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In the analysis of 18th- and 19th-century Western music, an elision, overlap, or rather reinterpretation (Umdeutung), is the perception, after the fact, of a (metrically weak) cadential chord at the end of one phrase as the (metrically strong) initial chord of the next phrase. Two phrases may overlap, making the beginning and ending of both happen at the same moment in time, or both phrases and hypermeasures may overlap, making the last bar in the first hypermeasure and the first in the second. Charles Burkhart uses overlap and reinterpretation to distinguish between the overlap of phrases and of both phrase and measure-group, respectively.[1][2]


  1. ^ Stein, Deborah (2005). Engaging Music: Essays in Music Analysis, p.328, 330. New York: Oxford University Press. ISBN 0-19-517010-5.
  2. ^ Burkhart, Charles. "The Phrase Rhythm of Chopin's A-flat Major Mazurka, Op. 59, No. 2", p.10, 11n14. Cited in Stein (2005).