uB418\uC5C8\uB2E4. \uCD08\uAE30\uC758 \uB9AC\uCCB4\uB974\uCE74\uB808\uB294 \uBAA8\uD14C\uD1A0\uCC98\uB7FC \uBA87 \uAC1C\uC758 \uC8FC\uC81C\uB97C \uAC01 \uC131\uBD80\uAC00 \uCC28\uB840\uB85C \uBAA8\uBC29\uD558\uB294 '\uB2E4\uC8FC\uC81C \uB9AC\uCCB4\uB974\uCE74\uB808'\uC600\uC73C\uB098, 17\uC138\uAE30\uC5D0 \uB4E4\uC5B4\uC11C , \uD504\uB85C\uBCA0\uB974\uAC70, \uBD81\uC2A4\uD14C\uD6C4\uB370 \uB4F1\uC5D0 \uC758\uD558\uC5EC \uBA85\uD655\uD55C \uAD6C\uC870\uB97C \uAC16\uB294 \uB2E8\uC77C \uC8FC\uC81C\uC758 \uB9AC\uCCB4\uB974\uCE74\uB808\uAC00 \uC4F0\uC600\uACE0 \uC810\uCC28 \uD478\uAC00\uB85C \uC774\uD589\uD558\uC600\uB2E4. \uB610\uD55C 16\uC138\uAE30\uC5D0\uB294 \uC774\uC0C1\uC758 \uBAA8\uBC29\uC591\uC2DD\uC73C\uB85C \uB418\uC9C0 \uC54A\uB294 \uC5F0\uC2B5\uACE1, \uC989\uD765\uC801 \uC131\uACA9\uC758 \uACE1, \uC804\uC8FC\uACE1\uD48D\uC758 \uB958\uD2B8\uACE1 \uB4F1\uC5D0\uB3C4 \uB9AC\uCCB4\uB974\uCE74\uB808\uC758 \uC774\uB984\uC744 \uC37C\uB2E4. \uC774 \uBB38\uC11C\uC5D0\uB294 \uB2E4\uC74C\uCEE4\uBBA4\uB2C8\uCF00\uC774\uC158(\uD604 \uCE74\uCE74\uC624)\uC5D0\uC11C GFDL \uB610\uB294 CC-SA \uB77C\uC774\uC120\uC2A4\uB85C \uBC30\uD3EC\uD55C \uAE00\uB85C\uBC8C \uC138\uACC4\uB300\uBC31\uACFC\uC0AC\uC804\uC758 \uB0B4\uC6A9\uC744 \uAE30\uCD08\uB85C \uC791\uC131\uB41C \uAE00\uC774 \uD3EC\uD568\uB418\uC5B4 \uC788\uC2B5\uB2C8\uB2E4."@ko . "Das Ricercar \u2013 auch Recercar oder Recercare (und Recercate) \u2013 (von italienisch ricercare \u201Asuchen\u2018; Plural: die Ricercare) oder das Ricercare (Plural: die Ricercari) ist eine Instrumentalkomposition der Renaissance, insbesondere des 16. Jahrhunderts, vorwiegend f\u00FCr Laute oder Tasteninstrumente (insbesondere Orgel). Ricercari schrieben u. a. die in Venedig t\u00E4tigen Komponisten Francesco Spinacino (1507), Joan Ambrosio Dalza (1508), Girolamo Cavazzoni, Annibale Padovano, Andrea Gabrieli, Francesco Usper und Claudio Merulo sowie Giuliano Tiburtino und anonym gebliebene Verfasser."@de . . . . "Ricercar"@de . . . "\u30EA\u30C1\u30A7\u30EB\u30AB\u30FC\u30EC"@ja . . "809484"^^ . "Ri\u0109erkaro(itale ricercar a\u016D ricercare;la terminoj egalas)estas speco de instrumenta kompona\u0135oel la malfrua Renesancokaj precipe la frua baroko. En sia plej ofta nuntempa uzo,\u011Di signifas fruan specon de fugo,aparte tian, kiu havas seriozan karakteron,en kiu la temo uzas longajn notda\u016Drojn.Tamen la termino havas konsiderindepli varian historian uzon."@eo . "\u0420\u0438\u0447\u0435\u0440\u043A\u0430\u0440"@ru . . . "Het ricercare is de voorloper van de fuga ten tijde van de vierde generatie van de Franco-Vlaamse School. Het ricercare is een instrumentaal motet, zonder tekst. Juist omdat de tekst achterwege wordt gelaten biedt dit voor de componist de mogelijkheid om de thema-inzet vaker te gebruiken dan bij een vocaal motet mogelijk zou zijn. In vergelijking met de later ontstane fuga is het ricercare in zekere zin complexer van opzet. Een fuga gaat in de meeste gevallen uit van maar \u00E9\u00E9n thema terwijl het ricercare er meerdere kan hebben."@nl . . . . . "Le ricercare ou ricercar est une ancienne forme musicale instrumentale, typique de la Renaissance et du haut baroque. Le mot est d'origine italienne. L'\u00E9quivalent fran\u00E7ais est recherche utilis\u00E9 par exemple par l'organiste Jehan Titelouze."@fr . . . . "Um ricercare, ricercar ou ricercata (os termos s\u00E3o intercambi\u00E1veis) \u00E9 um tipo de composi\u00E7\u00E3o instrumental da Renascen\u00E7a tardia e sobretudo do in\u00EDcio do barroco. O termo significa 'procurar' e muitos ricercari t\u00EAm fun\u00E7\u00E3o de introdu\u00E7\u00E3o, em busca da tonalidade ou do modo da pe\u00E7a que se segue. Um ricercare pode explorar as permuta\u00E7\u00F5es de um dado motivo e, neste sentido, pode seguir a pe\u00E7a utilizada como ilustra\u00E7\u00E3o. Por exemplo, o Ricercar sopra Benedictus desenvolveria motivos de um moteto intitulado Benedictus. O termo tamb\u00E9m \u00E9 utilizado para designar um estudo que explora um recurso t\u00E9cnico para se tocar um determinado instrumento ou para cantar."@pt . "A ricercar (/\u02CCri\u02D0t\u0283\u0259r\u02C8k\u0251\u02D0r/ REE-ch\u0259r-KAR, Italian: [rit\u0283er\u02C8kar]) or ricercare (/\u02CCri\u02D0t\u0283\u0259r\u02C8k\u0251\u02D0re\u026A/ REE-ch\u0259r-KAR-ay, Italian: [rit\u0283er\u02C8ka\u02D0re]) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ricercar derives from the Italian verb ricercare which means 'to search out; to seek'; many ricercars serve a preludial function to \"search out\" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing."