phrasing

One prominent view of phrasing developed in the rat and pigeon learning and memory literature is that phrasing cues facilitate learning by acting as discriminative cues to facilitate anticipating specific stimuli, responses, or sequences of stimuli or responses (Capaldi, Verry, Nawrocki, & Miller, 1984; Terrace, 1987).

Professional interviewers know that a question's phrasing can significantly influence the response.

Here we see a significant difference in phrasing in the last item, which speaks of going at the end of one's life to (rebirth in) a lotus flower in the Pure Land.

the stressed notes of each figure, namely the first, third, fifth and seventh...." seem to suggest a "gestural" way of playing that is quite different from the normal 19th-century approach to phrasing. The typical 19th-century melody consists of a long, legato line, generally indicated either with a crescendo to the middle of the phrase followed by a diminuendo to the end (Example 14), or with a steady crescendo to the end of the phrase (Example 15).

Joseph Carman talked with Houlihan about phrasing, placement, and patience.

The pieces in the collection may be grouped into three categories: those with simple melodies, those emphasizing certain technical elements and those combining intricate phrasing with complex rhythm.

Individual phrasing and the cumulative meaning of phrases are both surprising, and almost seamless.

Student C did not observe the differences in timing and dynamics in her initial listening to the performance; she was able to hear and describe specific details of the three pianists' phrasing. She found the performance graphs very helpful, especially with the red bar lines added.

Kahn's Simultaneous Reverberations (1995) resonates with weight shifts and suspend-and-release phrasing. An upstage couple quietly rest, lean, and support each other, all behind an ever-changing soloist.

It has a lively first theme, punctuated by staccato and short, legato phrasing. The lyrical second theme, interestingly, remains in the tonic key, making the exposition almost identical to the recapitulation--much easier to learn, but a less useful model for future sonatina study.

This translation's most serious defect arises from the decision, apparently deliberate, to depart from the basic style of Gongyang by varying language and phrasing where the original uses exactly the same words.