Tempo rubato


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See under Rubato.

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The troubadours of the high Middle-Ages knew about this, for their love songs were marked by tempo rubato, a music signature literally meaning 'stolen tempo' as well as 'stolen time', encouraging expressive and rhythmic freedom--speeding up or slowing down according to how the singer was affected.
227-242); la renovacion del bolero en los anos 50 de la decada pasada encontro en Gatica un modernizador que asume tecnicas venidas del jazz y de la musica popular norteamericana, tales como el tempo rubato y la tecnica de canto conocida como crooning, en donde el cantante se acerca al microfono para amplificar su voz.
In the nineteenth century, Italian composers did not need to write things such as tempo rubato into the score: it was an oral tradition and every singer would know how to apply it, if for no other reason than the composer was usually there to coach the singer.
His use of tempo rubato in the Mazurka is beautifully characteristic of the form--never distorted and in a word, perfect
So Sunday afternoon in the sturdy New England confines of the Ashburnham Community Church, about three blocks up Main Street from the Frederick Collection, with giant 40-pane Colonial windows flooding late afternoon, cloud-tinged sunlight across the white pews, Sheng explored, in masterful tempo rubato, the full range of Chopin's shorter piano compositions.
By tempo rubato is meant the momentary increase of value, which is given to one or several sounds, to the detriment of the rest, while the total length of the bar remains unaltered.
Esto nos hace pensar en el tempo rubato, una de las peculiaridades de la musica de Chopin.
The orchestra here is yet another excellent, Montreal-based authentic-instrument band, Tempo Rubato, directed from the keyboard by the German-born Alexander Weimann.
Let's do the easy one--rubato, or tempo rubato, for Italian "robbed time.
Montgeroult advises that the best way to achieve the illusion of sustained sounds is the use of tempo rubato.
McEwen's 47-page Tempo Rubato, or Time-Variation in Musical Performance (London, 1928).