@en . . . "Ricercare"@fr . "Ricercar"@pl . . "Ricercar (od w\u0142. ricercare = szuka\u0107) \u2013 forma muzyczna rozwini\u0119ta w XVI i XVII wieku, komponowanie na instrumenty solowe lub zespo\u0142y instrument\u00F3w, a we wczesnym okresie tak\u017Ce do wykonania wokalnego. Nazw\u0105 t\u0105 okre\u015Bla si\u0119 dwa typy utwor\u00F3w: imitacyjne i swobodne. Sze\u015Bciog\u0142osowy ricercar jest cz\u0119\u015Bci\u0105 Musikalisches Opfer J.S. Bacha."@pl . . . . . . . . "Ricercare (pronunciat rit\u0283\u025Br'kare, en plural ricercari), o tamb\u00E9 ricercar, \u00E9s un g\u00E8nere musical instrumental que pertany al renaixement tard\u00E0 i sobretot al barroc primerenc, entre els segles XVI i XVII. Est\u00E0 inspirat en la polifonia vocal i es considera el precursor directe de la fuga. La paraula ricercare prov\u00E9 de l'itali\u00E0 i significa cercar, esbrinar. Molts ricercare fan la funci\u00F3 de preludis per \"esbrinar\" la clau o mode que tindr\u00E0 la pe\u00E7a seg\u00FCent. De la mateixa manera, un ricercare pot explorar les permutacions d'un determinat motiu; en aquest cas pot anar darrere de la pe\u00E7a a la qual serveix d'il\u00B7lustraci\u00F3. Finalment, el terme ricercare tamb\u00E9 es pot usar per designar un estudi que explora les caracter\u00EDstiques d'un instrument musical. El ricercare t\u00E9 un estil imitatiu. Un o diversos temes hi s\u00F3n tractats en contrapunt estret convidant l'oient a cercar-los en la trama de la polifonia."@ca . "Ricercare"@es . "Ricercar"@pt . "\u91CC\u5207\u5C14\u5361\uFF08\u7FA9\u5927\u5229\u8A9E\uFF1Aricercar\uFF0C\u7FA9\u5927\u5229\u8A9E\u767C\u97F3\uFF1A[rit\u0361\u0283\u025Brkar]\uFF0C\u539F\u610F\u4E3A\u5BFB\u6C42\u3001\u63A2\u7D22\uFF09\uFF0C\u53C8\u79F0\u4E3A\u5229\u5207\u5361\u5C14\u3001\u5BFB\u6C42\u66F2\u3001\u65E0\u63D2\u5165\u8D4B\u683C\uFF0C\u662F16\u81F317\u4E16\u7EAA\u7684\u4E00\u79CD\u590D\u8C03\u5668\u4E50\u66F2\u3002\u610F\u5927\u5229\u4F5C\u66F2\u5BB6\u5B89\u5FB7\u70C8\u00B7\u52A0\u5E03\u91CC\u57C3\u5229\u3001\u7B49\u4EBA\u6240\u4F5C\u7684\u5229\u5207\u5361\u5C14\u98CE\u683C\u7C7B\u4F3C\u4E8E\u5E7B\u60F3\u66F2\u4E0E\u968F\u60F3\u66F2\u3002\u540E\u6765\u51FA\u73B0\u7684\u4E3B\u9898\u6A21\u4EFF\u7684\u5229\u5207\u5361\u5C14\uFF0C\u4EE5\u4E00\u4E2A\u77ED\u5C0F\u7684\u4E3B\u9898\u4E3A\u57FA\u7840\uFF0C\u5148\u7531\u4E00\u4E2A\u58F0\u90E8\u594F\u51FA\u4E3B\u9898\uFF0C\u4E4B\u540E\u901A\u8FC7\u5176\u4ED6\u58F0\u90E8\u7684\u6A21\u4EFF\u4F7F\u5F97\u4E3B\u9898\u5F97\u4EE5\u8FDE\u7EF5\u4E0D\u65AD\u7684\u53D1\u5C55\u3002\u8FD9\u79CD\u5F62\u5F0F\u540E\u6765\u53D1\u5C55\u6210\u4E3A\u4E86\u8D4B\u683C\u3002\u5DF4\u8D6B\u300A\u97F3\u4E50\u7684\u5949\u732E\u300B\u4E2D\u4FBF\u6709\u4E00\u9996\u4E09\u58F0\u90E8\u5229\u5207\u5361\u5C14\u4E0E\u4E00\u9996\u516D\u58F0\u90E8\u5229\u5207\u5361\u5C14\u3002"@zh . . "\u91CC\u5207\u5C14\u5361"@zh . . . . . "\u30EA\u30C1\u30A7\u30EB\u30AB\u30FC\u30EC (ricercare) \u306F\u30EB\u30CD\u30B5\u30F3\u30B9\u97F3\u697D\u3084\u521D\u671F\u30D0\u30ED\u30C3\u30AF\u97F3\u697D\u306B\u304A\u3051\u308B\u5668\u697D\u66F2\u69D8\u5F0F\u306E1\u3064\u3002\u300C\u30EA\u30C1\u30A7\u30EB\u30AB\u30FC\u30EC ricercare\u300D\u306F\u300C\u63A2\u6C42\u300D\u3092\u610F\u5473\u3059\u308B\u30A4\u30BF\u30EA\u30A2\u8A9E\u3067\u3001\u82F1\u8A9E\u306E research \u3068\u8A9E\u6E90\u3092\u4E00\u306B\u3059\u308B\u3002\u3053\u306E\u540D\u79F0\u306F15\u4E16\u7D00\u306B\u306F\u3059\u3067\u306B\u7528\u3044\u3089\u308C\u3066\u3044\u308B\u304C\u3001\u3053\u308C\u306F\u524D\u594F\u66F2\u7684\u306A\u6A5F\u80FD\u3092\u793A\u3057\u3066\u304A\u308A\u3001\u5F8C\u306B\u7D9A\u304F\u697D\u66F2\u306E\u65CB\u6CD5\u3084\u8ABF\u3092\u300C\u63A2\u3057\u6C42\u3081\u308B\u300D\u3053\u3068\u306B\u7531\u6765\u3059\u308B\u3002"@ja . "Ricercare"@ca . . . "Il ricercare o ricercata \u00E8 una composizione musicale strumentale del tardo rinascimento e del primo barocco. Nella sua pi\u00F9 comune interpretazione, si riferisce ad una forma antica di fuga di carattere serio il cui soggetto usa note di elevato valore. Tuttavia il termine ha altri significati utilizzati nel tempo in campo musicale. Nel XVI secolo, la parola ricercare poteva essere riferita a diversi tipi di composizione. La terminologia aveva dei significati flessibili e il fatto che un compositore chiamasse una composizione