{"title":"勃拉姆斯的发音","authors":"Ana Llorens","doi":"10.30535/mto.27.4.7","DOIUrl":null,"url":null,"abstract":"The analysis of the structural repercussions of musicians’ strategies has traditionally focused on their handling of timing and dynamics, not only because of the correlation found in performances between hierarchical phrase structure and coordinated decreases in both parameters—usually referred to as phrase arching (\".fn_cite($gabrielsson_1988).\") or phrase-final lengthening (\".fn_cite($todd_1985).","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Brahmsian Articulation\",\"authors\":\"Ana Llorens\",\"doi\":\"10.30535/mto.27.4.7\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The analysis of the structural repercussions of musicians’ strategies has traditionally focused on their handling of timing and dynamics, not only because of the correlation found in performances between hierarchical phrase structure and coordinated decreases in both parameters—usually referred to as phrase arching (\\\".fn_cite($gabrielsson_1988).\\\") or phrase-final lengthening (\\\".fn_cite($todd_1985).\",\"PeriodicalId\":44918,\"journal\":{\"name\":\"Music Theory Online\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2021-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Music Theory Online\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/mto.27.4.7\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/mto.27.4.7","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"MUSIC","Score":null,"Total":0}
The analysis of the structural repercussions of musicians’ strategies has traditionally focused on their handling of timing and dynamics, not only because of the correlation found in performances between hierarchical phrase structure and coordinated decreases in both parameters—usually referred to as phrase arching (".fn_cite($gabrielsson_1988).") or phrase-final lengthening (".fn_cite($todd_1985).
期刊介绍：
Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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