/euh poj'euh toor"euh, -tyoor"euh/; It. /ahp pawd'jah tooh"rddah/, n. Music.
a note of embellishment preceding another note and taking a portion of its time.
[1745-55; < It: a propping, equiv. to appoggiat(o), ptp. of appoggiare to support (see AP-1, PODI(UM), -ATE1) + -ura -URE]

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      (from Italian appoggiare, “to lean”), in music, an ornamental note of long or short duration that temporarily displaces, and subsequently resolves into, a main note, usually by stepwise motion. During the Renaissance and early Baroque, the appoggiatura was of moderate length, averaging one-third of the main note, and was more in the nature of a melodic than a harmonic ornament. By the time of Johann Sebastian Bach (1685–1750), appoggiaturas were divided into two species: the short, which borrows an inconsiderable length from its main note and therefore has little effect on the harmony; and the long, which takes half or more of the length of its main note and therefore substantially affects the harmony, creating a dissonance that then resolves, on the main note, to a consonance. Because its purpose was mainly expressive, whether in purely melodic or harmonic terms, the typical appoggiatura in 17th- and 18th-century music occurred on the beat, rather than before it, “leaning” on the principal note, as suggested by the term's derivation.

      The most common sign for the appoggiatura was a small note indicating the precise pitch of the ornament but only implying by relative size its duration, which depended largely upon the context and was governed by broadly acknowledged conventions. Convention also accounts for the fact that appoggiaturas were not always written out in Baroque music, even where their performance was taken for granted, as in the final cadences of operatic recitatives. In such instances, their omission by modern performers violates the composer's original intent.

      The 19th-century tendency to notate the long appoggiatura in regular, rather than small, print foreshadowed the gradual abandonment of most embellishments, including the traditional symbol for the short appoggiatura, a small note with a slashed stem. The latter had in fact led to some confusion with the acciaccatura, a dissonant ornamental note played simultaneously with the main note but quickly released. Moreover, in 19th-century practice, grace notes, including the appoggiatura, were increasingly performed before the beat, and it was to take several generations of pioneering in the history of performance practice before the stylistic significance of the appoggiatura in pre-19th-century music was once again appreciated and understood.

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Universalium. 2010.

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