strumentale toccata, canzona, fantasia o ricercare era chiaramente non questione di classificazione rigida ma una libera scelta dello stesso. I ricercari erano comunque raggruppabili in due tipi: uno di struttura prevalentemente omofonica non diversa dalla toccata; un altro realizzato a sezioni in cui ognuna di queste iniziava con una imitazione in forma di variazione. Esempi di entrambi i tipi di ricercare si trovano nella musica di Girolamo Frescobaldi. Il secondo tipo di ricercare, quello contrappuntistico imitativo, si sarebbe dimostrato storicamente il pi\u00F9 importante e avrebbe infine dato origine alla fuga. Questo secondo tipo dal carattere imitativo apparve alla met\u00E0 del XVI secolo e si svilupp\u00F2 parallelamente al mottetto con il quale divideva diverse procedure imitative. La trascrizione strumentale dei mottetti era comune in quell'epoca e molti compositori iniziarono a scrivere musica strumentale per liuto. Poich\u00E9 il testo del mottetto non era pi\u00F9 disponibile come mezzo unificante, era necessario un qualche altro metodo di organizzazione musicale: la forma della variazione si dimostr\u00F2 il pi\u00F9 flessibile e duraturo. Durante il periodo barocco, il ricercare imitativo evolse nella fuga, cos\u00EC come la canzona si trasform\u00F2 in sonata. Alcuni lavori che erano indistinguibili da una fuga vennero allora chiamati ricercare anche fino a Bach, con la semplice differenza che il ricercare aveva le note del tema pi\u00F9 lunghe e un carattere pi\u00F9 serio. Un esempio di ricercare a tre parti ed a sei parti si ha nell'Offerta musicale del 1747 di Johann Sebastian Bach."@it . . . . . . . . . . "1111955476"^^ . . . . . . . . "5482"^^ . "\uB9AC\uCCB4\uB974\uCE74\uB808 \uB610\uB294 \uB9AC\uCCB4\uB974\uCE74(Ricercare, Ricercar)\uB294 '\uD0D0\uAD6C\uD558\uB2E4'\uB77C\uB294 \uB73B\uC758 \uC774\uD0C8\uB9AC\uC544\uC5B4\uC5D0\uC11C \uC720\uB798\uD55C, '\uBAA8\uBC29'\uC758 \uAE30\uBC95\uC73C\uB85C \uC4F4 \uBC14\uB85C\uD06C \uC2DC\uB300 \uC804\uBC18\uC758 \uC911\uC694\uD55C \uAE30\uC545\uACE1\uC774\uB2E4. \uB9AC\uCCB4\uB974\uCE74\uB808\uB294 16\uC138\uAE30 \uCD08\uC5D0 \uC131\uC545 \uBAA8\uD14C\uD1A0\uC758 \uC591\uC2DD\uC744 \uAE30\uC545\uC5D0 \uC751\uC6A9\uD55C \uB370\uC11C \uC0DD\uACBC\uB2E4. \uCC98\uC74C\uC5D0\uB294 \uB958\uD2B8, \uB2E4\uC74C\uC5D0\uB294 \uC624\uB974\uAC04\uC774\uB098 \uAE30\uC545\uD569\uC8FC\uB97C \uC704\uD574\uC11C \uB9CC\uB4E4\uC5B4\uC84C\uACE0, \uCC28\uCC28 \uB3C5\uC790\uC801 \uAE30\uC545\uD615\uC2DD\uC73C\uB85C \uBC1C\uC804\uD558\uC5EC \uD478\uAC00\uC758 \uC804\uC2E0\uC774 \uB418\uC5C8\uB2E4. \uCD08\uAE30\uC758 \uB9AC\uCCB4\uB974\uCE74\uB808\uB294 \uBAA8\uD14C\uD1A0\uCC98\uB7FC \uBA87 \uAC1C\uC758 \uC8FC\uC81C\uB97C \uAC01 \uC131\uBD80\uAC00 \uCC28\uB840\uB85C \uBAA8\uBC29\uD558\uB294 '\uB2E4\uC8FC\uC81C \uB9AC\uCCB4\uB974\uCE74\uB808'\uC600\uC73C\uB098, 17\uC138\uAE30\uC5D0 \uB4E4\uC5B4\uC11C , \uD504\uB85C\uBCA0\uB974\uAC70, \uBD81\uC2A4\uD14C\uD6C4\uB370 \uB4F1\uC5D0 \uC758\uD558\uC5EC \uBA85\uD655\uD55C \uAD6C\uC870\uB97C \uAC16\uB294 \uB2E8\uC77C \uC8FC\uC81C\uC758 \uB9AC\uCCB4\uB974\uCE74\uB808\uAC00 \uC4F0\uC600\uACE0 \uC810\uCC28 \uD478\uAC00\uB85C \uC774\uD589\uD558\uC600\uB2E4. \uB610\uD55C 16\uC138\uAE30\uC5D0\uB294 \uC774\uC0C1\uC758 \uBAA8\uBC29\uC591\uC2DD\uC73C\uB85C \uB418\uC9C0 \uC54A\uB294 \uC5F0\uC2B5\uACE1, \uC989\uD765\uC801 \uC131\uACA9\uC758 \uACE1, \uC804\uC8FC\uACE1\uD48D\uC758 \uB958\uD2B8\uACE1 \uB4F1\uC5D0\uB3C4 \uB9AC\uCCB4\uB974\uCE74\uB808\uC758 \uC774\uB984\uC744 \uC37C\uB2E4. \uC774 \uBB38\uC11C\uC5D0\uB294 \uB2E4\uC74C\uCEE4\uBBA4\uB2C8\uCF00\uC774\uC158(\uD604 \uCE74\uCE74\uC624)\uC5D0\uC11C GFDL \uB610\uB294 CC-SA \uB77C\uC774\uC120\uC2A4\uB85C \uBC30\uD3EC\uD55C \uAE00\uB85C\uBC8C \uC138\uACC4\uB300\uBC31\uACFC\uC0AC\uC804\uC758 \uB0B4\uC6A9\uC744 \uAE30\uCD08\uB85C \uC791\uC131\uB41C \uAE00\uC774 \uD3EC\uD568\uB418\uC5B4 \uC788\uC2B5\uB2C8\uB2E4."@ko . "A ricercar (/\u02CCri\u02D0t\u0283\u0259r\u02C8k\u0251\u02D0r/ REE-ch\u0259r-KAR, Italian: [rit\u0283er\u02C8kar]) or ricercare (/\u02CCri\u02D0t\u0283\u0259r\u02C8k\u0251\u02D0re\u026A/ REE-ch\u0259r-KAR-ay, Italian: [rit\u0283er\u02C8ka\u02D0re]) is a type of late Renaissance and mostly early Baroque instrumental composition. The term ricercar derives from the Italian verb ricercare which means 'to search out; to seek'; many ricercars serve a preludial function to \"search out\" the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. The term is also used to designate an etude or study that explores a technical device in playing an instrument, or singing. