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缓急法（Agogic.）是音乐表现力的方式，特别是重音法和重音。它着重于持续时间的变化，而不是力度水平的方式。在许多奥尔加农资源中都提到了乐句呼吸停顿(suspiratio)，在16世纪，停顿(suspirium)被认为具有情感价值。卡尔维西乌斯（Calvisius）建议延迟或加速与和声和唱词有关的节拍(1602)。在此期间，基本速度的改变似乎变得越来越普遍；弗里斯巴尔迪（Frescobaldi'）在他的第一本关于托卡塔的书的序言中清楚地描述了它们，蒙特威尔第也提到了它们。
最早的证据之一是Cerone提到在歌唱中推迟和紧缩的做法，即“拿走一个音符的一部分时值给另一个音符”(El melopeo y maestro: tractado de música theorica y pratica, 1613, bk 8, chap. 1)Cerone把缓急法归入“着重音”（accent）一类，并补充说它应该少用，而且几乎不能被察觉。故意放弃音符时值的机械规律性(不同于节拍的实际扭曲)，在德国巴洛克时期似乎没有但在意大利常见。阿格里科拉、马尔珀格、希勒和蒂尔克（Agricola, Marpurg, Hiller and Türk） 显然比塞龙、托西（Cerone, Tosi ）和其他意大利作家更不熟悉节奏伸缩。托西用“自由速度”（“rubato”）来表示在相关的基本节拍上一个八分音符的切分位移。在整个18世纪，缓急法音乐采取了切分音的形式:伴奏保持节拍，而旋律部分使用犹豫法，这有时会大大改变节奏。C.P.E.巴赫写道，“当‘一个人独自改变了自己的部分，偏离了节拍的组织，而节拍的主要运动必须被精确地观察到’时，最好的节拍偏离往往是用心地[有意地]产生的”(1753，第一章，第一点)。3，8)。
浪漫主义的“自由速度”主要与肖邦联系在一起，尽管钢琴家弗里德里克·施特莱彻(Friedericke Streicher)作证说，“他坚持保持最严格的节奏，讨厌所有的拉长和扭曲，运用不当的“自由速度”和夸张的曲式都一样” (Chopin, Briefe und Dokumente, ed. W. Reich, 4/1985, p.215). 。当时的作家警告人们不要混淆力度渐弱和伸缩渐慢（dynamic diminuendo and agogic ritardando），19世纪后期的理论家试图更精确地定义术语。在他的评论和版本中，黎曼用^这个符号来表示轻微的拉长，或者“ ‘agogic accent”,例如在高潮时刻。他引入斜线作为音乐的符号，提醒演奏者，用于构建音乐感觉和逻辑的微小停顿或停顿“不能从停顿前的最后一个音符中减去，而是必须延长整体的持续时间”(卡尔·格伦斯基，Musikshestik，4/1923，第83页)。黎曼认为，强劲的节拍应该保持可感知的表现，但强调它们的最佳方法是“不是力度的而是缓急法”(Musikalisches Wochenblatt，1894，第637页)。某些句法功能，如音乐高潮、过渡、次要主题、再现和结束部分，只有通过足够的缓急法才能变得明显，无论在物理意义上多么微小。
在20世纪的作曲家中，巴托克特别自由地使用了缓急法；在演奏他的钢琴曲‘Abend auf dem Lande’ 时，他将一些八分音符缩短或加快了一半以上，同时保持了一个恒定的内部脉动。缓急法也是爵士乐表演的一个特点；霍基·卡迈尔克和狄娜·肖尔在有规律的不间断伴奏下演奏的rubato旋律效果特别好。巴赫和亚那切克在键盘音乐和室内乐中发展和区别的缓急法理论是乌德和维兰德（Uhde and Wieland）的理论。
Agogic.
A qualification of Expression and particularly of Accentuation and Accent. The qualification is concerned with variations of duration rather than of dynamic level.
A pause of breath of phrasing (suspiratio) is mentioned in a number of organum sources, and in the 16th century the pause (suspirium) was recognized as having affective value. Calvisius recommended delaying or accelerating the beat in connection with the harmony and the sung text (1602). Modifications of the basic tempo seem to have become increasingly common during this period; they are clearly described in Frescobaldi's preface to his first book of toccatas, and are also mentioned by Monteverdi.
