Meter in Music, 1600–1800: Performance, Perception, and NotationIndiana University Press, 22 jun 2000 - 192 páginas "All practising musicians with an interest in the baroque owe it to themselves to be exposed to the ideas contained in this book." —Continuo |
Índice
The Origins of the Measure in the Seventeenth | 1 |
Time Signatures in the Eighteenth Century | 35 |
Quantitative Meters in Poetry | 62 |
The Perception of Meter | 78 |
Articulation of Quantitative Meter | 85 |
Accent as Measure Articulation and as Measure | 124 |
Rhythmopoeia According | 135 |
| 153 | |
| 171 | |
Otras ediciones - Ver todo
Meter in Music, 1600-1800: Performance, Perception, and Notation George Houle Vista previa restringida - 1987 |
Términos y frases comunes
accent adagio allegro arsis articulation autres battuta beat Bononcini breve celerior composers composition Corrette croches deux temps discussed down-bow downbeat downstroke duple meters duration eighteenth century eighth notes Engramelle Engramelle's equal equivalent erste example fast faster fingerings French Georg Muffat Grassineau half note Ibid indicated Italian Johann Johann Mattheson keyboard Kirnberger l'on Leopold Mozart Loulié Marin Mersenne Mattheson mensural notation mensural signs Menuet Mersenne meter signs Méthode metrical Michael Praetorius minims Montéclair movement musicians musique noire note values Noten notes inégales Paris performance pieces played practice Praetorius premier presto pulses quantitas intrinseca Quantz quarter note quatre rhythm rhythmopoeia Rousseau ru tu ru semibreve semiminims sesquialtera seventeenth century Sextupla signatures silences sixteenth slow slower slurred small notes sound-feet speed stroke style syllables Tact tactus Tans'ur technique tempo words theorists tion tonguings tonotechnie treatise triple meter trois temps up-bow upstroke Valentini Versuch Wolfgang Caspar Printz
Pasajes populares
Página 163 - The second treateth of descante and to sing two parts in one upon a plain song or ground, with other things necessary for a descanter. The third and last part entreateth of composition of three, foure, five or more parts, with many profitable rules to that effect.
Página 167 - A Compendium of Practical Musick, in Five Parts: Teaching, by a New and Easie Method, 1 . The Rudiments of Song ; 2. The Principles of Composition; 3. The Use of Discords; 4. The Form of Figurate Descant ; 5. The Contrivance of Canon.
Página 166 - A Briefe Discourse of the true (but neglected) use of Charact'ring the Degrees by their Perfection, Imperfection and Diminution in Measurable Musicke, against the Common Practise and Custome of these Times ; Examples whereof are exprest in the Harmony of 4 Voyces, Concerning the Pleasure of 5 usuall Recreations, 1 . Hunting, 2. Hawking, 3. Dancing, 4. Drinking, 5. Enamouring.
Página 165 - An introduction to the skill of musick: in three books. By John Playford. Containing I. the grounds and principles of musick...
Página 153 - Alstedius, being a Compendium of the Rudiments both of the mathematical and practical part of Musick: of which Subject not any book is extant in our English tongue.
Página 160 - A Treatise on the Art of Music; in Which the Elements of Harmony and Air Are Practically Considered...
Página 155 - THE PRINCIPLES OF MUSIK IN Singing and Setting: with the twofold use thereof (Ecclesiasticall and Civil) by CHARLS BUTLER Magd.
Página 163 - Harmonie universelle, contenant la théorie et la pratique de la musique, où il est traité de la nature des sons, et des mouvements, des consonances, des dissonances, des genres, des modes, de la composition, de la voix, des chants, et de toutes sortes d instruments harmoniques, par F.
Referencias a este libro
The Aural/visual Experience of Music Literacy: Reading and Writing Music ... Edwin Gordon No hay ninguna vista previa disponible - 2004 |