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However, the term has a considerably more varied historical usage. Among the best-known ricercars are \u2014 for harpsichord \u2014 the two contained in Bach's Musical Offering, and Domenico Gabrielli's set of seven for solo cello. The latter set contains what are considered to be some of the earliest pieces for solo cello ever written."@en . "Ricercare"@it . . . . "\u91CC\u5207\u5C14\u5361\uFF08\u7FA9\u5927\u5229\u8A9E\uFF1Aricercar\uFF0C\u7FA9\u5927\u5229\u8A9E\u767C\u97F3\uFF1A[rit\u0361\u0283\u025Brkar]\uFF0C\u539F\u610F\u4E3A\u5BFB\u6C42\u3001\u63A2\u7D22\uFF09\uFF0C\u53C8\u79F0\u4E3A\u5229\u5207\u5361\u5C14\u3001\u5BFB\u6C42\u66F2\u3001\u65E0\u63D2\u5165\u8D4B\u683C\uFF0C\u662F16\u81F317\u4E16\u7EAA\u7684\u4E00\u79CD\u590D\u8C03\u5668\u4E50\u66F2\u3002\u610F\u5927\u5229\u4F5C\u66F2\u5BB6\u5B89\u5FB7\u70C8\u00B7\u52A0\u5E03\u91CC\u57C3\u5229\u3001\u7B49\u4EBA\u6240\u4F5C\u7684\u5229\u5207\u5361\u5C14\u98CE\u683C\u7C7B\u4F3C\u4E8E\u5E7B\u60F3\u66F2\u4E0E\u968F\u60F3\u66F2\u3002\u540E\u6765\u51FA\u73B0\u7684\u4E3B\u9898\u6A21\u4EFF\u7684\u5229\u5207\u5361\u5C14\uFF0C\u4EE5\u4E00\u4E2A\u77ED\u5C0F\u7684\u4E3B\u9898\u4E3A\u57FA\u7840\uFF0C\u5148\u7531\u4E00\u4E2A\u58F0\u90E8\u594F\u51FA\u4E3B\u9898\uFF0C\u4E4B\u540E\u901A\u8FC7\u5176\u4ED6\u58F0\u90E8\u7684\u6A21\u4EFF\u4F7F\u5F97\u4E3B\u9898\u5F97\u4EE5\u8FDE\u7EF5\u4E0D\u65AD\u7684\u53D1\u5C55\u3002\u8FD9\u79CD\u5F62\u5F0F\u540E\u6765\u53D1\u5C55\u6210\u4E3A\u4E86\u8D4B\u683C\u3002\u5DF4\u8D6B\u300A\u97F3\u4E50\u7684\u5949\u732E\u300B\u4E2D\u4FBF\u6709\u4E00\u9996\u4E09\u58F0\u90E8\u5229\u5207\u5361\u5C14\u4E0E\u4E00\u9996\u516D\u58F0\u90E8\u5229\u5207\u5361\u5C14\u3002"@zh . . "Das Ricercar \u2013 auch Recercar oder Recercare (und Recercate) \u2013 (von italienisch ricercare \u201Asuchen\u2018; Plural: die Ricercare) oder das Ricercare (Plural: die Ricercari) ist eine Instrumentalkomposition der Renaissance, insbesondere des 16. Jahrhunderts, vorwiegend f\u00FCr Laute oder Tasteninstrumente (insbesondere Orgel). Ricercari schrieben u. a. die in Venedig t\u00E4tigen Komponisten Francesco Spinacino (1507), Joan Ambrosio Dalza (1508), Girolamo Cavazzoni, Annibale Padovano, Andrea Gabrieli, Francesco Usper und Claudio Merulo sowie Giuliano Tiburtino und anonym gebliebene Verfasser."@de . . "Um ricercare, ricercar ou ricercata (os termos s\u00E3o intercambi\u00E1veis) \u00E9 um tipo de composi\u00E7\u00E3o instrumental da Renascen\u00E7a tardia e sobretudo do in\u00EDcio do barroco. O termo significa 'procurar' e muitos ricercari t\u00EAm fun\u00E7\u00E3o de introdu\u00E7\u00E3o, em busca da tonalidade ou do modo da pe\u00E7a que se segue. Um ricercare pode explorar as permuta\u00E7\u00F5es de um dado motivo e, neste sentido, pode seguir a pe\u00E7a utilizada como ilustra\u00E7\u00E3o. Por exemplo, o Ricercar sopra Benedictus desenvolveria motivos de um moteto intitulado Benedictus. O termo tamb\u00E9m \u00E9 utilizado para designar um estudo que explora um recurso t\u00E9cnico para se tocar um determinado instrumento ou para cantar. No seu uso contempor\u00E2neo mais comum, ricercare refere-se a um tipo antigo de fuga, particularmente a uma de car\u00E1ter s\u00E9rio, em que se usam notas com valores longos. Entretanto, o termo tem um uso hist\u00F3rico consideravelmente mais variado. No s, a palavra ricercare referia-se a v\u00E1rios tipos de composi\u00E7\u00E3o. A terminologia era flex\u00EDvel, at\u00E9 mesmo bastante relaxada, pois um compositor chamar uma pe\u00E7a instrumental de tocata, canzona, ou ricercare n\u00E3o era definitivamente quest\u00E3o de taxinomia, mas de decis\u00E3o arbitr\u00E1ria. Apesar disso, os ricercari se enquadram em dois tipos gerais: uma pe\u00E7a predominantemente homof\u00F4nica, com ocasionais passagens em movimento r\u00E1pido, como uma tocata; e uma obra com v\u00E1rias se\u00E7\u00F5es, na qual cada se\u00E7\u00E3o come\u00E7a imitativamente, usualmente na forma varia\u00E7\u00E3o. Exemplos destes dois tipos de ricercar podem ser encontados na obra de Girolamo Frescobaldi. O segundo tipo descrito de ricercar, na forma imitativa de varia\u00E7\u00F5es, provou-se o mais importante historicamente e se desenvolveu na forma fuga. Esse segundo tipo, imitativo, apareceu na segunda metade do s\u00E9culo