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Phrase (music)
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<h2 id="duration-or-form">Duration or form</h2> <p>In common practice phrases are often four <a href="/facts/Bar_(music)/oUxVeEQy">bars</a> or <a href="/facts/Bar_(music)/oUxVeEQy">measures</a> long<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> culminating in a more or less definite <a href="/facts/Cadence_(music)/9AuxqJD4">cadence</a>.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> A phrase will end with a weaker or stronger cadence, depending on whether it is an antecedent phrase or a consequent phrase, the first or second half of a period. </p><p>However, the absolute span of the phrase (the term in today's use is coined by the German theorist <a href="/facts/Hugo_Riemann/KmtMxEcw">Hugo Riemann</a><a class="footnote-ref" id="fnref:10" href="#fn:10"><sup>10</sup></a>) is as contestable as its pendant in language, where there can be even one-word-phrases (like "Stop!" or "Hi!"). Thus no strict line can be drawn between the terms of the 'phrase', the 'motiv' or even the separate tone (as a one-tone-, one-chord- or one-noise-expression). </p><p>Thus, in views of <a href="/facts/Gestalt_theory/mCFLuhYT">Gestalt theory</a>, the term of 'phrase' is rather enveloping any musical expression which is perceived as a consistent <i>gestalt</i> separate from others, however few or many beats, i. e. distinct musical events like tones, chords or noises, it may contain. </p> <p>A phrase-group is "a group of three or more phrases linked together without the two-part feeling of a period", or "a pair of consecutive phrases in which the first is a repetition of the second or in which, for whatever reason, the antecedent-consequent relationship is absent".<a class="footnote-ref" id="fnref:11" href="#fn:11"><sup>11</sup></a> </p><p>Phrase rhythm is the rhythmic aspect of phrase construction and the relationships between phrases, and "is not at all a cut-and-dried affair, but the very lifeblood of music and capable of infinite variety. Discovering a work's phrase rhythm is a gateway to its understanding and to effective performance." The term was popularized by William Rothstein's <i>Phrase Rhythm in Tonal Music</i>.<a class="footnote-ref" id="fnref:12" href="#fn:12"><sup>12</sup></a>[<i>non-primary source needed</i>] Techniques include overlap, lead-in, extension, expansion, reinterpretation and elision. </p> <p>A phrase member is one of the parts in a phrase separated into two by a pause or long note value, the second of which may repeat, sequence, or contrast with the first.<a class="footnote-ref" id="fnref:13" href="#fn:13"><sup>13</sup></a> A phrase segment "is a distinct portion of the phrase, but it is not a phrase either because it is not terminated by a cadence or because it seems too short to be relatively independent".<a class="footnote-ref" id="fnref:14" href="#fn:14"><sup>14</sup></a> </p> <h2 id="see-also">See also</h2> <ul><li><a href="/facts/Period_(music)/TjUMAVQc">Period (music)</a></li> <li><a href="/facts/Strophe/CSL4dNe5">Strophe</a></li> <li><a href="/facts/Melodic_pattern/EjF8Ue1e">Melodic pattern</a></li> <li><a href="/facts/Lick_(music)/4gqjdkqd">Lick (music)</a></li></ul> <p>Sources </p> <ul><li>Benward, Bruce; Saker, Marilyn (2003). <i>Music: In Theory and Practice</i>. Vol. I (7th ed.). McGraw-Hill. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-07-294262-0.</li> <li><a href="/facts/Stefan_Kostka/w7tUEn6T">Kostka, Stefan</a>; Payne, Dorothy (1995). <i>Tonal Harmony</i> (3rd ed.). McGraw-Hill. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0073000566.</li> <li><a href="/facts/Jean-Jacques_Nattiez/BYxFh2yR">Nattiez, Jean-Jacques</a> (1990). <i>Music and Discourse: Toward a Semiology of Music</i> (originally <i>Musicologie générale et sémiologue</i>, 1987). Translated by <a href="/facts/Carolyn_Abbate/kvPRc4NP">Carolyn Abbate</a>. Princeton University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-691-02714-5.</li> <li>Stein, Deborah (2005). <i>Engaging Music: Essays in Music Analysis</i>. New York: Oxford University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-19-517010-5.