# Reprise

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Section of a musical work where the opening material is repeated

For other uses, see [Reprise (disambiguation)](/source/Reprise_(disambiguation)).

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In [music](/source/Music), a **reprise** ([/rəˈpriːz/](https://en.wikipedia.org/wiki/Help:IPA/English) [*rə-PREEZ*](https://en.wikipedia.org/wiki/Help:Pronunciation_respelling_key),[1] French: [\[ʁəpʁiz\]](https://en.wikipedia.org/wiki/Help:IPA/French) [ⓘ](https://en.wikipedia.org/wiki/File:LL-Q150_(fra)-WikiLucas00-reprise.wav); from the verb *reprendre* 'to resume') is the [repetition](/source/Repetition_(music)) or reiteration of the opening material later in a [composition](/source/Musical_composition) as occurs in the [recapitulation](/source/Recapitulation_(music)) of [sonata form](/source/Sonata_form), though—originally in the 18th century—was simply any repeated [section](/source/Section_(music)), such as is indicated by beginning and ending [repeat signs](/source/Repeat_sign).[2]

A partial or abbreviated reprise is known as a **petite reprise** ([/pəˌtiːt rəˈpriːz/](https://en.wikipedia.org/wiki/Help:IPA/English) [*pə-TEET rə-PREEZ*](https://en.wikipedia.org/wiki/Help:Pronunciation_respelling_key), French: [\[p(ə)tit ʁəpʁiz\]](https://en.wikipedia.org/wiki/Help:IPA/French)). In [Baroque music](/source/Baroque_music) this usually occurs at the very end of a piece, repeating the final phrase with added [ornamentation](/source/Ornament_(music)).

Look up ***[reprise](https://en.wiktionary.org/wiki/reprise)*** in Wiktionary, the free dictionary.

## Song reprises

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](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] One example could be "[Time](/source/Time_(Pink_Floyd_song))", the fourth song from [Pink Floyd](/source/Pink_Floyd)'s 1973 album *[The Dark Side of the Moon](/source/The_Dark_Side_of_the_Moon)*, which contains a reprise of "[Breathe](/source/Breathe_(Pink_Floyd_song))", the second song of the same album. Pink Floyd's 1979 album *[The Wall](/source/The_Wall)* also features a reprise in the form of [In the Flesh?/In the Flesh](/source/In_the_Flesh%3F%2FIn_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](/source/Solo_(Frank_Ocean_song))", the fifth song from [Frank Ocean](/source/Frank_Ocean)'s 2016 album *[Blonde](/source/Blonde_(Frank_Ocean_album))*, and then "[Solo (Reprise)](/source/Solo_(Reprise))", the tenth song of the same album. *[Be Here Now](/source/Be_Here_Now_(album)),* the 1997 album by [Oasis](/source/Oasis_(band)), features a reprise of "[All Around the World](/source/All_Around_the_World_(Oasis_song))", while the [title track](/source/Sgt._Pepper's_Lonely_Hearts_Club_Band_(song)) of *[Sgt. Pepper's Lonely Hearts Club Band](/source/Sgt._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](/source/Impera)* by [Ghost](/source/Ghost_(Swedish_band)) features a reprise on the final track, "Respite on the Spitalfields", of a riff previously featured in the opening track, "Imperium".

### Musical theater

In [musical theatre](/source/Musical_theatre) and [opera](/source/Opera), reprises are any repetition of an earlier song or [theme](/source/Theme_(music)), 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 same [narrative motif](/source/Motif_(literature)) to have similar tunes and lyrics, or incorporate similar tunes and lyrics. For example, in the stage version of *[Les Misérables](/source/Les_Mis%C3%A9rables_(musical))*, a song of the primary [antagonist](/source/Antagonist) ("Javert's Suicide") is similar in lyrics and exactly the same in tune to a soliloquy of the [protagonist](/source/Protagonist) 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](https://en.wikipedia.org/wiki/Wikipedia: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, in *[The Sound of Music](/source/The_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](/source/Edelweiss_(song))" (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](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*].

Also, in the musical *[The Music Man](/source/The_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](/source/Seventy-Six_Trombones)"; in the reprised versions, Harold and Marian are heard singing a snatch of each other's songs.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] And in [Jerome Kern](/source/Jerome_Kern) and [Oscar Hammerstein II](/source/Oscar_Hammerstein_II)'s *[Show Boat](/source/Show_Boat)*, the song "[Ol' Man River](/source/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](https://en.wikipedia.org/wiki/Wikipedia: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.

In *[Mamma Mia!](/source/Mamma_Mia!_(musical))* (both the musical and its [film adaptation](/source/Mamma_Mia!_(film))), however, the reprises for the [title track](/source/Mamma_Mia_(ABBA_song)), [Dancing Queen](/source/Dancing_Queen), and [Waterloo](/source/Waterloo_(ABBA_song)) have no altering of the lyrics, and are just shortened versions of the originals featured earlier.

In *[RENT](/source/Rent_(musical))*, 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".

In *[Hamilton](/source/Hamilton_(musical))*, the song, "[Best of Wives and Best of Women](/source/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](/source/The_Story_of_Tonight)" and "[Ten Duel Commandments](/source/Ten_Duel_Commandments)" being reprised several times.

