46 Academy of Ancient Music (ii) Locke and Purcell through the high Baroque to Mozart and Beethoven. Among an imprenive lis of recordings, the complete symphonies of Mozart nd Becthoven have been haled as revelatory. Academy of Music. New York theatre opened in 1854. See New vowk, $4 Academy of St Martin-in-the-Fields, London orchestra founded in 1959 by Neville Marriner. See LoxpoN, $I, Academy of Vocal Music. London society, founded in 1726. It was later renamed the Academy of Ancient Music. See Lonnon, 6.2 Acaen. See CA#N, ARNOLD, A cappella alla cappella} (Ie: tin the style of che church [chapel!). Normally, choral music sung withour instru- rental accompaniment. Originally (c1600) the term was, used 10 distingnish works composed in the older poly tphonie style of the Renaieeance from chose written in the rnewer concertaro style of the early Baroque, During the 419th centucy the Roman Cathalie Charch idealized 16th century polyploay and the works of Palestrina in particular. Noring chat no instrumental parts were included inthe sources containing this music, and unaware thar instruments were often used daring the Renaissance tn double or substitute for vocal pacts, musicians cameto bebeve that a cappella ceferred to unaccompanied choral singing (see CHORUS (i), 4). Since that time, the term has become synonymous with ‘unaccompanied singing’, both religious and secular. The spelling capella is occasionally found; Giovanni Gabricli marked sections for chorus alone ‘capella’, and Jy. Fox (Gradus ad Parnassient, 1725) refected to “Stilas 3 Capel’ Soule A capriccio, See CAPRICCIO, ‘Accademia (It). See ACADEMY. Accademia dell Arcadia. See ARCADIAN ACADEMY. Accademico Bizzarco Capricciowe {fl 1620-23). Iralian composer. He was a member of the Accademia det Capricciosi, from where he assumed his name. He as a pupil of Massimiliano Treduii, maestro di musica Fano Cathedral, He dedicated his op.1 to Predurii and inchided a short instramental piece by Fredutié in his ‘op2; each volume also includes one piece by Girolamo Avanzolini, Bizzarre’s secular works, which are chielly for two voices and contiauo, are lively settings of ligh hearted texts; some include short balletos for two violins and continuo. . “Teas con mcr 2-Ave blo pinoy op. (Veni, 1620) seconds ive de raul ein concerany 2 Aen, boop Wenicn, Mot i, o9-3 Venice, 1623 concer Se belie Accademico Formato. See CASTRO, FRANCISCO JOSE De Accardo, Salvatore \6 Turin, 26 Sept 1941). Italian vioknist and conduciox. He studied the violin with Luigi Ambrosio at the Naples Conservetory, took the diploma 1 1956 and a postgraduate course with Yvonne Astra at the Accademia Musicale Chigiana, Siena. He won the lnwernational competitions at Vercelli (1955) and Geneva (1956), ane in 1958 both the RAI Spring Trophy and the Premio’ Paganini internationa) violin” competition at Genoa. He toured throughout Earope and North and Soath America and soon became one of the best-known and most admired Iealian violinists of his generation. An instinctive player with an easy, agile and brilliant echinique, he fe an alleround musician with a repertory ang. from Vivaldi and Bach to contemporary compos brs, many of whem have written warks forhins, including Franco Donatoni (Argot for sola violin, 1979) and Xenakis (Dibhtas, 1980). He is considered a fine inter preter of Paganini (whose 24 capriccios and sixcencertes| he has cecorded), Accardo has developed an interest in chamber music and is one of the organizers of the ensemble music week held ar Naples each year; in 1968 he founded the Italian Chamber Orchestra in Turin, which he also conducted, and from 1972 to 1977 he led the ensemble T Musici.’ He taught at the Accademia Musicale Chigiana, Siena, from 1973 to 1980, and in 1994 was appointed chici conductor of the Teatro$ Carlo brchestra in Naples. He owns several Stradivari including the ‘Hart’ (1727), bought from Zino Francescatt, the ‘ex Reiffenheng’ (1717) and she Firebird’ (1718), anda 1733 Guameri del Gesi, tuwuiogxanar |. reihwos: Discopseia ofthe Vion Toren, 1974, 21994) E-chadichs Fm Fagan o Pete Thy Sad, oh 1295 Accelerandbo (it. hastening’, ‘quickening’; gerund of acce- lerare). A direction to inezease the speed of a musical performance, often over a fairly long passage. Irisusally shbrevisted to aevel. and am practice mich rarer than its contrary, rallentanda. Koch (Musikatisehes Lexikon, 1802), wanslacing irc eslend, deew attention to rermshe considered more common st the time, tempo crescondo and poco a poco il tempo va crescendo, but these 5090 fell into disuse. Forbes soe TE00 AND EXPRESSION MARS, a Accelli, Cesare. See ACELLI, CESARE, Accent. The prominence ven (© @ now oF notes in performance by a petcepible altcration casually increase) in volume (dynamic accent} a lengthening of duration or a bref preceding. sence of articulation Cazosic fccent’} an added ormament o¢ pitch infection of 3 snelodie note (‘pitch accent) by any combination of se. The term isalio used foray ofthe notational sens “sed to indicate thy such prominence is reqaied. On jastruments capable ‘of immediate dynamic nuance, including thevoice and mos stings, sind snd peeesien. fh instencef vohime i usually the chief slement inthis prominence, commonly atthe at (with amore asertve ec) ltematively just aftr the stare (witha meee insinuating flea, for which one specie tem is Sronzas00), Onintruments not capable of mach any dynamic nuance, such asthe harpsichord and the ongen, prominence of this type con be given, and an cect of Gynamie secenracion simlated, by agosic accents It principle, any quslity tha distinguishes notes rom teit |—— predecessore and svecessors can produce a ‘subjective’ or ‘pereeptible’ accent 1. Hliory 2, Theory. 3. Notte. 1. History, Accent derives ultimately fcom singing and dancing: metrical accentcan beassociaved with danceand motivie ascent with speech rhythms. Indeed ancient Greck bed a system of signs denoting aecentuation, introduced by Aristophanes of Byzaetiam, though these probably’ originally denoted variations ofpitch ratherthan dynamic Stress, Wolf (1918-19) sought the origins of modern periodic metic accentaation in medieval dance; aod Uisplacements of mietrie accentuacion, {interpolation of ests, cam be found in the 13th and 14ch- century hocket. ‘The rules of counterpoint also played a part: perfect cconsonances fell on steong, beats in medieval polyphony {ovith imperfect consonances, but not dissonances, also permitted ro do so in Netherlandish Renaissance polrph- Say, However, she treaiment of dssonancein Palestrina’s Cine is olvo eegulated in terms of accent: passing. and. incidental dissonancer fall regularly on weak beats, \shereis syncopated distonances fall equally regularly on sirong, beats; this style displays a certain restraint in ies employment of accent By thecarly 17th century, secular vocal and insermen- tal polyphony was employing 2 regular alternation of strong: and weak beats, although free shythm was still prevalent in solo song and chant; even in Bach's fugues the rhythm remains free from any slavery to the bar-line. ‘And over a long petiod the stile recitativo retained the ideal af a rejection of metrical and periodic structure. Zarlina in the 16th century had opposed violations of verbal accentuation in musical settings 2s barbarism (Le Etitutions arnaoncicley ble [p.439); bur it has been argued {(Geougiades, 1954) thatthe turning-point in che associa tion between musical accent and semantics come with the ‘work of Sent in the 17¢h e2ncury,on accounc of the feet that the German language, unlike Greek or Latin oc the inodern Romance languages, mastly retains verbal