Agogic |

from the Greek agogn – withdrawal, removal

Small deviations from the tempo (deceleration or acceleration), not indicated in the notes and causing the expressiveness of the muses. execution. The term “Agogyka” was used in other Greek. music theories; in modern musicology was introduced in 1884 by X. Riemann, who was developing a general theory of music. execution. Previously, phenomena related to the region A. were designated as “free Tempo rubato”. Agogics contributes to the selection of the clock and motive articulation of the product, emphasizes the features of its harmonic. structures. Associated with phrasing and articulation, agogic. deviations occur in parallel with the music. dynamics and, as it were, flow from it; in the upbeat, a light crescendo is usually combined with a slight acceleration of the tempo; on sounds falling on a strong time, the tempo, as a rule, slows down slightly, i.e., their duration is stretched (the so-called agogic accent, indicated in musical notation by a sign or above a note), in diminuendo and on weak (female) endings the previous pace is restored.

These small tempo deviations in most cases are mutually compensated, which ensures the integrity, unity of the muses. movement. Such A. is used in small music. constructions. In wider (voluminous) music. constructions (for example, with long sequence-like moves) there is an a. rise, slow down, pause at the introduction of the topic, etc. Although A. arose along with the muses. lawsuit, the scope of application agogich. tempo deviations, previously moderate, greatly increased in the 19th century, in the heyday of the muses. romanticism.

A special type of A. is Tempo rubato.

References: Skrebkov S.S., Some data on the agogics of the author’s performance of Scriabin, in: A.N. Skryabin. On the 25th anniversary of his death, M., 1940.

I. M. Yampolsky