Interpolation (classical music)

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For music of the Classical period, "interpolation" is defined in the context of a musical sentence or period as "unrelated material inserted between two logically succeeding functions".William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, p. 255. {{ISBN|0-19-514399-X}}.

This device is commonly used to extend what would normally be a regular phrase into an irregular and extended phrase. Such expansion by interpolation is achieved by the addition of extra music in the middle of a phrase (commonly through the use of sequence).

Formerly, in the sung portions of the Mass, such as the introit or kyrie, it was permissible, especially during the medieval period, to amplify a liturgical formula by interpolating a "farse" (from Medieval Latin farsa, forcemeat),[https://www.lexic.us/definition-of/farse Farse: Definition with Farse Pictures and Photos.] Lexicus – Word Definitions for Puzzlers and Word Lovers.{{clarify|date=July 2008|where in that article?}} also called "trope".[https://www.newadvent.org/cathen/15065a.htm Catholic Encyclopedia: Trope.] New Advent. This might consist of an explanatory phrase or verse, usually in the form of an addition or paraphrase, often in the vernacular.

Interpolation (also known as replayed), especially in 20th-century music and later, is an abrupt change of musical elements, with the (almost immediate) resumption of the main theme or idea.Wittlich, Gary E. (ed.) (1975). Aspects of Twentieth-century Music, p.48 n.12 and p.49. Englewood Cliffs, N.J.: Prentice-Hall. {{ISBN|0-13-049346-5}}. Pieces that are cited as featuring interpolation, among other techniques, are Music for Brass Quintet by Gunther Schuller and Threnody to the Victims of Hiroshima by Krzysztof Penderecki (both 1960–61).