Meter in music, 1600-1800 : performance, perception, and notation
著者
書誌事項
Meter in music, 1600-1800 : performance, perception, and notation
（Music-- scholarship and performance）
Indiana University Press, c1987
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注記
Bibliography: p153-169
Includes index
内容説明・目次
内容説明
A Choice Outstanding Academic Book. The notation of seventeenth- and eighteenth-century music is often a puzzle to performers. The symbols look familiar, but their meanings of some have evolved dramatically. The period between 1600 and 1800 witnessed a transition both in notation and in the treatment of meter in performance. Merely transcribing earlier works into modern notation can actually mislead the performer. When performed according to the conventions of its own time, seventeenth- and eighteenth-century music conveys a paradoxical mixture of precision and flexibility that has an enchanting lilt, grace, and vitality. Illustrating his presentation with generous quotations and musical examples from theoretical treatises and instruction manuals of the period, George Houle provides a practical guide to the performance of Baroque and early Classical music, including discussions of notes inegales, fingerings, woodwind tonguings, and string bowings.
目次
Introduction 1. The Origins of the Measure in the Seventeenth Century 2. Time Signatures in the Eighteenth Century 3. Rhythmopoeia: Quantitative Meters in Poetry and Music 4. Quantitas Intrinseca: The Perception of Meter 5. Articulation of Quantitative Meter 6. Accent as Measure Articulation and as Measure Definition Appendix: Rhythmopoeia according to Johann Mattheson and Wolfgang Caspar Printz Notes Bibliography Index
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