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Interpolation (music) : ウィキペディア英語版
Interpolation (music)

Interpolation (also known as replayed), especially 20th-century music and later, is an abrupt change of musical elements, with (almost immediate) resumption of the main theme or idea.〔Wittlich, Gary E. (ed.) (1975). ''Aspects of Twentieth-century Music'', p.48 n.12 and p.49. Englewood Cliffs, N.J.: Prentice-Hall. ISBN 0-13-049346-5.〕 Pieces that are cited as featuring interpolation, among other techniques, are ''Music for Brass Quintet'' by Gunther Schuller and ''Threnody to the Victims of Hiroshima'' by Krzysztof Penderecki, both 1960–61.〔
==In classical music==

For music of the Classical period, ''interpolation'' is defined in the context of a musical sentence or period as "unrelated material inserted between two logically succeeding functions".〔William E. Caplin, ''Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven'', p. 255. ISBN 0-19-514399-X.〕
This device is commonly used to extend what would normally be a regular phrase into an irregular and extended phrase. Such expansion by interpolation is achieved by the addition of extra music in the middle of a phrase (commonly through the use of sequence). A clear example exists in the second movement of Mozart's Piano Sonata No. 10, K.330.
Formerly, in the sung portions of the Mass, such as the introit or kyrie, it was permissible, especially during the medieval period, to amplify a liturgical formula by interpolating a ''farse'' (from Medieval Latin ''farsa'', forcemeat),〔(Farse: Definition with Farse Pictures and Photos. ) Lexicus – Word Definitions for Puzzlers and Word Lovers.〕 also called ''trope''.〔(''Catholic Encyclopedia: Trope''. ) New Advent.〕 This might consist of an explanatory phrase or verse, usually in the form of an addition or paraphrase, often in the vernacular.
In the classical suite, consisting strictly of the allemande, courante, saraband and gigue, composers often interpolated a gavotte, bourrée, minuet, musette or passepied.

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