With these guidelines in place, we can first examine some common approaches to teaching phrasing.
Some teachers attempt to develop a sense for phrasing through the listening of both effective and ineffective attempts.
The initial musical "clue" to consider when looking for guidance in phrasing is the overall musical context of the work.
Meter is another aspect to consider, because projecting the character and feel of a particular meter can profoundly impact phrasing decisions.
Starting at measure 15, the phrasing should portray the grouping of 1-2, 1-2-3, 1-2, 1-2, 1-2-3, and so on.
Projecting the meter of a work is a key part of the work's identity and should guide all decisions about phrasing.
However, phrasing interfered with specific aspects of pattern learning in both the perfect pattern (the pattern having no violation element) and the violation pattern (the pattern containing a single violation element in the terminal position).
The results show that manipulations of phrasing and pattern structure had little effect on overall acquisition.
Analysis showed that learning to respond appropriately on the first element of chunks was more difficult with phrasing cues than without them.
Rats in our lab show a similar pattern of results for phrased and unphrased patterns, and the results thus support the idea that phrasing cues generally reduce overextension errors for both rats and mice.
To clarify, it is important to recall that patterns cycled without interruption (save for phrasing cues, where appropriate), so that the final two chunks of violation patterns, 781 and 818, were followed immediately by the first chunk of the next pattern, 123, resulting in a .
The results of Experiment 1 were surprising, however, because the temporal phrasing cues were not only sufficiently salient that they should have been adequate discriminative cues, but the cues were also placed at chunk boundaries where they should have provided the most benefit to detecting and coding pattern structure.
While the phrasing of questions is extremely important, an auditor's listening and evaluating skills can be just as important.
The most important point an auditor should remember is that a question's phrasing can significantly influence an interviewee's response, and therefore the validity and relevance of the response as a form of evidentiary matter.
96) are best ignored in favor of tempos that are consistent with the spirit of the music and allow Melody Bober's detailed phrasing
to be observed.