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in bar 7, or at D natural in bar 8; this in turn implies the theme is interpreted as modulating into the tonality of the dominant, and moreover that in accordance with the rules of polyphony it may end only with the B natural — the mediant — rather than with the 5th or the 7th (D natural or F natural). The notes which follow the B natural may therefore be considered as not attributed to the theme but as a codetta (quite unevident interpretation!). Thus Webern's interpretation implies two contrasting episodes distinguished within the theme: the first phrase (trombone) and the descending chromatic succession. The latter is itself segmental, this being articulated by changes of instrumentation and further subtleties such as the addition of a harp harmonic.
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on a timeless notion of "objective" structure. Temporal and aurally-apprehended structures are denied reality because they cannot be said to "exist" in the way that spatial and visually apprehended structures do. Musical investigations exhibit the
Western prejudice toward visualism in the dependence on visual symmetry and balance. Information about structure from listening experience is suspect because it is considered "subjective" and is opposed to "objective" information from the score.
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230:"There are two schools of thought on phrasing," says flutist Nancy Toff: "one more intuitive, the other more analytical. The intuitive school uses a verbal model, equating the function of phrasing with that of punctuation in language. Thus, said Chopin to a student, 'He who phrases incorrectly is like a man who does not understand the language he speaks.'"
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The first note of the countersubject (C) is deliberately detached from the theme, as shown by the change from brass to strings. Previous notes are grouped as if they were suspensions with resolutions. It follows that the theme may be considered to end only at the B natural in bar 6, at the F natural
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The reliance on the score for information about temporal structures reflects a more profound analytical difficulty. Structural information gleaned from the score is visually apprehended and as such is predisposed to visualist models of structure. These models are premised on symmetry and balance and
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can express the affections of the soul: but besides there being no signs that indicate them, such signs, even were one to invent them, would become so numerous that the music, already too full of indications, would become a formless mass to the eyes, almost impossible to decipher. I should consider
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1. Interpretation is based on the understanding of musical form, being close to music analysis. This analysis is creative, subjective and even ambiguous, being close to composition. On the contrary, the unambiguous analysis, which reflexes evident facts only, is trivial and non-creative. Therefore,
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3. Interpretations in form of orchestral arrangements (instruments can be conditional) provide both the structure and indicate the way of execution. lt displays the interpretation of music in a more comprehensive way than precise performance instructions. At the same time it is better adapted for
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Departing from Webern’s example, Tangian proposes not only phrasing/interpretation notation but also a model of performance, where the segments are selected both intuitively and analytically and are shown by tempo envelopes, dynamics and specific instrumental techniques.
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myself fortunate if I could only get a student to hear, through a small number of examples, the difference between bad and mediocre, mediocre and good, and good and excellent, in the diversity of expressions that one may give to the same passage.
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2. Interpretation presupposes finding a structure, which organizes notes into a meaningful composition. Different interpretations are associated with different structures. Structuralization is based on segmentation.
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Problems linked with an analytical approach to phrasing occur particularly when the analytical approach is based only on the search for objective information, or (as is often the case) only concerned with the score:
147:, inflection, and other characteristics. Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composer's intention, aspects of which are commonly indicated in
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as the (metrically strong) initial chord of the next phrase. Two phrases may overlap, making the beginning and ending of both happen at the same moment in time, or both phrases and
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demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
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The second phrase is distinguished by an authentic cadence answering the half cadence at the end of the first phrase. Note the use of
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uses overlap and reinterpretation to distinguish between the overlap of phrases and of both phrase and measure-group, respectively.
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reading and editing. A trained piano player can 'implement' these interpretations in playing by appropriate means of execution.
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may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as
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Burkhart, Charles. "The Phrase Rhythm of Chopin's A-flat Major
Mazurka, Op. 59, No. 2", p.10, 11n14. Cited in Stein (2005).
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253:, analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example,
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Tangian, Andranik (1999). "Towards a generative theory of interpretation for performance modeling".
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Tangian (1999) "Towards a generative theory of interpretation for performance modeling",
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This article is about expression in music performance. For the unit of musical metre, see
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may overlap, making the last bar in the first hypermeasure and the first in the second.
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Lessons in Vocal
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is a substantial musical thought, which ends with a musical punctuation called a
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The Flute Book: A Complete Guide for
Students and Performers
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490:(Second ed.). Oxford University Press. p. 150.
175:. Phrases are created in music through an interaction of
612:. Vol. 1. New York: Irving Squire. pp. 267–82.