XVI e desenvolveu-se paralelamente ao moteto, com o qual compartilha in\u00FAmeros procedimentos imitativos. Transcri\u00E7\u00F5es instrumentais de motetos eram comuns no s\u00E9culo XVI, e est\u00E1 claro que os compositores come\u00E7aram a publicar obras instrumentais com caracter\u00EDsticas semelhantes aos motetos. Teclados ou ala\u00FAdes foram instrumentos representados neste desenvolvimento. Uma vez que n\u00E3o estava mais dispon\u00EDvel o texto do moteto, era preciso que se encontrasse algum outro m\u00E9todo de organiza\u00E7\u00E3o musical. A forma varia\u00E7\u00E3o foi a que se mostrou mais male\u00E1vel e permanente. No per\u00EDodo barroco, o ricercar imitativo rapidamente evoluiu para a fuga, assim como a canzona instrumental evoluiu para a sonata. Algumas pe\u00E7as indistinguiveis das fugas foram chamadas de ricercar, mesmo t\u00E3o tarde quanto na \u00E9poca de Johann Sebastian Bach - com a diferen\u00E7a de que os valores das notas geralmente eram maiores e seu car\u00E1ter era mais s\u00E9rio. Bons exemplos s\u00E3o os ricercari a tr\u00EAs e seis partes da Oferenda Musical (1747) de Bach."@pt . . "\u0420\u0438\u0447\u0435\u0440\u043A\u0430\u0301\u0440 (\u0438\u0442\u0430\u043B. ricercar, recercar, recerchar, ricercata \u0438 \u0434\u0440.; \u0438\u0441\u043F. recercada, \u0444\u0440. recherche; \u043E\u0442 \u0438\u0442\u0430\u043B. ricercare \u2014 \u0438\u0437\u044B\u0441\u043A\u0438\u0432\u0430\u0442\u044C; \u043E\u0442\u0441\u044E\u0434\u0430 ricercar \u2014 \u00AB\u0440\u0430\u0437\u044B\u0441\u043A\u0430\u043D\u0438\u0435\u00BB, \u00AB\u0438\u0437\u044B\u0441\u043A\u0430\u043D\u0438\u0435\u00BB) \u2014 \u0436\u0430\u043D\u0440 \u043C\u043D\u043E\u0433\u043E\u0433\u043E\u043B\u043E\u0441\u043D\u043E\u0439 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u043E\u0439 (\u0440\u0435\u0436\u0435 \u0432\u043E\u043A\u0430\u043B\u044C\u043D\u043E\u0439) \u043C\u0443\u0437\u044B\u043A\u0438 \u0432 \u0437\u0430\u043F\u0430\u0434\u043D\u043E\u0439 \u0415\u0432\u0440\u043E\u043F\u0435 XVI\u2014XVII \u0432\u0435\u043A\u043E\u0432."@ru . . . . "\u0420\u0438\u0447\u0435\u0440\u043A\u0430\u0301\u0440 (\u0456\u0442\u0430\u043B. ricercar, ricercare, ricercata, recercada, \u0432\u0456\u0434 \u0456\u0442\u0430\u043B. ricercare \u2014 \u0432\u0438\u0448\u0443\u043A\u0443\u0432\u0430\u0442\u0438; \u0442\u0440\u0430\u043A\u0442\u0443\u0454\u0442\u044C\u0441\u044F \u0432 \u0441\u0435\u043D\u0441\u0456 \u0442\u0435\u0445\u043D\u0456\u043A\u043E-\u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0456\u0439\u043D\u043E\u0433\u043E \u0435\u0442\u044E\u0434\u0443, \u00AB\u0434\u043E\u0441\u043B\u0456\u0434\u0436\u0435\u043D\u043D\u044F\u00BB) \u2014 \u0436\u0430\u043D\u0440 \u0431\u0430\u0433\u0430\u0442\u043E\u0433\u043E\u043B\u043E\u0441\u043E\u0457 \u0456\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u043E\u0457 (\u0440\u0456\u0434\u0448\u0435 \u0432\u043E\u043A\u0430\u043B\u044C\u043D\u043E\u0457) \u043C\u0443\u0437\u0438\u043A\u0438 \u0432 \u0437\u0430\u0445\u0456\u0434\u043D\u0456\u0439 \u0404\u0432\u0440\u043E\u043F\u0456 XVI\u2014XVII \u0441\u0442\u043E\u043B\u0456\u0442\u044C. \u0406\u0441\u0442\u043E\u0440\u0438\u0447\u043D\u043E \u0441\u043B\u043E\u0432\u043E \u0440\u0438\u0447\u0435\u0440\u043A\u0430\u0440 \u043D\u0435 \u043C\u0430\u043B\u043E \u0454\u0434\u0438\u043D\u043E\u0433\u043E \u0437\u043D\u0430\u0447\u0435\u043D\u043D\u044F, \u0430\u043B\u0435 \u0432\u0436\u0438\u0432\u0430\u043B\u043E\u0441\u044F \u0432 \u0434\u0435\u043A\u0456\u043B\u044C\u043A\u043E\u0445 \u0440\u0456\u0437\u043D\u0438\u0445 \u0437\u043D\u0430\u0447\u0435\u043D\u043D\u044F\u0445."@uk . "Ricercare"@nl . "Ricercare (pronunciat rit\u0283\u025Br'kare, en plural ricercari), o tamb\u00E9 ricercar, \u00E9s un g\u00E8nere musical instrumental que pertany al renaixement tard\u00E0 i sobretot al barroc primerenc, entre els segles XVI i XVII. Est\u00E0 inspirat en la polifonia vocal i es considera el precursor directe de la fuga. El ricercare t\u00E9 un estil imitatiu. Un o diversos temes hi s\u00F3n tractats en contrapunt estret convidant l'oient a cercar-los en la trama de la polifonia."