The emotional life is an undulating play of up-surging and
subsidence, of pressing forward beyond temporal limitations and of
resigned yielding to temporal necessities. The crescendo and decrescendo
are the means employed in music for the portrayal of this manifestation
of emotional life."
Another important matter which may to a great extent be reduced to rule
is that of accentuation. Through it a tone-picture is invested with
animation, and a clue is given to the disposition of tonal forms.
Accents are always required to mark the entrance of a theme, a phrase or
a melody. Where there are several voices, or parts, as in a fugue, each
voice denotes its appearance with an accent. Every daring assertion
hazarded in music, as in speech, demands special emphasis. Dissonances
need to be brought out in such prominence that they may not appear to be
accidental misconceptions, and that confident expectation may be aroused
of their ultimate resolution. Accentuation must be regulated by the
claims of musical delivery.
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