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Beethoven on
Beethoven: Playing His Piano Music His Way
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to allow expression, much like when speaking
English a
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Nouvelle Méthode théorique et pratique pour le violon
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96:by the composer to indicate the intended phrasing.
646:. Boston: The Expression Company. pp. 73–80.
570:, p.328, 330. New York: Oxford University Press.
194:—a composer, violinist, and music teacher of the
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290:there are no "true" interpretation of a piece.
610:The American History and Encyclopedia of Music
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349:), is the perception, after the fact, of a (
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76:Period (two five-bar phrases) in Haydn's
62:play with percussion marking the measures
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568:Engaging Music: Essays in Music Analysis
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512:Understanding the Musical Experience
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27:Expressive shaping of note sequences
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261:-styled orchestral arrangement of
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630:(21). Boston. 19 January 1878.
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103:is the method by which a
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472:" by Giuseppe Cambini (
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198:—had this to say about
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618:"The Art of Phrasing"
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32:Phrase (music theory)
1432:Snare drum technique
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486:Toff, Nancy (1996).
1200:Harmonica technique
1175:Saxophone technique
1092:Finger substitution
636:Curry, Samuel Silas
1180:Circular breathing
1082:Extended technique
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360:at the end of one
259:Klangfarbenmelodie
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305:Musicae Scientiae
16:(Redirected from
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1291:Violin technique
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1263:String piano
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666:at Wikiquote
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206:, phrasing:
190:
168:
166:
156:
153:phrase marks
152:
145:articulation
100:
99:
77:
1485:Death growl
1467:Human voice
1437:Burton grip
1366:Flatpicking
1361:Fingerstyle
1356:Downpicking
1323:Free bowing
1205:Overblowing
1117:Multiphonic
1077:Double stop
129:sheet music
123:(half of a
78:Feldpartita
1551:Categories
1480:Beatboxing
1424:Percussion
1268:Tack piano
1215:Split tone
1185:Embouchure
1112:Intonation
812:Resolution
776:Cheironomy
763:Répétiteur
721:Bandmaster
716:Bandleader
701:Conducting
640:"Phrasing"
606:"Phrasing"
393:References
351:metrically
1495:Screaming
1447:Drum roll
1318:Col legno
1306:Pizzicato
1301:Bariolage
1127:Pizzicato
1107:Harmonics
1102:Glissando
1087:Fingering
996:Ululation
731:Conductor
705:directing
554:145716284
430:, p. 44.
355:cadential
347:Umdeutung
1338:Two bows
1333:Spiccato
1220:Tonguing
1195:Growling
1137:Slapping
1132:Position
1122:Phrasing
992:(figure)
975:Sequence
960:Phrasing
943:Ornament
923:Interval
912:Balungan
827:Phrasing
822:Dynamics
758:Prompter
743:Director
638:(1895).
376:See also
327:analysis
301:—
263:Ricercar
242:—
218:—
141:dynamics
105:musician
1457:Rimshot
1386:Tambour
1371:Picking
1328:Martelé
1248:Luthéal
1157:Vibrato
1152:Tremolo
1072:Damping
1055:General
955:Pattern
928:Melisma
918:Cadence
808:Cadence
753:Maestro
339:overlap
335:elision
325:In the
181:harmony
173:cadence
161:tension
151:called
121:phrases
1348:Guitar
1067:Bowing
985:Timbre
970:Rhythm
900:Melody
574:
552:
518:
494:
455:
434:
413:
362:phrase
353:weak)
255:Webern
204:violin
185:rhythm
183:, and
177:melody
169:phrase
125:period
117:phrase
1518:Étude
1230:Piano
1001:Voice
965:Pitch
948:Trill
938:Motif
832:Tempo
803:Meter
736:baton
550:S2CID
358:chord
333:, an
331:music
265:from
137:tempo
113:music
109:notes
94:slurs
1406:Harp
990:Type
799:Beat
703:and
572:ISBN
516:ISBN
492:ISBN
453:ISBN
432:ISBN
411:ISBN
269:’s
267:Bach
210:The
133:tone
86:Play
50:Play
817:Cue
542:doi
474:ref
257:’s
212:bow
155:or
56:or
1553::
642:.
628:37
626:.
620:.
608:.
548:.
536:.
337:,
307:,
179:,
167:A
163:.
143:,
139:,
135:,
80:.
1040:e
1033:t
1026:v
892:e
885:t
878:v
693:e
686:t
679:v
578:.
556:.
544::
538:3
522:.
500:.
476:)
468:"
459:.
438:.
417:.
345:(
309:3
187:.
68:.
34:.
20:)
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