One of the earliest pieces of evidence for the deliberate use of agogic is Cerone's mention of the practice of hesitation and holding back in singing in such a way that ‘part of a note is taken away and given to another’ (El melopeo y maestro: tractado de música theorica y pratica, 1613, bk 8, chap. 1). Cerone included agogic in the category of ‘accents’, adding that it should be used sparingly and be barely perceptible. The deliberate abandonment of mechanical regularity in note values (as distinct from actual distortion of the metre) seems to have been less common during the Baroque era in Germany than in Italy. Agricola, Marpurg, Hiller and Türk were clearly less familiar with tempo rubato than Cerone, Tosi and other Italian writers. Tosi used ‘rubato’ in the sense of the syncopated displacement of a quaver in relation to the basic beat. Throughout the 18th century agogic took a syncopated form: the accompaniment kept time while the melodic part employed hesitations which sometimes modified the rhythm considerably. C.P.E. Bach wrote that ‘the finest lapses from metre can often be industriously [that is intentionally] produced’ when ‘one makes an alteration in one's own part alone, running against the organization of the metre, while the main movement of the metre must be observed precisely’ (1753, pt i, chap. 3, §8).
Romantic rubato is particularly associated with Chopin, notwithstanding the testimony of the pianist Friedericke Streicher that ‘he insisted on keeping to the strictest rhythm and hated all lengthening and distortion, ill-applied rubato and exaggerated ritardando alike’ (Chopin, Briefe und Dokumente, ed. W. Reich, 4/1985, p.215). Writers of the time warned against the confusion of dynamic diminuendo and agogic ritardando, and theorists in the late 19th century attempted to define terms more precisely. In his commentaries and editions Riemann used the sign ^ to denote a mild lengthening, or ‘agogic accent’, for instance at moments of culmination. He introduced an oblique stroke as a musical punctuation mark, reminding the performer that the tiny pauses or caesuras serving the construction of musical sense and logic ‘must not be subtracted from the last note before the caesura, but must lengthen the duration of the whole’ (Karl Grunsky, Musikästhetik, 4/1923, p.83). Riemann believed that strong metres should remain perceptible in performance, but that the best method of emphasizing them was ‘not dynamic but agogic’ (Musikalisches Wochenblatt, 1894, p.637). Certain syntactic functions such as musical climaxes, transitions, secondary themes, reminiscences and conclusions become evident only through sufficient agogic, however minimal it may be in physical terms.
Among 20th-century composers, Bartók made especially free use of agogic; in performing his piano piece ‘Abend auf dem Lande’ he abbreviated or hastened some of the quavers by more than half their notated value, while maintaining a constant inner pulse. Agogic is also a feature of jazz performance; rubato melodies performed above a regular unbroken accompaniment were used to particularly good effect by Hoagy Carmichael and Dinah Shore. A developed and differentiated theory of agogic in keyboard and chamber music between Bach and Janáček is that of Uhde and Wieland.
BIBLIOGRAPHY
P. Cerone: El melopeo y maestro (Naples, 1613/R)
C.P.E. Bach: Versuch über die wahre Art das Clavier zu spielen, i (Berlin, 1753/R, 3/1787/R), ii (1762/R, 2/1797/R); Eng. trans. of pts i–ii (New York, 1949, 2/1951)
H. Riemann: Musikalische Dynamik und Agogik: Lehrbuch der musikalischen Phrasierung (Hamburg, 1884)
H. Riemann: ‘Zur Klärung der Phrasirungsfrage’, Musikalisches Wochenblatt, xxv (1894), 637
K. Grunsky: Musikästhetik (Leipzig, 1907, 4/1923)
W. Reich, ed.: Frédéric Chopin: Briefe und Dokumente (Zürich, 1959, 4/1985)
T. Kreutzer: ‘Chopin ni okeru agogik, tempo rubato, oyobi pedaling ni tsuite’ [Agogics, tempo rubato and pedalling in the music of Chopin], Memoirs of Kunitachi Music College, iv (1968), 11–30 [in Jap. with Eng. summary]
D. Holý: ‘Medicion del ritmo, la agogica y el tempo en la musica popular’, AnM, xxxix–xl (1984–5), 161–72
G. Lechleitner: ‘Agogik: Aufführungspraxis im Spiegel der Zeit’, SMw, xxxvi (1985), 309–18
P. Nørgård: ‘Flerdimensional agogik’ [Multidimensional agogics], DMt, lxi/1 (1986–7), 19–25 [facs]
J. Uhde and R. Wieland: Denken und Spielen: Studien zu einer Theorie der musikalischen Darstellung (Kassel, 1988)
G. Lechleitner: ‘Agogik in der Interpretation solistischer Klaviermusik: über eine neue Methodik in der Interpretationsforschung’, Mitteilungen der Österreichischen Gesellschaft für Musikwissenschaft, no.20 (1989), 31–6
H. Danuser: ‘Agogik als Mittel musiksprachlicher Darstellung: über ein Kapitel aus Carl Czernys Vortragslehre’, In rebus musicis: Richard Jakoby zum 60. Geburtstag, ed. R. Stephan (Mainz, 1990), 28–38
MATTHIAS THIEMEL