In *[Frozen](/source/Frozen_(musical))*, the song, "For The First Time In Forever (reprise)" reprises the song "[For The First Time In Forever](/source/For_The_First_Time_In_Forever)" by [Kristen Bell](/source/Kristen_Bell) and [Idina Menzel](/source/Idina_Menzel). Both versions are sung by the same artists.

In the [Gilbert and Sullivan](/source/Gilbert_and_Sullivan) operetta *[Iolanthe](/source/Iolanthe)*, 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.

### Winner reprise

In [musical competitions](/source/Music_competition), 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 in [San Remo Festival](/source/Sanremo_Music_Festival) (1951) and was adopted by several competitions, as [Eurovision Song Contest](/source/Eurovision_Song_Contest).[3]

## In literature

In [postmodernism](/source/Postmodernism), the term *reprise* 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 an *esthétique 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 critical *reprise*, to borrow—or *reprise*, 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-acknowledged *reprises* ever so often *surprise* 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 fundamental [device](/source/Literary_device) in the whole [history of art](/source/History_of_art).

## See also

- [Hidden track](/source/Hidden_track), a song that is placed on a music release in a way that avoids detection by the casual listener.

- [Cover version](/source/Cover_version), a new version of a song originated by a different artist.

## References

1. **[^](#cite_ref-1)** [Merriam-Webster Pronunciation](http://www.merriam-webster.com/cgi-bin/audio.pl?repris02.wav=reprise)

1. **[^](#cite_ref-2)** Stein, Deborah (2005). *Engaging Music: Essays in Music Analysis*, Glossary, p.331. New York: Oxford University Press. [ISBN](/source/ISBN_(identifier)) [978-0-19-517010-8](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-517010-8)

1. **[^](#cite_ref-3)** Carniel, Jessica (2018). [*Understanding the Eurovision Song Contest in Multicultural Australia: We Got Love*](https://books.google.com/books?id=qwJ2DwAAQBAJ&pg=PA20). Southern Queensland: Paslgrave MacMillan. p. 20. [ISBN](/source/ISBN_(identifier)) [9783030023157](https://en.wikipedia.org/wiki/Special:BookSources/9783030023157).

1. **[^](#cite_ref-Moraru2005_4-0)** Moraru, Christian (2005). [*Memorious Discourse: Reprise and Representation in Postmodernism*](https://books.google.com/books?id=W4Es05qXYeIC&pg=PA16). Fairleigh Dickinson Univ Press. p. 16. [ISBN](/source/ISBN_(identifier)) [978-0-8386-4086-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8386-4086-9).

v t e Appropriation in the arts By field Music Bootleg recording Chopped and screwed Contrafact list Contrafactum Cover version DJ mix Interpolation Medley Music mashup Music plagiarism Musical quotation Nightcore Parody music Pasticcio Plunderphonics Potpourri Quodlibet Remix Riddim Sampling Sound collage Standard Track-for-track Tribute act Trope Variation Vaporwave Literature / theatre Assemblage Cut-up technique Flarf poetry Found poetry Jukebox musical Trope Verbatim theatre Visual arts Collage Combine painting Photographic mosaic Readymades of Marcel Duchamp Swipe By source material Mona Lisa Michelangelo's David Michelangelo's Pietà Statue of Liberty Cinema / television / video Abridged series Anime music video Collage film Found footage Literal music video Parody film Re-cut trailer Remake Shot-for-shot Supercut TV format Vidding Video mashup YouTube Poop Other arts In-joke Internet meme Joke theft Parody advertisement Revivalism (architecture) Video game modding Bootleg games General concepts Intertextual figures Allusion Calque Parody Pastiche Plagiarism Quotation Translation Adaptation Film Literary Theatre Other concepts After (art) Assemblage (art) Bricolage Citation Détournement Found object Homage Imitation in art Mashup Reprise Satire Source criticism in the arts Related artistic concepts Aesthetic interpretation Anti-art Archetypal literary criticism Artistic inspiration "The Death of the Author" Divine inspiration Afflatus Genius (literature) Muses Fan labor Fan fiction Genre Genre studies Originality Simulacrum Western canon Standard blocks and forms Archetype Formula fiction Genre fiction Jazz standard Plot device Stock character Story structure Epoch-marking works L.H.O.O.Q. (1919) "Pierre Menard, Author of the Quixote" (1939) Reality Hunger: A Manifesto (2010) Theorization Dada De Copia Rerum Diegesis Dionysian imitatio Mimesis Nachahmung Palimpsests: Literature in the Second Degree The Pictures Generation Pop art Postmodernism Russian formalism Related non- artistic concepts Academic dishonesty Appropriation in sociology Articulation in sociology Cultural appropriation History of printing Information society Intellectual property Copyright infringement Derivative work Fair use Meme Open source Participatory culture Pirate politics Recontextualisation Remix culture

v t e Musical form and development Arch form Argument Ausmultiplikation Bar form Binary form Bridge Call and response Cell Coda Conclusion Cycle Cyclic form Developing variation Development Drop Exposition Finale Formula composition Hook Introduction Leitmotif Lick Melody Motif Movement Ostinato Overture Partita Period Phrase Pre-chorus Post-chorus Recapitulation Repetition Reprise Riff Rondo Rondò Section Sonata form Sonata rondo form Song structure Strophic form Ternary form Theme Thirty-two-bar form Through-composed Transition Variation Verse–chorus form

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Adapted from the Wikipedia article [Reprise](https://en.wikipedia.org/wiki/Reprise) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Reprise?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.