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ACCELAccelerando (Music, Gradually Increasing in Speed)
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References in periodicals archive ?
and the last framed narrative, Strand works out an accelerando of
Such qualities as tension and relaxation, crescendo and diminuendo, accelerando and ritardando may be applied to emotions and interactions as well as to music.
The entire final chapter, which summarizes Ives' use of avant-garde techniques such as cluster glissandos, nonsynchronized accelerando, and polythematic hemiola, is sufficiently technical as to leave even a few music scholars in left field.
In measure 9 the voice is almost expressionless; it articulates its words with near-monotone simplicity and only rising major thirds to emphasize key symbols: "Sorge," "Hof," and "Haus." The words suggest "you never had" ("hattest nie") worries of house and home, but the musical articulation deemphasizes the word "nie." Marked col legno geschlagen with fortissimo sforzando, the violas agitate the sonic environment with the loudest descending gesture and dialectically reshape the symbolic articulation of "Hof und Haus." Pushing the momentum forward and whipping their strings with slaps from their bows (marked accelerando to rasch!
There are also bridges in the music where Wagner has an accelerando over a few bars to a new tempo.
accelerando et rinforzando a la fois, jusqu'a une sorte de roulement
Haste made slowly, pleasures of vigilance As accelerando rhythms in a squeeze-box Now gather towards the zenith of the dance.
"Her hair is almost as beautiful as Paderewski's," the Deutsches Volksblatt sarcastically remarked, adding, "the position of her fingers on the keys reminded one of spiders." Her fingers: though Puchel's technical exercises ensured that all fingers developed equally, the teacher had not, to this point, chosen to emphasize her sixth finger in performance, though it could be heard, or perhaps more accurately, felt, in the cascades of her arpeggios and brass-tinged double notes, the dizzying helium lift of her accelerando. But at some point during the spring or summer of 1899 Herr Puchel sat Anna before the Fantasy.
In particular, we should not use inflections to suggest implicative processes; for example, an expressive crescendo or accelerando might suggest a structural upbeat.
Whether to take an accelerando before the coda was clearly secondary.