Question: What differentiates Recitative from Arioso music style?

full_context: Document 1: Spieloper: In the 19th century, Spieloper ('opera play') was understood to mean a light opera genre, developed from Singspiel. Works typical of the genre include those by Albert Lortzing, such as "Zar und Zimmermann", and Otto Nicolai's "The Merry Wives of Windsor". A key difference between Spieloper and Singspiel on the one hand, and opera buffa on the other, is that the two former genres contain spoken dialogues instead of recitatives, which is why Conradin Kreutzer's "Das Nachtlager in Granada" and Friedrich von Flotow's "Martha" do not belong to this genre.
Document 2: Pantun Sunda: Pantun Sunda is a type of Sundanese oral narrative performance interspersed with songs and music played on a "kacapi", a kind of zither. A pantun is intended to be recited during an evening-length performance during which a single performer relates the story of a hero’s initiation: The protagonist leaves his kingdom in order to seek experiences, beautiful princesses to become his wife, power, other kingdoms to subject, the realization of a dream (Rosidi 1984a:143); after having succeeded in reaching his goal he finally returns to his kingdom. Alongside descriptions of historical events, the stories often contain mythical elements. Pantun were originally not written down, the bards often being illiterate and in many cases blind. Originally the performances had a sacred character, as was clear from the offerings made at the beginning of the recitation and also from the content of the introductory part of the story, called rajah, which was an invocatory song, imploring the help of divine figures to ward off bad influences. The linguistic form of the pantun was not strictly fixed, however the dominant form employed in most pantun is the octosyllabic verse. For a detailed description of the nature and form of a Sundanese pantun you are referred to Eringa (1949), to Hermansoemantri (1977–79).
Document 3: Spinto: Spinto (from Italian, "pushed") is a vocal term used to characterize a soprano or tenor voice of a weight between lyric and dramatic that is capable of handling large musical climaxes in opera at moderate intervals. (Sometimes the terms "lirico-spinto " or "jugendlich-dramatisch " are used to denote this category of voice.)
Document 4: Calliroe: The opera follows the usual pattern of "opera seria" of the time: "secco" recitative interlaced with "da capo" arias. Within this format Sacchini introduced strong dramatic music to suit the libretto: "stromentato" recitative is also used for extra dramatic effect, and the arias are sometimes interrupted by bursts of recitative. Stylistically, the work is thought to anticipate Italian opera of the following decade, and in particular Mozart's "Il re pastore".
Document 5: Sprechgesang: Sprechgesang (] , "spoken singing") and Sprechstimme (] , "spoken voice") are expressionist vocal techniques between singing and speaking. Though sometimes used interchangeably, "Sprechgesang" is directly related to the operatic "recitative" manner of singing (in which pitches are sung, but the articulation is rapid and loose like speech), whereas "Sprechstimme" is closer to speech itself (because it does not emphasise any particular pitches).
Document 6: Accentus: Accentus (or Accentus Ecclesiasticus; Ecclesiastical accent) is a style of church music that emphasizes spoken word. It is often contrasted with "concentus", an alternative style that emphasizes harmony. The terms "accentus" and "concentus" were probably introduced by Andreas Ornithoparchus in his "Musicae Activae Micrologus", Leipzig, 1517. ""Concentus" might be chief ruler over all things that are sung...and "Accentus" over all things that are read," according to Ornithoparchus. The style is also known as liturgical recitative, though it differs in some important ways from other types of recitative.
Document 7: Recitative: Recitative ( , also known by its Italian name "recitativo" (] )) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition.
Document 8: Da capo aria: The da capo aria (] ) is a musical form for arias that was prevalent in the Baroque era. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. According to Randel, a number of Baroque composers (he lists Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers.
Document 9: Modal voice: Modal voice is the vocal register used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common phonation of vowels. The term "modal" refers to the resonant mode of vocal cords; that is, the optimal combination of airflow and glottal tension that yields maximum vibration.
Document 10: Arioso: In classical music, arioso ] (also aria parlante ] ) is a type of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means "airy". The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato.
Document 11: Sargam (music): Sargam refers to singing the notes instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. This is generally done in medium-tempo as a bridge between the alap and taan portions. As an example, one could sing PmRSnSRRSRnSPnmPgmnnPmgmRSnS in raga Adana, given that raga's vadi-samvadi and the rules of the raga (see "swara" for explanation of the notes).
Document 12: Cantabile: In music, cantabile ] , an Italian word, means literally "singable" or "songlike". In instrumental music, it is a particular style of playing designed to imitate the human voice. For 18th-century composers, cantabile is often synonymous with "cantando" (singing), and indicates a measured tempo and flexible, legato playing. For later composers, particularly in piano music, cantabile is the drawing out of one particular musical line against the accompaniment (compare counterpoint). Felix Mendelssohn's six books of "Songs Without Words (Lieder ohne Worte)" are short lyrical piano pieces with song-like melodies written between 1829 and 1845. A modern example is an instrumental by Harry James & His Orchestra, called "Trumpet Blues and Cantabile".
Document 13: Vocal weight: Vocal weight refers to the perceived "lightness" or "heaviness" of a singing voice. This quality of the voice is one of the major determining factors in voice classification within classical music. Lighter voices are often associated with the term "lyric" and are usually brighter and more agile; heavier voices are often associated with the term "dramatic" and are usually powerful, rich, and darker. Other voice types like the spinto have a more medium vocal weight. Vocal weight can also affect overall vocal agility; heavier voices often have more difficulty maneuvering through florid coloratura passages than their lighter counterparts, as their weight and power compromises agility. Likewise, dramatic roles are often written with larger orchestras in mind as dramatic voices can carry more easily over larger ensembles.
Document 14: Giulio Sabino: The opera, staged in six or seven European countries at the end of the 18th century, was the subject of a parody in Antonio Salieri's 1786 work "Prima la musica e poi le parole".
Document 15: Rapping: Rapping (or rhyming, spitting, emceeing, MCing ) is a musical form of vocal delivery that incorporates "rhyme, rhythmic speech, and street vernacular", which is performed or chanted in a variety of ways, usually over a backbeat or musical accompaniment. The components of rap include "content" (what is being said), "flow" (rhythm, rhyme), and "delivery" (cadence, tone). Rap differs from spoken-word poetry in that rap is usually performed in time to an instrumental track. Rap is often associated with, and is a primary ingredient of hip-hop music, but the origins of the phenomenon predate hip-hop culture. The earliest precursor to the modern rap is the West African griot tradition, in which "oral historians", or "praise-singers", would disseminate oral traditions and genealogies, or use their formidable rhetorical techniques for gossip or to "praise or critique individuals." Griot traditions connect to rap along a lineage of Black verbal reverence that goes back to ancient Egyptian practices, through James Brown interacting with the crowd and the band between songs, to Muhammad Ali's quick-witted verbal taunts and the palpitating poems of the Last Poets. Therefore, rap lyrics and music are part of the "Black rhetorical continuum", and aim to reuse elements of past traditions while expanding upon them through "creative use of language and rhetorical styles and strategies. The person credited with originating the style of "delivering rhymes over extensive music", that would become known as rap, was Harlem, New York native, Anthony "DJ Hollywood" Holloway.
ground_truth: It resembles sung ordinary speech more than a formal musical composition.