ABSTRACT For understanding eighteenth-century notions of “singing” on an instrument, modern standards of “classical” performance can be a source of confusion rather than clarification. Rather than simply calling for legato or vibrato, such notions tapped into a pool of ideas concerned with essential commonalities between music and language. Song, as understood in the eighteenth century, is the anthropological origin of music and language, a primitive vocal expression of emotion carried into verbal speech through its musical properties (prosody) and understood as working similarly in musical melody. At the same time, a trove of terms used in music theory—such as “rhythm,” “meter,” “accent,” or “phrase”—is concerned not with language (as is often claimed), but with the same intersection of music and speech, a gray area between these realms. It is in this field that the eighteenth-century theory of text setting operates. It can be said that, from an eighteenth-century perspective, every piece of instrumental music is a “Song without Words,” having all the music-prosodic features—accents, lines, phrases, even rhymes—with which the vocal composer would respond to a specific text. Such a perspective can illuminate and perhaps answer some questions that performers (especially historically informed performers) often struggle with and are forced to answer with theories indebted to more recent traditions, such as those associated with Schenker and Riemann.

中文翻译：

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应该强调短语的结尾吗？音乐韵律散文

摘要 为了理解 18 世纪在乐器上“歌唱”的概念，“古典”演奏的现代标准可能会造成混淆而不是澄清。这些概念不是简单地要求连奏或颤音，而是利用了一系列与音乐和语言之间的基本共同点有关的想法。正如在 18 世纪所理解的那样，歌曲是音乐和语言的人类学起源，是一种原始的情感表达，通过其音乐特性（韵律）进入口头语言，并被理解为在音乐旋律中的作用类似。与此同时，音乐理论中使用的大量术语——例如“节奏”、“节拍”、“重音”或“乐句”——与语言无关（正如人们经常声称的那样），而是与相同的交叉点有关音乐和语言之间的灰色地带。18 世纪的文本设置理论正是在这一领域发挥作用。可以说，从18世纪的角度来看，每一首器乐都是一首“无词之歌”，具有声乐作曲家所回应的所有音乐韵律特征——重音、线条、乐句，甚至押韵。到特定的文本。这样的观点可以阐明并或许可以回答表演者（尤其是了解历史的表演者）经常与之抗争并被迫用归功于最近传统的理论来回答的一些问题，例如与 Schenker 和 Riemann 相关的理论。”具有所有音乐韵律特征——口音、线条、短语，甚至押韵——声乐作曲家会对特定文本做出反应。这样的观点可以阐明并或许可以回答表演者（尤其是了解历史的表演者）经常与之抗争并被迫用归功于最近传统的理论来回答的一些问题，例如与 Schenker 和 Riemann 相关的理论。”具有所有音乐韵律特征——口音、线条、短语，甚至押韵——声乐作曲家会对特定文本做出反应。这样的观点可以阐明并或许可以回答表演者（尤其是了解历史的表演者）经常与之抗争并被迫用归功于最近传统的理论来回答的一些问题，例如与 Schenker 和 Riemann 相关的理论。