Meter in Music, 1600-1800

Meter in Music, 1600-1800 : Performance, Perception, and Notation

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Description

All practising musicians with an interest in the baroque owe it to themselves to be exposed to the ideas contained in this book." -Continuo

This is a book from an excellent musician in the early field who turns out also to be a most persistent scholar... " -Early Music

... the book offers a vast quantity of data from a wide range of sources.... George Houle is to be congratulated for his honest presentation of the entire spectrum." -Music Educators Journal

The treatment of meter in performance has evolved dramatically since 1600. Here is a practical guide for the performer, with many quotations from early manuals and treatises, and abundant examples.
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Product details

  • Paperback | 188 pages
  • 156 x 232 x 12mm | 280g
  • Bloomington, IN, United States
  • English
  • 5 b&w photos
  • 0253213916
  • 9780253213914
  • 567,781

Table of contents

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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Review quote

"More than the notation was different! ... fine addition ... " --Early Music News "All practising musicians with an interest in the baroque owe it to themselves to be exposed to the ideas contained in this book." -Continuo "This is a book from an excellent musician in the early field who turns out also to be a most persistent scholar ... " --Early Music " ... the book offers a vast quantity of data from a wide range of sources... George Houle is to be congratulated for his honest presentation of the entire spectrum." --Music Educators Journal
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About George Houle

George Houle, Professor Emeritus of Music at Stanford University and former music director of the New York Pro Musica, is a performer and music historian particularly interested in the Renaissance and Baroque periods. He is editor of Doulce memoire, Le ballet des facheux, and Ockeghem's Missa Cuiusvis Toni, and co-editor of The Music for Viola Bastarda by Jason Paras (all from Indiana University Press).
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