@ca . . "Ri\u0109erkaro(itale ricercar a\u016D ricercare;la terminoj egalas)estas speco de instrumenta kompona\u0135oel la malfrua Renesancokaj precipe la frua baroko. En sia plej ofta nuntempa uzo,\u011Di signifas fruan specon de fugo,aparte tian, kiu havas seriozan karakteron,en kiu la temo uzas longajn notda\u016Drojn.Tamen la termino havas konsiderindepli varian historian uzon. En la deksesa jarcento,la vorto ri\u0109erkaro povis signifikelkajn specojn de kompona\u0135oj.Terminologio estis tiam malstrikta, e\u0109 malrigora:\u0109u la komponisto nomu instrumentan pecon tokato,kanzono, fantazio, a\u016D ri\u0109erkaroevidente ne estis afero de strikta klasadosed prefere sufi\u0109e arbitra decido.Tamen ri\u0109erkaroj dividi\u011Das en du \u011Deneralajn specojn:precipe homofonian pecon,kun maloftaj kuroj kaj virtuoza\u0135oj,ne malsimile al tokato;kaj sekciigitan verkon,en kiu \u0109iu sekcio komenci\u011Das imite,plej ofte en varia\u0135a formo.Ekzemplojn de amba\u016D specoj de ri\u0109erkarojoni povas trovi en la verkoj de Girolamo Frescobaldi.La dua speco de ri\u0109erkaro, la imita, kontrapunkta speco,fari\u011Dis la\u016D historio la pli grava,kaj e\u0109 malvolvi\u011Dis en la fugon. Tiu \u0109i dua, imita speco unue aperisen la meza parto de la deksesa jarcento,kaj malvolvi\u011Dis paralele al la moteto,kun kiu \u011Di dividis multajn siajn imitajn procedojn.Instrumentaj transskriboj de motetojestis multaj en la frua deksesa jarcento,kaj evidente komponistoj ekkreadis verkojn,kiuj similis al tiaj la\u016D karakterosed estis verkitaj sole por la instrumento(klavaro kaj liuto estis kutimaj instrumentoj,kiuj reprezenti\u011Dis en tiu \u0109i malvolvi\u011Do).\u0108ar la teksto de la moteto jam ne estis haveblakiel struktura a\u016D unuiga rimedo,oni bezonis trovi ian alian metodon de muzika organizado:varia\u0135a formo montri\u011Dis kiel la plej fleksebla kaj fortika. Dum la baroka epoko,la imita ri\u0109erkaro iom post iomevoluis en la fugon,same kiel la instrumenta kanzonoevoluis en la sonaton.Kelkaj verkoj, kiuj estas nedistingeblaj de fugoj,estis nomataj \"ri\u0109erkaroj\" ankora\u016D \u0109e Bach,krom la diferenco,ke la notda\u016Droj estis \u011Denerale pli longajkaj la karaktero iomete pli serioza.Bona ekzemplo estas la tripartaj kaj sespartaj ri\u0109erkarojel (1747) de Johann Sebastian Bach."@eo . . . . "Ricercar"@en . "\uB9AC\uCCB4\uB974\uCE74\uB808"@ko . "Ricercar (od w\u0142. ricercare = szuka\u0107) \u2013 forma muzyczna rozwini\u0119ta w XVI i XVII wieku, komponowanie na instrumenty solowe lub zespo\u0142y instrument\u00F3w, a we wczesnym okresie tak\u017Ce do wykonania wokalnego. Nazw\u0105 t\u0105 okre\u015Bla si\u0119 dwa typy utwor\u00F3w: imitacyjne i swobodne. Ricercar imitacyjny wyewoluowa\u0142 z motetu przeimitowanego. W jego rozwoju najpierw d\u0105\u017Cono do ograniczenia liczby temat\u00F3w (J. Buus), a nast\u0119pnie wprowadzono skomplikowane \u015Brodki techniczne takie jak augmentacja i dyminucja, zbli\u017Caj\u0105c si\u0119 tym samym do formy fugi. W po\u0142owie XVI wieku G. Cavazzoni zacz\u0105\u0142 komponowa\u0107 ricercary na organy, a jego kontynuatorami byli G. Gabrieli (stworzy\u0142 ricercar jednotematowy) i G. Frescobaldi (zastosowa\u0142 kontrapunkty sta\u0142e). Ricercar swobodny powsta\u0142 na pocz. XVI w. i wywodzi si\u0119 z muzyki lutniowej w formie bliskiej preludiom. Z biegiem czasu forma ta zbli\u017Ca\u0142a si\u0119 do ricercaru imitacyjnego, ale ca\u0142y czas nawi\u0105zywa\u0142a do formy preludium, rozwijaj\u0105c technik\u0119 figuracyjn\u0105, kt\u00F3ra zaowocowa\u0142a powstaniem toccaty. Tw\u00F3rcami ricercar\u00F3w swobodnych byli m.in. , V. Bakfark i V. Galilei. Sze\u015Bciog\u0142osowy ricercar jest cz\u0119\u015Bci\u0105 Musikalisches Opfer J.S. Bacha."@pl . . "El ricercar o ricercare (del it. 'ricercare', 'buscar'; tambi\u00E9n It. 'ricercata'; Al. 'Ricercar'; Esp. 'Recercada', 'recercario'; Fr. 'Recherch\u00E9') es una composici\u00F3n instrumental propia de los siglos XVI y XVII, aunque sus efectos y connotaciones estuvieron presentes en los siglos XVIII, XIX y XX. El verbo italiano ricercare significa \u201Cbuscar\u201D o \u201Cdescubrir\u201D. La noci\u00F3n general de la composici\u00F3n musical como proceso de b\u00FAsqueda o descubrimiento est\u00E1 presente en el concepto que hay detr\u00E1s de palabras como \u201Ctroubadour\u201D o \u201Ctrouv\u00E8re\u201D, e incluso en el t\u00E9rmino \u201CInvenci\u00F3n\u201D (por no hablar de la relaci\u00F3n aparente entre los ricercares did\u00E1cticos a dos voces y las invenciones de Bach). Existen dos tipolog\u00EDas de ricercar \n* Un tipo raps\u00F3dico con textura homof\u00F3nica que carece de