Download The Art of Musical Phrasing in the Eighteenth Century: by Stephanie D. Vial PDF

By Stephanie D. Vial

There are, in fact, no commas, sessions, or query marks in tune of the Baroque and vintage eras. still, the concept that of punctuating song into longer and shorter devices of expression was once richly explored via a number of the era's top composers, theorists, and performers. The paintings of Musical phraseology within the Eighteenth Century gathers and discusses, for the 1st time, an in depth selection of quotations and musical illustrations appropriate to word articulation and written and unwritten rests. one of the outstanding authors stated and mentioned are Muffat, Telemann, C. P. E. Bach, Mattheson, Marpurg, Tartini, and Mozart's father Leopold (author of crucial eighteenth-century treatise on string playing). On a bigger scale, The artwork of Musical phraseology demonstrates the position of punctuation in the background of rhetoric in the course of the Age of Enlightenment. From this, the performer of this day can achieve a better appreciation for either the strengths and shortcomings of the analogy that writers of the day drew among punctuation in written language and in tune. smooth performers, argues Vial, have the problem and accountability of knowing and conveying the nuances, inflections, and rhythmic gestures deeply embedded in eighteenth-century musical notation. The paintings of Musical phraseology, the fruit of Vial's wealthy event as a cellist acting on either interval and glossy tools, lays out long-needed useful feedback for reaching this objective.

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We must therefore allow for the analogy’s flexibility and breadth of usage, but at the same time always make sure that we understand the context in which it was adopted. The appropriation of linguistic theories as analytical musical models is an enduring phenomenon, and eighteenth-century musical punctuation is only one of its many manifestations. Its real strength, as in any such analogy, lies in the status punctuation maintained as a highly influential and prominent element of contemporary rhetorical theory.

I can imagine a slight breath or inflection at this point in the violin part, before the F octave leap, but the sense of moving forward through the harmony is quite strong. I think Unger must have had in mind a very slow tempo for this movement, hearing it in eighth notes rather than its written quarter-note pulse. This is also evident in the two commas he places in bar 4. The first comma after the d2 downbeat completely undermines Bach’s effect of a false ending, where instead of coming to rest on the tonic, the flute immediately interrupts itself.

By the eighteenth century a new focus had emerged, demanding that attention be paid to the final branch of classical rhetoric’s five-partite division, Delivery (or Elocution as it was renamed), and away from the focus on Style, the third branch of rhetoric, which concerned the appropriate and effective means of expressing ideas. A mistrust had developed regarding the manipulative power of “specious tropes and figures,” and the new quest was instead for correctness and precision musical punctuation, the analogy ❧ 29 in speech, punctuation playing a vital role.

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