agogics

agogics

the theory that accent within a musical phrase can also be expressed by modifying the duration of certain notes rather than only by modifying dynamic stress. — agogic, adj.
See also: Music
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Both recordings fill the discs' capacity to the very last minute, and both CDs are connected by a propensity for meditative tempi and widely gestured agogics which act in contrast to the rushed speed and spirit of modern life--and sometimes also against a more traditional interpretation.
Then collectively off-headphones, I help them make decisions about shaping, dynamics and agogics based exclusively on the form of the piece and its musical events--melodic, rhythmic, harmonic, textural.
Also, agogics and dynamics play an important part in creating the desired effects." (Raducanu 2004: 28-29)
(48) Vettik to Laasmae about the articulation, dynamics and agogics of the repertoire taught to male choirs.
Wilson, in "Nineteenth-Century Musical Agogics as an Element in Gerard Manley Hopkins's Prosody" (CL 52, no.
The author sketches several illustrative spaces; some are familiar, while others are original and suggestive (such as a model of musical agogics in which chronometric time is expressed as a function of varying tempo and meter).
From among those three, but also among the other forty six commercial recordings made between 1937 and 201 7, the Jerusalem Quartet's production will captivate with its rich sound, the contrasting tempi and dynamics, pointed agogics, and the almost soloistic first viola part in the scherzo trio.
(5) Ax encapsulates the unique pianistic qualities of Horowitz as 1) an enormous dynamic range, coupled with complete control of the subtle shadings; 2) an "extraordinary sensibility for the agogics of melodic line;"
That which is lacking in Hough and Nelsons's creation--free agogics, sharper accentuation and rhythmic pulsation--is there in spades in Christian Tetzlaff and John Storgards's account of Suk's Fantasy, and Dvorak's Violin Concerto and Romance.
One simply cannot get enough of the account of Suk's piece, so balanced is it in terms of dynamics, agogics and tempo (Jansons's ability to opt for the most natural paces is truly admirable), perhaps also because it was recorded in a studio, not live, as is the case of Dvorak's Eighth and Carnival.
The score cues and tells many a thing--particularly the dynamics, tempo and agogics markings.
60, both owing to the Brahms-like softness of sound of the middle parts, the enlivening agogics, as well as the finely gradated dynamics.