agogic

Apparently from German Agoge (“tempo”), from Ancient Greek ἀγωγή (agōgḗ, “carrying, leading, reduplicated formation; tempo”), +‎ -ic, after German agogisch.^[1] By surface analysis, agoge +‎ -ic.

agogic (comparative more agogic, superlative most agogic)

1. Accentuating a note by extending it slightly beyond its normal time value.
   • 1974, Margery Halford, “Piano or Harpsichord?”, in François Couperin, translated by Margery Halford, L’Art de toucher le Clavecin (The Art of Playing the Harpsichord), 2nd edition, Alfred Publishing Co., Inc., published 2008, →ISBN, “Expression and Style” section, page 24:

     On most early instruments, changes were made only at agogic pauses, caesuras, repeats or between sections.

   • 1978, Rhenda Ronfeldt Pease, An Analytical Study of Twentieth-Century Cadential Techniques, Kalamazoo, Mich.: Western Michigan University, →OCLC, page 153:

     6F is the longest-held cadence sonority (it has the most agogic emphasis), and ends very conclusively with the V₇-I-V₇-V-I chord progression.

   • 1997, David Cope, “Extended Melodic Lines”, in Techniques of the Contemporary Composer, New York, N.Y.: Schirmer Books, →ISBN, chapter 3 (New Roles of Melody), page 32:

     Obviously, extended melodies should end on the strongest and most agogic melodic cadence.

   • 2010, Steven L[aurence] Schweizer, “Musical Interpretation and the Timpanist”, in Timpani Tone and the Interpretation of Baroque and Classical Music, New York, N.Y.: Oxford University Press, →ISBN, page 43:

     Timpanists need to be particularly aware of agogic accents because they often swallow up the smaller notes that precede them.

agogic (plural agogics)

1. (music) An accent that accentuates a note by extending it slightly beyond its normal time value.