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Movie Title Year Distributor Notes Rev Formats Reverse Rape 2013 Kira Kira In music theory, a phrase (Greek: f??s?) is a unit of musical meter that has a complete musical sense of its own,[5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.[6] A phrase is a substantial musical thought, which ends with a musical punctuation called a cadence. Phrases are created in music through an interaction of melody, harmony, and rhythm.[7] Terms such as sentence and verse have been adopted into the vocabulary of music from linguistic syntax.[8] Though the analogy between the musical and the linguistic phrase is often made, still the term "is one of the most ambiguous in music....there is no consistency in applying these terms nor can there be...only with melodies of a very simple type, especially those of some dances, can the terms be used with some consistency."[9]
John D. White defines a phrase as, "the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, which is called a cadence."[10] Edward Cone analyses the "typical musical phrase" as consisting of an "initial downbeat, a period of motion, and a point of arrival marked by a cadential downbeat".[11] Charles Burkhart defines a phrase as "Any group of measures (including a group of one, or possibly even a fraction of one) that has some degree of structural completeness. What counts is the sense of completeness we hear in the pitches not the notation on the page. To be complete such a group must have an ending of some kind … . Phrases are delineated by the tonal functions of pitch. They are not created by slur or by legato performance … . A phrase is not pitches only but also has a rhythmic dimension, and further, each phrase in a work contributes to that work's large rhythmic organization."[12]

Contents 1 Duration or form 2 See also 3 Sources 4 Further reading Duration or form In common practice phrases are often four bars or measures long[13] culminating in a more or less definite cadence.[14] A phrase will end with a weaker or stronger cadence, depending on whether it is an antecedent phrase or a consequent phrase, the first or second half of a period. However, the absolute span of the phrase (the term in today's use is coined by the German theorist Hugo Riemann[15]) is as contestable as its pendant in language, where there can be even one-word-phrases (like "Stop!" or "Hi!"). Thus no strict line can be drawn between the terms of the 'phrase', the 'motiv' or even the separate tone (as a one-tone-, one-chord- or one-noise-expression). Thus, in views of the Gestalt theory the term of the phrase is rather enveloping any musical expression which is perceived as a consistent gestalt separate from others, however few or many beats, i. e. distinct musical events like tones, chords or noises, it may contain. Phrase-group of three four bar phrases in Mozart's Piano Sonata in F, K. 332, first movement.[16] About this soundPlay (help·info) A phrase-group is, "a group of three or more phrases linked together without the two-part feeling of a period," or, "a pair of consecutive phrases in which the first is a repetition of the second or in which, for whatever reason, the antecedent-consequent relationship is absent."[17] Phrase rhythm is the rhythmic aspect of phrase construction and the relationships between phrases, and "is not at all a cut-and-dried affair, but the very lifeblood of music and capable of infinite variety. Discovering a work's phrase rhythm is a gateway to its understanding and to effective performance." The term was popularized by William Rothstein's Phrase Rhythm in Tonal Music ([year missing]).[citation needed] Techniques include overlap, lead-in, extension, expansion, reinterpretation and elision. Phrase segments in the opening of Beethoven's Symphony No. 6[18] About this soundPlay (help·info) A phrase member is one of the parts in a phrase separated into two by a pause or long note value, the second of which may repeat, sequence, or contrast with the first.[19] A phrase segment, "is a distinct portion of the phrase, but it is not a phrase either because it is not terminated by a cadence or because it seems too short to be relatively independent A strophe (/'stro?fi?/) is a poetic term originally referring to the first part of the ode in Ancient Greek tragedy, followed by the antistrophe and epode. The term has been extended to also mean a structural division of a poem containing stanzas of varying line length. Strophic poetry is to be contrasted with poems composed line-by-line non-stanzaically, such as Greek epic poems or English blank verse, to which the term stichic applies. In its original Greek setting, "strophe, antistrophe and epode were a kind of stanza framed only for the music," as John Milton wrote in the preface to Samson Agonistes, with the strophe chanted by a Greek chorus as it moved from right to left across the scene. Contents 1 Etymology 2 Poetic structure 3 Origins and development 4 Variant forms 5 Reproductions 6 Contemporary usage 7 See also 8 References 9 Sources Etymology Strophe (from Greek st??f?, "turn, bend, twist") is a concept in versification which properly means a turn, as from one foot to another, or from one side of a chorus to the other. Poetic structure In a more general sense, the strophe is a pair of stanzas of alternating form on which the structure of a given poem is based, with the strophe usually being identical with the stanza in modern poetry and its arrangement and recurrence of rhymes giving it its character. But the Greeks called a combination of verse-periods a system, giving the name "strophe" to such a system only when it was repeated once or more in unmodified form. A simple form of Greek strophe is the Sapphic strophe. Like all Greek verse, it is composed of alternating long and short syllables (symbolized by — for long, u for short and x for either long or short) in this case arranged in the following manner:[1] — u — x — u u — u — — — u — x — u u — u — — — u — x — u u — u — x — u u — — Far more complex forms are found in the odes of Pindar and the choral sections of Greek drama. In choral poetry, it is common to find the strophe followed by a metrically identical antistrophe, which may – in Pindar and other epinician poets – be followed in turn by a metrically dissimilar epode,[2] creating an AAB form. Origins and development It is said that Archilochus first created the strophe by binding together systems of two or three lines. But it was the Greek ode-writers who introduced the practice of strophe-writing on a large scale, and the art was attributed to Stesichorus, although it is likely that earlier poets were acquainted with it. The arrangement of an ode in a splendid and consistent artifice of strophe, antistrophe and epode was carried to its height by Pindar. Variant forms With the development of Greek prosody, various peculiar strophe-forms came into general acceptance, and were made celebrated by the frequency with which leading poets employed them. Among these were the Sapphic, the Elegiac, the Alcaic, and the Asclepiadean strophe, all of them prominent in Greek and Latin verse. The briefest and the most ancient strophe is the dactylic distych, which consists of two verses of the same class of rhythm, the second producing a melodic counterpart to the first. Reproductions The forms in modern English verse which reproduce most exactly the impression aimed at by the ancient odestrophe are the elaborate rhymed stanzas of such poems as Keats' Ode to a Nightingale or Matthew Arnold's The Scholar-Gipsy. A strophic form of poetry called Muwashshah developed in Andalucia as early as the 9th century C.E, which then spread to North Africa and the Middle East. Muwashshah was typically in classical Arabic, with the refrain sometimes in the local dialect. Contemporary usage The term strophe is used in modern and post-modern criticism, to indicate "long non-isomorphic units".[3] The term "stanza [is used] for more regular ones" (ibid). This appropriation of the ancient term is useful, as contemporary poetry is a frequent turns (the original meaning of Strophe), and it avoids relying upon the invention of new terminology such as 'word clumps

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