|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910458598903321 |
|
|
Autore |
Hasty Christopher Francis |
|
|
Titolo |
Meter as rhythm [[electronic resource] /] / Christopher F. Hasty |
|
|
|
|
|
Pubbl/distr/stampa |
|
|
New York, : Oxford University Press, 1997 |
|
|
|
|
|
|
|
ISBN |
|
1-280-52837-0 |
0-19-535653-5 |
1-4294-1447-2 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (329 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Musical meter and rhythm |
Music |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references (p. 305-307) and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Contents; ONE: General Characterization of the Opposition; TWO: Two Eighteenth-Century Views; THREE: Evaluations of Rhythm and Meter; FOUR: Distinctions of Rhythm and Meter in Three Influential American Studies; FIVE: Discontinuity of Number and Continuity of Tonal "Motion"; SIX: Preliminary Definitions; SEVEN: Meter as Projection; EIGHT: Precedents for a Theory of Projection; NINE: Some Traditional Questions of Meter Approached from the Perspective of Projective Process; TEN: Metrical Particularity; ELEVEN: Obstacles to a View of Meter as Process; TWELVE: The Limits of Meter |
THIRTEEN: Overlapping, End as Aim, Projective TypesFOURTEEN: Problems of Meter in Early-Seventeenth-Century and Twentieth-Century Music; FIFTEEN: Toward a Music of Durational Indeterminacy; SIXTEEN: The Spatialization of Time and the Eternal "Now Moment"; References; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; P; R; S; T; V; W; Y; Z |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
This work presents a theory of musical duration. Drawing on insights from modern ""process"" philosophy, it advances a fully temporal perspective in which metre is released from its mechanistic connotations and recognized as a concrete, visceral agent of musical expression. |
|
|
|
|
|
|
|