organizaci\u00F3n formal y de unidad tem\u00E1tica y se caracteriza por mezclar libremente acordes con pasajes de escalas a la manera de una improvisaci\u00F3n. Es lo que a partir de mediados de siglo XVI ser\u00EDa designado como tasteggiata, tastata y tocata. \n* Un tipo polif\u00F3nico que explota los complejos artificios contrapunt\u00EDsticos y que es precursor de la fuga. En el siglo XVI, ambos tipos aparecen frecuentemente en fuentes alemanas, espa\u00F1olas, francesas e inglesas tituladas respectivamente preludio, tiento, fantas\u00EDa y fancy. Tambi\u00E9n han servido de estudios, por lo que podemos encontrar ricercares imitativos y no imitativos dise\u00F1ados como ejercicios de vocalizaci\u00F3n, o composiciones elaboradas y t\u00E9cnicamente dif\u00EDciles para viola que muestran la t\u00E9cnica de elaboraci\u00F3n de un cantus firmus. La funci\u00F3n de b\u00FAsqueda puede estar, por tanto, asociada bien a la elaboraci\u00F3n de las posibilidades imitativas del sujeto o, teniendo en cuenta la funci\u00F3n de preludio que a menudo posee el ricercar, a los lazos modales o tem\u00E1ticos de la intabulaci\u00F3n, danza, motete, salmo o porci\u00F3n de la Misa subsiguientes (como recurso ret\u00F3rico, el ricercar actuar\u00EDa de proemio o exordio). El propio Frescobaldi especific\u00F3 que se tocaran ricercares antes de la Eucarist\u00EDa, y en el siglo XVII, los ricercares pod\u00EDan aparecer en grupo con una toccata precedente y una canzona subsiguiente, o simplemente con una toccata, anticipando el preludio y fuga posteriores. No hay que olvidar que la palabra ricercar fue usada durante m\u00E1s de dos siglos, por lo que su significado fue variando con el paso del tiempo. Precisamente, pocos autores de ricercares se atrevieron a dar una definici\u00F3n comprensible. Para Vincenzo Galilei (Dialogo, 1581, p. 87) era una forma de fuga, comparable en su complejidad a la forma de verso de la sestina. Para Michael Praetorius (Syntagma Musicum, III, 1618, pp. 21-22) tambi\u00E9n era imitativo, y el equivalente de la fuga. Muchos compiladores de diccionarios del XVIII y XIX mencionan su funci\u00F3n preludial sin referirse a su connotaci\u00F3n de fuga. Asimismo, tuvo una gran influencia en los siglos XVI y XVII, siendo, por ejemplo, la forma dominante de la m\u00FAsica para teclado en Espa\u00F1a y Portugal bajo el t\u00E9rmino de tiento (tambi\u00E9n figurado o contrapunt\u00EDstico). En muchas de las fugas de Bach todav\u00EDa pueden encontrarse vestigios del ricercar, con sus ritmos lentos y su movimiento por grados conjuntos. Pero la connotaci\u00F3n de una pieza fugada severa (Kunstfuge) continu\u00F3 hasta el siglo XIX, y fue en este sentido en el que Beethoven describi\u00F3 su ''Gro\u00DFe Fuge'' op. 133 como \u201Ctant\u00F4t recherch\u00E9e\u201D. El neoclasicismo del siglo XX ha producido ricercares que evocan un significado similar. Los dos incluidos en la Cantata (1952) de Igor Stravinsky contienen c\u00E1nones que se valen de la inversi\u00F3n, el espejo, la retrogradaci\u00F3n y la inversi\u00F3n retr\u00F3grada."@es . 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\u03C3\u03BF\u03B2\u03B1\u03C1\u03CC\u03C2 \u03BA\u03B1\u03B9 \u03B5\u03C0\u03AF\u03C3\u03B7\u03BC\u03BF\u03C2. \u03A4\u03BF \u03C0\u03BB\u03AD\u03BF\u03BD \u03B3\u03BD\u03C9\u03C3\u03C4\u03CC \u03C0\u03B1\u03C1\u03AC\u03B4\u03B5\u03B9\u03B3\u03BC\u03B1 \u03B1\u03C0\u03BF\u03C4\u03B5\u03BB\u03B5\u03AF \u03AF\u03C3\u03C9\u03C2 \u03C4\u03BF \u03A1\u03B9\u03C4\u03C3\u03B5\u03C1\u03BA\u03AC\u03C1\u03B5 \u03B3\u03B9\u03B1 \u03AD\u03BE\u03B9 \u03C6\u03C9\u03BD\u03AD\u03C2 \u03B1\u03C0\u03CC \u03C4\u03B7 (1747) \u03C4\u03BF\u03C5 \u0393\u03B9\u03CC\u03C7\u03B1\u03BD \u03A3\u03B5\u03BC\u03C0\u03AC\u03C3\u03C4\u03B9\u03B1\u03BD \u039C\u03C0\u03B1\u03C7."@el . . . . . . . . "Het ricercare is de voorloper van de fuga ten tijde van de vierde generatie van de Franco-Vlaamse School. Het ricercare is een instrumentaal motet, zonder tekst. Juist omdat de tekst achterwege wordt gelaten biedt dit voor de componist de mogelijkheid om de thema-inzet vaker te gebruiken dan bij een vocaal motet mogelijk zou zijn. In vergelijking met de later ontstane fuga is het ricercare in zekere zin complexer van opzet. Een fuga gaat in de meeste gevallen uit van maar \u00E9\u00E9n thema terwijl het ricercare er meerdere kan hebben. Uit het ricercare met \u00E9\u00E9n thema (het ricercare) is later de fuga ontstaan. De thema's beginnen veelal eerst op de tonica en daarna op de dominant, wat de grondbeginselen zijn van de dux en comes van de fuga. Voorbeelden van een ricercare zijn ook bij latere componisten terug te vinden, zoals bij Sweelinck's Ricercare no. 35 in d klein."