Manny: "I don't understand... in what pieces are there bow markings other than those put in by the player as phrasing guides? Are you talking about my metaphor of lifting the bow? Or is it the the V accents are being miscontrued as bowings?"
Sorry, it seems that I misunderstood your previous comment:
[The dash/dot marking is like lifting the bow between several notes. A longish note, to be sure, but with a quick lift.]
Maybe just to add to this a little, the dash/dot notation is used in the solo of Sibelius's Symphony No. 2: 4th movement and the comment is (w/slight detachment); so, this fits in to the "quick lift" statement.
Heik, your "point" is well taken concerning the dot over the note. The dot under the ^ is over a whole note and attached to a quarter note in the next bar. This is on bar 61 of the reference I gave. I mean where there the "detachment" that represents the dot over the note when it is tied to another one in the next bar?
One more comment/question and I'll leave this thread for others. In R. Strauss: Also Sprach Zarathustra: Opening, in C, there is a written half note G (A) above the staff, followed by a breath mark, followed by a quarter note A (B) followed by a breath mark, followed by a quarter note B (C) followed by a breath mark and ending with a high C (D). We have three breath marks after each three notes. One is to breathe after each note and make a fresh attack on the following ones? Talk about "detachment"...one can't be more "detached" in their playing than this.
Greatly appreciate your help, Manny.