stress tunchanged on word stems (compare the stable stresses in German *Verehrung’,‘verchre’,‘verchrte’ with chechang- ing stresses in Latin ‘adoro’, “adoratio', “adorationis’), This, itis further argued, permitted the cevelopment of the pre-Classical and Classical styles (Egeebrecht, 1991, pp-499, S02), in which pivoral melody notes fallon strong, beats within 8 primarily regular periodic structure. ‘Unil the 18th century, the term accents signified an ornanteat; Gottsched was resporsible for transferring this coucept to dynamic accents, The osiginal sense ie etl primary in Walther’s Musicalisches Lexikon of 1732, but he adds: ‘Aeceno also denoces the emphatic sound and tone of a word’. In English sources, however, ‘accent denoted emphasis and expression at an early date (see Strahle, 1995), Tn the Classical style, accent is grounded in harmony, melody and rhythm, none of which enjoys 1 monopoly, and metrical and periodic structure are often at odds. Fighthar structure may be the norm, but numerous other periodic structures are found, and extreme displace: snnts of aecent are tolerated, Mendel's Lexikor (article ‘Accentuation’ by W. Tapert) offers a rationale for the undermining of periodic structure, in terms of the affections produced: "Voices. from’ the grave, bracles announcing implacable Fate, shadows from the tinderworid, the iatmest resignation, lethargy, anguished sulting, from the Accent, §2: Theory 47 despair, silent madness... all thes Th the 19th century, Schumann was ene of those most actively inlined to disturb the tyranny of the bar-line’ by Gisplaced accents and setur to the supposed origins of music in thee spesch, ... 4 higher’ poetic form of punctuation, as in the Greek choruses, the language of the Bible or the prose of Jean Paul’ (Schumann, i, 1854, 74), Although Merit. Hauptmann, opposing Schumann, ‘Wagner and Liszt, sw a moral principle at stake in his amtempts to defend classical measure, no aboliion of metre was envisaged by |9th-century composess such as Berlicz, Tehaikovsky or Richard Stauss, o- even Wagner, who advocated a sparing use of beavy accentuation 1, favour of the ‘most diverse and finest transitions of expressiveness’ (1872, iv, 177). The consequences of Wagner's application of ‘musical prose’ extend well into the 20th century, with the music of Berg and Ligeti Other types of rejection of periodic structure are found in Russian (e4g. Muromky) and French muse (eg. Debussy, who specified a greater range of differentaccents than can be found ia any of his contemporaries). Accent is erucial in Webern's music oe: ‘every rhythm achieves unprecedented relevance, and must be apprehended as if theentire worlddepended on thesmallescaccent (Adorno, 1977, xv, 302) In Stravinsky, on the other hand, has been argued that therejection of Wagnerian ideals resulted inanabsence of accent and hence astatic rhythm (Benary, 1967, p.97).In the serial music of the 1950s accentuation ie isolated from the other parameters of musical Organization thar wer formerly interdependent with it Subjected to serial organization and in the process eguably ceduced to merely mechanical significance; in 2Oth-centary popular music, 100, it has been argued that the unremitting reinforcement of crude metrical accent is merely an “outward sign of the degree of inner mecheni zation in musical life" (Unde, 1988, p.140), lispense with melodie 2.Tueony. ‘Theoretical writers over the past 200 years have nor found thythm and mewe cacy subjecte, and iti possible that they havc been documenting. a history of Xesline; Kimberyer already complains ofa loss of masical Sensibility in the conflation of 18/16 time with 9/8, even thoughearliercomposershaddrawn a distinction between the two in terms of chythmic and accentual projection (1776-9, pt, p.129}. n particular, an adequatemodera, view