Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division

The art of phrasing (fraseo) has played a pivotal role in the history of tango. It was incorporated in 1917 by Carlos Gardel as a vocal resource and later adapted by Aníbal Troilo to instrumental practice, giving rise to the flourishing of interpretative styles in the 1940s and 1950s. From the 1960s...

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Autor principal: Muller, Gaspar
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2025
Materias:
fraseo, tango, Gardel, Troilo, rubato
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/16895
Aporte de:
El oído pensante de Universidad de Buenos Aires
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institution Universidad de Buenos Aires
institution_str I-28
repository_str R-250
container_title_str El oído pensante
language Español
format Artículo revista
topic fraseo, tango, Gardel, Troilo, rubato
fraseo, tango, Gardel, Troilo, rubato
fraseo, tango, Gardel, Troilo, rubato
spellingShingle fraseo, tango, Gardel, Troilo, rubato
fraseo, tango, Gardel, Troilo, rubato
fraseo, tango, Gardel, Troilo, rubato
Muller, Gaspar
Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division
topic_facet fraseo, tango, Gardel, Troilo, rubato
fraseo, tango, Gardel, Troilo, rubato
fraseo, tango, Gardel, Troilo, rubato
author Muller, Gaspar
author_facet Muller, Gaspar
author_sort Muller, Gaspar
title Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division
title_short Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division
title_full Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division
title_fullStr Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division
title_full_unstemmed Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division
title_sort behind the rhythm: phrasing (fraseo) in tango beyond rhythmic division
description The art of phrasing (fraseo) has played a pivotal role in the history of tango. It was incorporated in 1917 by Carlos Gardel as a vocal resource and later adapted by Aníbal Troilo to instrumental practice, giving rise to the flourishing of interpretative styles in the 1940s and 1950s. From the 1960s onwards, the decline in popularity of tango coincided with the disappearance of Gardelian style of fraseo which, despite the revival of tango since the end of the last century, has not been cultivated again in instrumental performance to date. This article argues that the absence of fraseo in contemporary tango may stem more from a partial or misinterpreted understanding of its essence than from a lack of knowledge of it. The hypothesis presented challenges the idea that fraseo belongs exclusively to the realm of rhythm, understood as division of time, and examines the limitations of its measurement and writing. Instead of as a rhythmic fact, the article proposes to study fraseo as a bifurcation of musical time, which cannot be encoded by our system of notation.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2025
url https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/16895
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last_indexed 2025-12-13T05:01:24Z
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spelling I28-R250-article-168952025-12-10T20:18:39Z Behind the rhythm: Phrasing (fraseo) in tango beyond rhythmic division Detrás del ritmo: El fraseo en el tango más allá de la rítmica Atrás do ritmo: O fraseo no tango para além da rítmica Muller, Gaspar fraseo, tango, Gardel, Troilo, rubato fraseo, tango, Gardel, Troilo, rubato fraseo, tango, Gardel, Troilo, rubato The art of phrasing (fraseo) has played a pivotal role in the history of tango. It was incorporated in 1917 by Carlos Gardel as a vocal resource and later adapted by Aníbal Troilo to instrumental practice, giving rise to the flourishing of interpretative styles in the 1940s and 1950s. From the 1960s onwards, the decline in popularity of tango coincided with the disappearance of Gardelian style of fraseo which, despite the revival of tango since the end of the last century, has not been cultivated again in instrumental performance to date. This article argues that the absence of fraseo in contemporary tango may stem more from a partial or misinterpreted understanding of its essence than from a lack of knowledge of it. The hypothesis presented challenges the idea that fraseo belongs exclusively to the realm of rhythm, understood as division of time, and examines the limitations of its measurement and writing. Instead of as a rhythmic fact, the article proposes to study fraseo as a bifurcation of musical time, which cannot be encoded by our system of notation. El arte del fraseo ha sido determinante en la historia del tango. Fue incorporado en 1917 por Carlos Gardel como recurso vocal y adaptado más tarde por Aníbal Troilo a la práctica instrumental, dando lugar al florecimiento de los estilos interpretativos en las décadas del 40 y el 50. A partir de los años 60 la pérdida de popularidad del tango coincide con el declive del fraseo gardeliano que, a pesar del resurgimiento que vive el género desde finales del siglo pasado, no ha vuelto a cultivarse en la práctica instrumental hasta la fecha. Este artículo plantea que la pérdida del fraseo en la actualidad puede deberse, más que a su desconocimiento, a una comprensión parcial o inexacta de su naturaleza. La hipótesis presentada discute la pertenencia del fraseo al dominio del ritmo, entendido en occidente como división del tiempo, y examina las limitaciones de su medición y su escritura. En lugar de como un hecho rítmico, se propone estudiarlo como un fenómeno bi-temporal: un desdoblamiento del tiempo musical que no puede ser codificado por nuestro sistema de notación.   A arte do fraseo foi determinante na história do tango. Foi incorporada em 1917 por Carlos Gardel como recurso vocal e adaptada mais tarde por Aníbal Troilo à prática instrumental, dando origem ao florescimento dos estilos interpretativos nas décadas de 1940 e 1950. A partir dos anos 1960, a perda de popularidade do tango coincide com a decadência do fraseo gardeliano que, apesar do ressurgimento do gênero desde o final do século passado, não voltou a ser cultivada na prática instrumental até o momento. Este estudo propõe que a perda do fraseo atualmente pode dever-se, mais do que ao seu desconhecimento, a uma compreensão parcial ou imprecisa de sua natureza. A hipótese apresentada discute a pertença do fraseo ao domínio do ritmo, entendido no ocidente como divisão do tempo, e examina as limitações de sua medição e notação. Em vez de ser visto como um fato rítmico, propõe-se estudá-lo como um fenômeno bi-temporal: uma divisão do tempo musical que não pode ser codificada na partitura. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2025-12-05 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/16895 10.34096/oidopensante.v13n2.16895 El oído pensante; Vol. 13 No. 2 (2025): Octubre 2025 - Marzo 2026 El oído pensante; Vol. 13 Núm. 2 (2025): Octubre 2025 - Marzo 2026 El oído pensante; v. 13 n. 2 (2025): Octubre 2025 - Marzo 2026 2250-7116 spa https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/16895/15513 Derechos de autor 2025 Gaspar Muller

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