{"id":3911,"date":"2014-08-18T15:13:06","date_gmt":"2014-08-18T19:13:06","guid":{"rendered":"http:\/\/www.artsjournal.com\/pianomorphosis\/?p=3911"},"modified":"2014-08-18T21:11:55","modified_gmt":"2014-08-19T01:11:55","slug":"poesie","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/pianomorphosis\/2014\/08\/poesie.html","title":{"rendered":"Poesie"},"content":{"rendered":"<p>During a presentation by <a href=\"http:\/\/www.bates.edu\/music\/faculty\/james-parakilas\/\" target=\"_blank\">James Parakilas<\/a> concerning examples of ambiguous musical notation, I noticed something. Parakilas was discussing the metrical organization in Faur\u00e9&#8217;s tenth barcarolle. A curious hovering syncopation pervades the music.<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/pianomorphosis\/wp\/wp-content\/uploads\/2014\/08\/FaureB10a.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-3920 size-full\" style=\"margin: 6px 245px 13px 0px;\" src=\"https:\/\/www.artsjournal.com\/pianomorphosis\/wp\/wp-content\/uploads\/2014\/08\/FaureB10a-e1407965146252.jpg\" alt=\"FaureB10a\" width=\"555\" height=\"236\" \/><\/a><\/p>\n<p style=\"padding-left: 30px;\">Faur\u00e9: Tenth Barcarolle<\/p>\n<p>A detail of piano writing in measure 7 corresponds, in my opinion, to the practice of singing an audible final syllable for a French word like &#8220;rose.&#8221; Normally spoken as one syllable &#8212; in poetry or singing, this word may become: &#8220;ro-se.&#8221;<\/p>\n<p>In the barcarolle, a final syllable is made for the long note (A4) that concludes the phrase in m. 7. This &#8220;final syllable&#8221; happens because the melody note is held while low bass As (A2 and A3) are played. The playing of the low notes makes an audible swell in the higher held-pitch, it&#8217;s an overtone. The stimulation of that overtone is represented by the notation. There&#8217;s a final eighth-note tied to the quarter-note. (Elsewhere dotted-quarter-notes are written.)<\/p>\n<p>Sung French includes such shifting of emphasis toward final syllables unheard in the spoken language. A shift that fits well into the emphasis-world of the tenth barcarolle.<\/p>\n<p>Barcarol-le.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>During a presentation by James Parakilas concerning examples of ambiguous musical notation, I noticed something. Parakilas was discussing the metrical organization in Faur\u00e9&#8217;s tenth barcarolle. A curious hovering syncopation pervades the music. Faur\u00e9: Tenth Barcarolle A detail of piano writing in measure 7 corresponds, in my opinion, to the practice of singing an audible final [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":3916,"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":[1045,923,924,1267,628,352,384,1268,1322,1270,1269,1271],"class_list":{"0":"post-3911","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-barcarolle","9":"tag-emphasis","10":"tag-emphasis-pattern","11":"tag-faure","12":"tag-gabriel","13":"tag-james","14":"tag-meter","15":"tag-parakilas","16":"tag-poetry","17":"tag-rose","18":"tag-scansion","19":"tag-syncopation","20":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/3911","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=3911"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/3911\/revisions"}],"predecessor-version":[{"id":3927,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/posts\/3911\/revisions\/3927"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media\/3916"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/media?parent=3911"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/categories?post=3911"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/pianomorphosis\/wp-json\/wp\/v2\/tags?post=3911"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}