needs to be histocicaly informed, cather than purely systematic ia the manner of Riemann. ‘Among the ancient Greeks, Plato’s theory of rhythm was ethical in essence; Aristoxenus was concerned with physical measurements and arithmetic as a formative Principle for ehythm, bur distinguished these from rhythm fs formed. The Grock principle of rhythmos is close t the nuemerus olimedievaltheory, which does notessentially take account of verbal stress accent and therefore had difficulty accommodaring languages which (unlike ancient Greek and Latin) rely on stess rather than syllable length From the 17th century, strong and weak accents replaced long and shozt durationsas the basis for shythmic theory, although mersural notation and its tendency to ccantradict metre continued to influence practice into that Century; metre became a central catexory forthe fist time in Kircher (1650, i, p.217|. The question of the relation ship berween accent and metie was raised around the Imidldle of the 18th century, but bas arguably never been Suisfactorily answered, since accent is «0 variable in48 Accent, §. character and so dependent on context; Stecle wrote ia 179: The atesions of Feary and lige were alays Fe i musi chou Cioucinsly walled by wom maderne accowted snd wmavcested: Wester she accented ot eaey note nas ever uneesiot to he econ ou. aed theater vce sof Theory 18th- and {9ih, sf (or muarcato, In Baroque music, accents are not generally Specified directly, except in the useof Staccaro dots and ashes. But itis not always easy to distinguish berween a staccato dot or dash and an accent. The use of a dot for fn accent is still normal in Mozart and Chopin, but became less common during the 19th century as finer distinctions were drawn berween dots, wedges, orizoncal strokes and so on, A small ‘hairpin’ wedge for au accent was in use by the early 19th century as an alternative to UP or fas and treatises on performance and instrumental tutors of around 1800 agree tha this sign, and”, denote aless sharp accent than sf (Beethoven, howeres, specified thae Act? scene 2 of Fidelio was tobe pled ver softly, fad the sf and f must aot be t00 srongly expresed) ‘Schubert used a variety of accentual markings such as >, fps fb. bs. fp and fshough on notatcnal erounis Monet soften almost imposible to distingsh between accents and diminuendos ta. hie music on ia that of SSmpesers such a Beli and Chopn Bp th late 19th contury (or example inthe musi of Debussy) an elaborate heesechy of signe denoting varios {ypes of accen had coms ito use. The horizontal tole, Somerimes accompanied by a dee, wan Inter termed wweghe marks fora xe or chord ier to empress ise upon the hearers artention by apiano or plans, tnstead of bya forte or fortissmo’ (Macpherson, 2/1932, 0), Riemann inveated the concept and term “agopic Recent, described in his Musskatsche Dyrtrsk wd ‘aoei® (1884) a 0 means of securing accent 19 phrasing, ‘vherea dynamic accents onto! place [ee ARTICULATION {ND FRasno}: he used. special sallow circumflex ign fo incieate the agogic accent im his phrasing edions Schoenberg adopted themarks ‘and™ (taken from metrics) co indicate rhythmically stressed and unstressed noes reepectvely Th 20th century masic atemprs have brew made so cal different accents precisely interme oftheir weigh Er Stack (lend, 164); fora wae detincion of diferent types of sect ia general non hitcoricl) erm, se Blom (Groves for oiher French and Geran uses of eter, Sec ORNAMENTS wistuocRareY Groves (TiuesE, Blom), esp. 473 WaltberML G Zavine: be saitationt barmonchej Vere, S88, 319730%) A Rncher: Mesargrsveraats (Rome, VSO [pb Rumer te Kena ce rome Satzes in der Msi i (Belin land Ronit, 1776-912, 21093) 4 Stele Prova atonal ord sony tncard Bsaicbng the ‘Aolody nd Nears of Spec WLendon, 1779) ENV. Wall, Musibledher Ustericht