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The End of Early MusicA Period Performer's History of Music for the Twenty-First Century$
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Bruce Haynes

Print publication date: 2007

Print ISBN-13: 9780195189872

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195189872.001.0001

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The Rainbow and the Kaleidoscope

The Rainbow and the Kaleidoscope

Romantic Phrasing Compared with Baroque

Chapter:
(p.184) 11 The Rainbow and the Kaleidoscope
Source:
The End of Early Music
Author(s):

Bruce Haynes

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195189872.003.11

Romantic and modern phrasing is seldom based on small units, but is an integral element of legato style. The Romantic long-line or “climax phrase” is traditionally the length of a singer's or wind player's breath. Also called “the overarching phrase,” the “sweeping melodic line,” the “sostenuto,” and the “grande ligne,” the long-line phrase is essentially a dynamic shape, starting softly and building to one or more notes, often high and usually somewhere in the middle of the phrase (these are the “goals” or “climaxes”), then diminishing to the end. This chapter discusses figures and gestures, examples of melodic figures, gestures as the antiphrase orders or levels of meaning, and gesture and phrase inflection (individual note-shaping).

Keywords:   Romantic phrasing, modern phrasing, figures, gestures, inflection, meaning

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