{"id":344,"date":"2009-06-16T07:31:30","date_gmt":"2009-06-16T07:31:30","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/wp\/2009\/06\/resolve\/"},"modified":"2012-01-18T15:23:39","modified_gmt":"2012-01-18T20:23:39","slug":"resolve","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2009\/06\/resolve.html","title":{"rendered":"Resolve"},"content":{"rendered":"<p>In classical music, many gestures need to &#8220;resolve.&#8221; A dissonance, a departure from the harmonic (or melodic, or rhythmic) norm needs to be brought back to normality, disturbances need to be calmed &#8212; &#8220;action&#8221; needs resolution.<br \/>\n<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-center\" style=\"text-align: center; margin: 12px auto 0px; display: block;\" src=\"http:\/\/www.artsjournal.com\/pianomorphosis\/ChopinResolveAJ3.jpg\" alt=\"ChopinResolveAJ3.jpg\" width=\"82\" height=\"198\" \/><\/span><\/p>\n<div style=\"text-align: center;\">Chopin: Opus 44<\/div>\n<p>&nbsp;<br \/>\nThis dotting of the &#8220;i,&#8221; this attentive management of the small phraselet, is often subsumed in an attention to, or a desire for larger shapes. But music becomes generalized very easily. Large ideas have sub-organization. &#8220;Composing&#8221; is a process of making (and writing down) detailed exceptions. Performers take note.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In classical music, many gestures need to &#8220;resolve.&#8221; A dissonance, a departure from the harmonic (or melodic, or rhythmic) norm needs to be brought back to normality, disturbances need to be calmed &#8212; &#8220;action&#8221; needs resolution. Chopin: Opus 44 &nbsp; This dotting of the &#8220;i,&#8221; this attentive management of the small phraselet, is often subsumed [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1546,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[100,448,453,452,451,282,447,450,449],"class_list":{"0":"post-344","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-chopin","9":"tag-dissonance","10":"tag-musical-emphasis","11":"tag-phraseology","12":"tag-phrasing","13":"tag-piano-playing","14":"tag-resolution","15":"tag-slurring","16":"tag-two-note-slur","17":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/344","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/comments?post=344"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/344\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/1546"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=344"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=344"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=344"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}