Meter As Rhythm

✍ Scribed by Christopher Hasty

• Publisher: Oxford University Press, USA
• Year: 1997
• Tongue: English
• Leaves: 329
• Category: Library

✦ Synopsis

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.

✦ Table of Contents

Contents......Page 16
PART I: METER AND RHYTHM OPPOSED......Page 20
ONE: General Characterization of the Opposition......Page 22
Periodicity and the Denial of Tense......Page 25
Rhythmic Experience......Page 29
Period versus Pattern; Metrical Accent versus Rhythmic Accent......Page 32
TWO: Two Eighteenth-Century Views......Page 41
THREE: Evaluations of Rhythm and Meter......Page 53
FOUR: Distinctions of Rhythm and Meter in Three Influential American Studies......Page 67
FIVE: Discontinuity of Number and Continuity of Tonal “Motion”......Page 78
PART II: A THEORY OF METER AS PROCESS......Page 84
SIX: Preliminary Definitions......Page 86
Beginning, End, and Duration......Page 88
“Now”......Page 95
Durational Determinacy......Page 97
"Projection” Defined......Page 103
Projection and Prediction......Page 110
EIGHT: Precedents for a Theory of Projection......Page 115
Accent......Page 122
Division......Page 126
Hierarchy......Page 134
Anacrusis......Page 139
Pulse and Beat......Page 148
Metrical Types — Equal/Unequal......Page 149
TEN: Metrical Particularity......Page 167
Particularity and Reproduction......Page 168
Two Examples......Page 173
Meter as Habit......Page 187
“Large-Scale” Meter as Container (Hypermeter)......Page 193
The Durational “Extent” of Projection......Page 202
The Efficacy of Meter......Page 216
Some Small Examples......Page 220
THIRTEEN: Overlapping, End as Aim, Projective Types......Page 229
Overlapping......Page 230
End as Aim......Page 238
Projective Types......Page 244
Monteverdi, “Oimé, se tanto amate” (First Phase)......Page 256
Schütz, “Adjuro vos, filiae Jerusalem”......Page 262
Webern, Quartet, op. 22......Page 276
Babbitt, Du......Page 294
FIFTEEN: Toward a Music of Durational Indeterminacy......Page 301
SIXTEEN: The Spatialization of Time and the Eternal “Now Moment”......Page 315
References......Page 324
E......Page 327
P......Page 328
Z......Page 329