Expressive...cont. from page 31
Baroque phrasing captures the energy of the lifting leg. Counting through a four-quarter note measure, beat 1 is the thetic leg (floor), beat 2 arsic (first step), beat 3 thetic (thetic leg on same step), beat 4 arsic (second step). 5. Baroque phrasing MUST be incorporat-
ed from the first rehearsal of a choral piece. Introducing Baroque phrasing as an “add-on” after everything else is in place is too late for developing the understanding required for an expressive performance. 6.When the first part of a phrase is execut-
ed according to the principles of Baroque phrasing, the second part of the phrase will “take care of itself.”
7. Noble first experienced the principles of
Baroque phrasing with Robert Shaw, who referred to the springboard as a point of departure and the note(s) following as the point of arrival.
Bibliography Bruner, Jerome. The Process of Education.
New York: Vintage Books, 1963. Noble, Weston. Creating the Special World:
A Collection of Lectures. Chicago: GIA Publications, 2005. Thurmond, James. Note Grouping: A
Method for Achieving Expression and Style in Musical
Pennsylvania: JMT Publications, 1982. Performance. Camp Hill,
Noble, p. 84
About the Author: Dr. Richard A. Disharoon is a past president of MCEA, MMEA, and of the Eastern Division of MENC (now NAfME). He serves as
MMEA’s Baltimore Symphony Orchestra Liaison. He is retired from the positions of choral director, Pikesville High School; adjunct pro- fessor of Choral Music Education at Loyola College of Maryland and the Peabody Conservatory of Music; and Director of Choral Activities at Essex Community College. Comments are welcome and may be directed to Dick Disharoon at
RADonette@verizon.net.
Summer 2012 35 Maryland Music Educator 39
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