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Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
The first few measures of Beethoven's Piano Sonata in F minor are a classic example of a musical sentence. Arnold Schoenberg applied the term "sentence" to a very specific structural type distinct from the antecedent-consequent period. In a sentence's first part, a statement of a "basic motive" is followed by a "complementary repetition" (e.g ...
Introducing the concept of a dual system, in which there is a distinction between syntactic representation and syntactic processing, this could mean, that there is a distinction between long-term structural knowledge in a domain (representation) and operations conducted on that knowledge (syntactic processing). A damage in an area representing ...
Enslaved Africans brought call and response music with them to the colonized American continents and it has been transmitted over the centuries in various forms of cultural expression—in religious observance, public gatherings, sporting events, children's rhymes, and most notably, in African-American music in its myriad forms and descendants.
In music, prosody is the way the composer sets the text of a vocal composition in the assignment of syllables to notes in the melody to which the text is sung, or to set the music with regard to the ambiance of the lyrics. However, the relationship between syllables and melodic notes is just one dimension of musical prosody.
Musical quotation is to be distinguished from variation, where a composer takes a theme (their own or another's) and writes variations on it.In that case, the origin of the theme is usually acknowledged in the title (e.g., Johannes Brahms's Variations on a Theme by Haydn).
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]