Dresden, 1788) HC. Koch: MucikaldhesLexibor, welevesdic teoretiche wed Dpraltsche Tondo encylopaise barber Otferbach,1802) Jd de Momspay: Cours compl ahermone et de compotion, japresune thoorenonvectgemirate ce le musi (Pai, 1808) 1M Hoapentant: Dre Raver der Harmon ad Metre oer Theor er Nk (Lae 1859,201873, Eg, eon 788508) 1. Schumanss Comat Schrift sr Noe mpd Masiker. (enna, IRSUR, oe S/I9TAIRby M Keene Fae. ans 1877-40) HL Mendel Marklissher Converatums-Lexdkon(Beein, 1870-7, “31880-83) Mi Lossy. That de Vespreseion musa (Pais, 1874, L204; ‘rans 1805) Miche Mensch, Allumensctliches i Chemis, 187%, fnany line ed, Erg, wa 1996) UH: Riemann Micighscby Dysart und Agog Lebnbuch dr ‘rustalcshen Phrase ambare 188) Wanner. Dichtburst und Tonkonat ex Deama des Zukunfe Gesamte Sbrifo und Dichtungen i (Liga, 1672) 12S-2t esp. 176-8 ELM. won Horostel"Die Probleme der velechenden DBluskwisemetafe, IMG, if(1905-6, 85-27 S. Magpherson Suni Prasing aud Forme London, 19 2932) J. Wok Die Tana dae Milan: sine Untersuchung des Wesens Seralectentnramentalnsi AM, i 1518-18142 A. Schnite Mibaliscer Asanti anike Meri Minster, 1953 as75) “T Geonaudes: Masikuen Sprache: dar Werden der bende Med dargestel ax der Vertonong der Messe Bale, 1935, LAGTEIR ng ean 1982)— 1H. Seler Phrsienang wad Artdation-e Beta “prahcbre der Masih (Keel, 15S; ng. rare 1h om: Orchortral accent (New York, 1956) “s) Donington: The Imerpreanon of Earty Muse (London. 1963, ane). Reads -Accets and Slur, Music Notation Boston, MA, 1964, 1/1969), 260-75 Benny: yma aed Moi (Colo, 1957) G.tteaneberg: Theorem cr Rtn inl Meri cder Naik der ner Kus Toteag, 19741 ‘Ww, Seael Ober Rhgthmntbacrica de Ne A Tialemann ss Theaor W. Adoror GrsanmeleSchife,ee Wesskiur, 1975) de: "Akent, Necdrek und lone, Moses, wx (1980), 5607 Cool: onal Fanctomand Meeacal Acent:a Historeal Ferspeivey esc Theory spctram, (1983) 14 Min easier “accent Mott aad Rls in Medieval Treathes “De Ties) 987), 164-90 le Naas Muze 1600-1800: Porfomianc,Poception and Notation (Bloomington IN, 1987) J Une Denke und Spiele: diem zu ciner Tore der kaiser Darter (Kassel, 1988) HLL Tgstnect: Mac im Aenilond:Procasseund Suationem vont Malate bs oer Gegemot (Munich, 1981) ‘Wore Johann David Hemet und ie mustache Zeit ie ‘esinaeineimce ond der Beye des AkaentaKe Milheoriend3 (1992), 198-218 Lis Taplawint Spon! Eridcet”:peosodacher ed musiealeche Sibson? De dite mass FoeihftGarberd Crile Grotger 9d 8 Lindaye (Taber, 1992), 177-202 6 Serbs in Early Mecie Dieionary: Maciel Terms rom British Soares, 1509-1749 (Canvigge, 1995) IM. Thiemel: Tonale Dyramas Tori, music Praxis und onmaplehre seat 100 ns 1996) it Rerve and Masih Acoemo (I. Anoraamentdefincdby Zseconi andBovicelli asa dotced Gigure filling nor expanding a writien interval See ORNAMENTS, 5554 and 8. Aveeniuation. The use of Accent in musical performance, zeal or imagined, The term may refer to particular nutes ‘orchords, or more comprehensively ca an entire performn- ance; in the mode Westera tradition, accentuaton, together with phrasing, articulation, dynamics etc. con tributes to ‘expression’, and in vocal settings since the ‘ech ceatury at least this has often been taken to imply a responsibility of conforming expressively to the spoken accentuation of the text. rer the centuries composers and theorists have offered more of less precise guidelines for accentuation. Some 13th-centnry writers (Aronymus 4, Franco of Cologne, Odington and Lamberts) sated thar singers should moderate dissonances ocrurring at points of emphasis or atthe keginaings of compositions. Keyboard composers upto the carly 18th century advecated the use of strong” and ‘weak’ fingers on ‘strong’ and weak” beats In general however, polyphovic music of the Renaissance and Baroque’ periods is characterized by freedom in the accentuation implied by