Meter As Rhythm
Oxford University Press, 10 abr. 1997 - 328 páginas
In this book Christopher Hasty presents a striking new theory of musical duration. Drawing on insights from modern "process" philosophy, he advances a fully temporal perspective in which meter is released from its mechanistic connotations and recognized as a concrete, visceral agent of musical expression. Part one of the book reviews oppositions of law and freedom, structure and process, determinacy and indeterminacy in the speculations of theorists from the eighteenth century to the present. Part two reinterprets these contrasts to form a highly original account of meter that engages diverse musical repertories and aesthetic issues.
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acceleration anacrusis analysis Anton von Webern articulation bar measure becoming beginning in bar beginning with bar closure completed concept constituent continuation Cooper and Meyer Courante deferral definite potential determinate distinction division duple duple meter dura durational quantity durationless eight-bar eighth-note emerges equal event experience feeling four-bar measure function ginning grouping half note Hauptmann hear homogeneity hypermeasure hypermeter interpretation J. S. Bach jective large phrase mensural determinacy meter and rhythm metrical accent motion ning notated œ J œ œ œ œ overlapping particular past perspective piano pitch pitch classes possibility preceding present projection R–R projective potential pulse quarter notes realized reinterpretation relatively relevance repetition reproduction rhythm and meter rhythmic saxophone scale degree second beat second sound sense shown in example silence small phrase span syncopation temporal tential third beat tion tive tonal triple meter two-bar measure unaccented unit Webern
Página 9 - Absolute, true, and mathematical time, of itself, and from its own nature, flows equably without regard to anything external, and by another name is called duration...
Página 10 - All things are placed in time as to order of succession; and in space as to order of situation. It is from their essence or nature that they are places; and that the primary places of things should be movable is absurd. These are therefore the absolute places; and translations out of those places are the only absolute motions.
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