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Meter as rhythm

Author: Christopher Francis Hasty
Publisher: New York : Oxford University Press, 1997.
Edition/Format:   Book : EnglishView all editions and formats
Summary:
Combining speculative, psychological, and music-theoretical perspectives, and drawing on modern process philosophy, Hasty integrates technical analytical details with larger aesthetic issues. The book begins with a historical survey of rhythmic theory that explains the traditional opposition of meter and rhythm and traces the expressions of this opposition in theories from the 18th century to the present. Part II
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Details

Document Type: Book
All Authors / Contributors: Christopher Francis Hasty
ISBN: 0195100662 9780195100662
OCLC Number: 34849762
Description: xvii, 310 p. : music ; 26 cm.
Contents: Pt. I. Meter and Rhythm Opposed. 1. General Characterization of the Opposition. 2. Two Eighteenth-Century Views. 3. Evaluations of Rhythm and Meter. 4. Distinctions of Rhythm and Meter in Three Influential American Studies. 5. Discontinuity of Number and Continuity of Tonal "Motion" --
Pt. II. A Theory of Meter as Process. 6. Preliminary Definitions. 7. Meter as Projection. 8. Precedents for a Theory of Projection. 9. Some Traditional Questions of Meter Approached from the Perspective of Projective Process. 10. Metrical Particularity. 11. Obstacles to a View of Meter as Process. 12. The Limits of Meter. 13. Overlapping, End as Aim, Projective Types. 14. Problems of Meter in Early-Seventeenth-Century and Twentieth-Century Music.
Responsibility: Christopher F. Hasty.
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Abstract:

Combining speculative, psychological, and music-theoretical perspectives, and drawing on modern process philosophy, Hasty integrates technical analytical details with larger aesthetic issues. The book begins with a historical survey of rhythmic theory that explains the traditional opposition of meter and rhythm and traces the expressions of this opposition in theories from the 18th century to the present. Part II systematically develops a fully temporal theory of meter that engages a variety of interpretive possibilities open to the performer. Here analyses of music from the early 17th century to the mid-20th century demonstrate the explanatory power of the theory and address broader issues of musical rhythm.

The concluding chapters open the theory to more general questions of musical experience and its theoretical representation. Written for theorists and musicologists interested in questions of rhythm, meter, and time, Meter as Rhythm will also be of great interest to amateur musicians in fields such as cognitive theory, aesthetics, and process philosophy, as well as to the intellectually adventurous performer.

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