ABSTRACT
Articulation as a musical term may mean several different things. In its most direct sense, it refers to slurs and dots in a score that indicate the jointed or detached manner of performing the marked notes. In its broadest sense it refers to phrasing and interpretation. The literature reveals a similar circular motion of ideas and arguments that we have witnessed in relation to other performance issues: several important elements were noted prior to the late 1950s and became more thoroughly investigated only in the 1980s–1990s. General familiarity with theoretical writings was insufficient for this purpose. When an intimate relationship with musical scores and a deeper understanding of the nature of this repertoire had been reached, the persistent search for interpretative means led to the seeking of a more comprehensive knowledge of contemporary sources.