</li> <li>White, John D. (1976). <i>The Analysis of Music</i>. Prentice-Hall. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-13-033233-X.</li></ul> <h2 id="further-reading">Further reading</h2> <ul><li><a href="https://archive.org/stream/howtounderstand00mathgoog#page/n15/mode/1up/search/phraseology">How to Understand Music: A Concise Course in Musical Intelligence and Taste</a> (1881) by William Smythe Babcock Mathews</li> <li><a href="https://archive.org/stream/whatwehearinmusi00oberiala#page/22/mode/1up/search/elements">What We Hear in Music: A Course of Study in Music History and Appreciation</a> (c. 1921) by Anne Shaw Faulkner</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Falk (1958), p. 11,[full citation needed] Larousse; cited in Nattiez 1990, p. [page needed]. <a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" target="_blank">/wiki/Wikipedia:Citing_sources#What_information_to_include</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>1980 New Grove;[full citation needed] cited in Nattiez 1990, p. [page needed] <a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" target="_blank">/wiki/Wikipedia:Citing_sources#What_information_to_include</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Benward & Saker 2003, p. 89. - Benward, Bruce; Saker, Marilyn (2003). Music: In Theory and Practice. Vol. I (7th ed.). McGraw-Hill. ISBN 978-0-07-294262-0. <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>1958 Encyclopédie Fasquelle;[full citation needed] cited in Nattiez 1990, p. [page needed]. <a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" target="_blank">/wiki/Wikipedia:Citing_sources#What_information_to_include</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>White 1976, p. 34. - White, John D. (1976). The Analysis of Music. Prentice-Hall. ISBN 0-13-033233-X. <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Winold, Allen (1975). "Rhythm in Twentieth-Century Music",[page needed] Aspects of Twentieth-Century Music. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-049346-5. <a href="/wiki/Wikipedia:Citing_sources" target="_blank">/wiki/Wikipedia:Citing_sources</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Burkhart, Charles. "The Phrase Rhythm of Chopin's A-flat Major Mazurka, Op. 59, No. 2";[full citation needed] cited in Stein 2005, p. [page needed]. <a href="/wiki/Charles_Burkhart" target="_blank">/wiki/Charles_Burkhart</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>Larousse, Davie 1966, 19;[full citation needed] cited in Nattiez 1990, p. [page needed]. <a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" target="_blank">/wiki/Wikipedia:Citing_sources#What_information_to_include</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Larousse;[full citation needed] cited in Nattiez 1990, p. [page needed]. <a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" target="_blank">/wiki/Wikipedia:Citing_sources#What_information_to_include</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> <li id="fn:10"><p>Hugo Riemann. System der musikalischen Rhythmik und Metrik (Leipzig, 1903)[page needed] <a href="/wiki/Hugo_Riemann" target="_blank">/wiki/Hugo_Riemann</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></p></li> <li id="fn:11"><p>White 1976, p. 46. - White, John D. (1976). The Analysis of Music. Prentice-Hall. ISBN 0-13-033233-X. <a href="#fnref:11" class="footnote-back-ref">↩</a></p></li> <li id="fn:12"><p>Rothstein, William (1990). Phase Rhythm in Tonal Music. New York: Schirmer. p. [page needed]. ISBN 978-0-02-872191-0. <a href="978-0-02-872191-0" target="_blank">978-0-02-872191-0</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></p></li> <li id="fn:13"><p>Benward & Saker 2003, p. 113. - Benward, Bruce; Saker, Marilyn (2003). Music: In Theory and Practice. Vol. I (7th ed.). McGraw-Hill. ISBN 978-0-07-294262-0. <a href="#fnref:13" class="footnote-back-ref">↩</a></p></li> <li id="fn:14"><p>Kostka & Payne 1995, p. 158 - Kostka, Stefan; Payne, Dorothy (1995). Tonal Harmony (3rd ed.). McGraw-Hill. ISBN 0073000566. <a href="#fnref:14" class="footnote-back-ref">↩</a></p></li> </ol>