@nl . "Il ricercare o ricercata \u00E8 una composizione musicale strumentale del tardo rinascimento e del primo barocco. Nella sua pi\u00F9 comune interpretazione, si riferisce ad una forma antica di fuga di carattere serio il cui soggetto usa note di elevato valore. Tuttavia il termine ha altri significati utilizzati nel tempo in campo musicale."@it . . . . . "\u0420\u0438\u0447\u0435\u0440\u043A\u0430\u0440"@uk . . . . "\u0420\u0438\u0447\u0435\u0440\u043A\u0430\u0301\u0440 (\u0456\u0442\u0430\u043B. ricercar, ricercare, ricercata, recercada, \u0432\u0456\u0434 \u0456\u0442\u0430\u043B. ricercare \u2014 \u0432\u0438\u0448\u0443\u043A\u0443\u0432\u0430\u0442\u0438; \u0442\u0440\u0430\u043A\u0442\u0443\u0454\u0442\u044C\u0441\u044F \u0432 \u0441\u0435\u043D\u0441\u0456 \u0442\u0435\u0445\u043D\u0456\u043A\u043E-\u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0456\u0439\u043D\u043E\u0433\u043E \u0435\u0442\u044E\u0434\u0443, \u00AB\u0434\u043E\u0441\u043B\u0456\u0434\u0436\u0435\u043D\u043D\u044F\u00BB) \u2014 \u0436\u0430\u043D\u0440 \u0431\u0430\u0433\u0430\u0442\u043E\u0433\u043E\u043B\u043E\u0441\u043E\u0457 \u0456\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u043E\u0457 (\u0440\u0456\u0434\u0448\u0435 \u0432\u043E\u043A\u0430\u043B\u044C\u043D\u043E\u0457) \u043C\u0443\u0437\u0438\u043A\u0438 \u0432 \u0437\u0430\u0445\u0456\u0434\u043D\u0456\u0439 \u0404\u0432\u0440\u043E\u043F\u0456 XVI\u2014XVII \u0441\u0442\u043E\u043B\u0456\u0442\u044C. \u0406\u0441\u0442\u043E\u0440\u0438\u0447\u043D\u043E \u0441\u043B\u043E\u0432\u043E \u0440\u0438\u0447\u0435\u0440\u043A\u0430\u0440 \u043D\u0435 \u043C\u0430\u043B\u043E \u0454\u0434\u0438\u043D\u043E\u0433\u043E \u0437\u043D\u0430\u0447\u0435\u043D\u043D\u044F, \u0430\u043B\u0435 \u0432\u0436\u0438\u0432\u0430\u043B\u043E\u0441\u044F \u0432 \u0434\u0435\u043A\u0456\u043B\u044C\u043A\u043E\u0445 \u0440\u0456\u0437\u043D\u0438\u0445 \u0437\u043D\u0430\u0447\u0435\u043D\u043D\u044F\u0445."@uk . "Le ricercare ou ricercar est une ancienne forme musicale instrumentale, typique de la Renaissance et du haut baroque. Le mot est d'origine italienne. L'\u00E9quivalent fran\u00E7ais est recherche utilis\u00E9 par exemple par l'organiste Jehan Titelouze."@fr . "El ricercar o ricercare (del it. 'ricercare', 'buscar'; tambi\u00E9n It. 'ricercata'; Al. 'Ricercar'; Esp. 'Recercada', 'recercario'; Fr. 'Recherch\u00E9') es una composici\u00F3n instrumental propia de los siglos XVI y XVII, aunque sus efectos y connotaciones estuvieron presentes en los siglos XVIII, XIX y XX. El verbo italiano ricercare significa \u201Cbuscar\u201D o \u201Cdescubrir\u201D. La noci\u00F3n general de la composici\u00F3n musical como proceso de b\u00FAsqueda o descubrimiento est\u00E1 presente en el concepto que hay detr\u00E1s de palabras como \u201Ctroubadour\u201D o \u201Ctrouv\u00E8re\u201D, e incluso en el t\u00E9rmino \u201CInvenci\u00F3n\u201D (por no hablar de la relaci\u00F3n aparente entre los ricercares did\u00E1cticos a dos voces y las invenciones de Bach)."@es . . . . . . . . . . "\u0420\u0438\u0447\u0435\u0440\u043A\u0430\u0301\u0440 (\u0438\u0442\u0430\u043B. ricercar, recercar, recerchar, ricercata \u0438 \u0434\u0440.; \u0438\u0441\u043F. recercada, \u0444\u0440. recherche; \u043E\u0442 \u0438\u0442\u0430\u043B. ricercare \u2014 \u0438\u0437\u044B\u0441\u043A\u0438\u0432\u0430\u0442\u044C; \u043E\u0442\u0441\u044E\u0434\u0430 ricercar \u2014 \u00AB\u0440\u0430\u0437\u044B\u0441\u043A\u0430\u043D\u0438\u0435\u00BB, \u00AB\u0438\u0437\u044B\u0441\u043A\u0430\u043D\u0438\u0435\u00BB) \u2014 \u0436\u0430\u043D\u0440 \u043C\u043D\u043E\u0433\u043E\u0433\u043E\u043B\u043E\u0441\u043D\u043E\u0439 \u0438\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u043E\u0439 (\u0440\u0435\u0436\u0435 \u0432\u043E\u043A\u0430\u043B\u044C\u043D\u043E\u0439) \u043C\u0443\u0437\u044B\u043A\u0438 \u0432 \u0437\u0430\u043F\u0430\u0434\u043D\u043E\u0439 \u0415\u0432\u0440\u043E\u043F\u0435 XVI\u2014XVII \u0432\u0435\u043A\u043E\u0432."@ru . 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"Ri\u0109erkaro"@eo . . "\u03A1\u03B9\u03C4\u03C3\u03B5\u03C1\u03BA\u03AC\u03C1\u03B5"@el . . .