| Citation |
PG-P.729.015
13 Mar 1729:11,12,21 (12)
[In further discussion of the word "Accent":] The use of
these tonic or grammatical accents has been much
controverted; some holding that they distinguish the sense,
while others maintain that they are only intended to
regulate the musick or singing; alledging, that the Jews
sing rather than read the scriptures in their synagogues.
The truth seems here to be between the two opinions; for
tho' we are inclined to think, that the primary intention of
these accents was to direct the singing; yet the singing
seems to have been regulated according to the sense; so that
the accents seem not only to guide the singing, but also to
point out the distinctions. . . [1 1/2 columns on other
definitions.]
Accent, in musick, is a modulation of the voice, to
express a passion.
Every bar or measure is divided into accented and
unaccented parts.
The accented parts are the principal; being those
intended chiefly to move and affect: 'Tis on these the
spirit of the musick depends.
The beginning and middle; or the beginning of the first
half of the bass, and the beginning of the latter half
thereof, in common time; and the beginning or first of the
three notes in triple time; are always the accented parts of
the measure.
In common time, the first and third crochet of the bar
are on the accented part of the measure. In triple time,
where the notes always go by three and three, that which is
in the middle of every three, is always unaccented; the
first and last accented. But the accent in the first is so
much stronger, that in many cases the last is accounted as
if it had no accent.
The harmony is always to be full, and void of discords in
the accented parts of the measure.
In the unaccented parts this is not so necessary;
discords here passing without any great offence to the ear.
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