Tempo Modification
Tempo Modification
This chapter discusses changing approaches to tempo modification. Types of tempo modification are described, two basic categories being identified: first, changes of speed within a piece, such as arbitrary accelerando or rallentando (where no changes of speed are marked by the composer); and secondly, modification by means of redistributing note values within a fundamentally constant tempo. The second type of tempo modification, often referred to by theorists as tempo rubato, was a pervasive element in Classical and Romantic performance; this is illustrated from the writings of theorists, critical writings and the evidence of composers' scores. The use of the messa die voce sign (<>), as an indication of expressive lingering, is discussed. A more specialized use of the term tempo rubato as an arthythmical embellishment is discussed in relation to C. P. E. Bach, Dussek, and Chopin.
Keywords: tempo rubato, messa di voce, accelerando, rallentando
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .
