Jump to ContentJump to Main Navigation
Classical and Romantic Performing Practice 1750-1900$
Users without a subscription are not able to see the full content.

Clive Brown

Print publication date: 1999

Print ISBN-13: 9780198161653

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780198161653.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 11 December 2019

Tempo Modification

Tempo Modification

Chapter:
(p.375) 11 Tempo Modification
Source:
Classical and Romantic Performing Practice 1750-1900
Author(s):

Clive Brown

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198161653.003.0012

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 .