the separate parts: Rousseau observed that “there are as many accents as there are ‘modifications ofthe voice; and there are as many kinds of accent as there aredifferences between such modhtications’ (Dictionnaire de musique, 1768). Geminioni and others ‘opposed the practice of stressing the beginnings of bars However, the French sevle seems to have accepted the practice of onserving the basic metre, which is advocated alko in Leopold Mozart's Violnschule (1756), “if the composer has notadded any other expression’ Accentuation 49 Koch's Musikalisches Lexikon (1802| already explicitly recognizes AGOGIC accentsit states thacanacceat consists tether in an increase of volume of ina ceriain “expressive lingering, so that itseems as ifone were waitinga moment longer than its duration requires’. Beethoven, like A.B. Marx, criticized the smooth playing of contemporary pianists; his fingerings reveal a preference for grouping, articulation and accentaation that militares against the simplicity of the basic metrical pattern. In a sense, this tendency perssted in the New Viennese school’s stress on the primacy of pitch aver metrical organization; Schoen- berg wrote: the mensice, eich should be, after a. servant of mascmking, ths tet itll up a8 the saver ~ 30 ach oe tha a0 cweractemation of the strong bot of the sesso ‘which sande in the way of crery ee Ronin, phenting that Dressing, Ths is precisely the rexson why pants and other inetnimentalis, and even singers snd candactors aswell, have bse their feng fo a caratie performance. Their msi isceuriy reiresthemto shorten the ditnce ors ome Sxl pont to theme Semuch at posible sey ate Hee swimmere who dave sot leave the shore Any tendency to accentuate the final tonic chord in performance, for example, might similarly be thought to betray a misconception of the nature ofharmonic tension and revelation; accentuation is an expression of the perforiner’s understanding of large-seale structurs, it~ formed by the music theory and pesforming practice of ‘the period represented by @ compesition. ‘Weitings on’ accentuation in the broader sense have developed in parallel to writings on musical expression, and are a product of the late 18th and 19th centuries Metrical theory had begun 10 dictate that the bar-line indicated the position of the trongese accent in the baras ‘well asthe division of the ime, and in consequence many 6 the ‘convenience’ and traditional aspects of notation from the period up to about 1850 began toimply incorrect aveentvation, So Lusty (1878), for exampla, raised the necessity for accenting dissonances and chromatically altered notes. Riemann (1824) discussed the need for allying accentustion, and dynamic rise and fall, with phrasing theory (ee ARTICULATION AND PHRASING). Lussy’s book represented an attempt to reproduce dhe practice of an earlier period (including accentuation) in ‘modem terms; the same may well hare been crve of many ‘of the phrasing editions of Riemann and ether editors, For this reason they ate worth scrutiay as a source of information about performing practice in the early 19th century piuiocrarny LL Moraes Vere cn rnin Violin Augebans, 1756 RAI 797IRy Fg tonne, 1988, se A Tvatccon tbe Fundam Principles of Vole Playin. 21951) J+] Rosbseu: Dictomaire ce musgue (Pars, 1768; Eng. eons, 7712077978) HC Kechy MastaschesLeriton (Frankfurt, 1800/1, rey. 39865, byA.ven Donen) nc Luss Trae de expression masealePars, 1874, 8/1903; ‘eans, 1885) 1. Remann: Moikalindhe Dymamst ad Agni Lalebueh der msttalecken Praserg (Harbor 1888) [A Schoonbert: Der asthe Gdanke wad de Logik, Telit tard Kast seiner Darsalng (MS, 1934-6)cedP. Carpenter and [Neff with Fag tran. a6 Te Msical dea anc the Logie, ‘Technique, ard Arto its Fresetaton (New York, 1955) (G Bown Clatsicaland Romanae feormance Price 170-1900 (oxford 1999)