Description
Book SynopsisFor the past four decades, the concept of hypermeter has been routinely applied to eighteenth-century music. But was this concept familiar in the eighteenth century? If so, how is it reflected in writings of eighteenth-century music theorists? And how does it relate to their discussion of phrase structure? In this book, a follow-up to the award-winning Metric Manipulations in Haydn and Mozart, author Danuta Mirka unearthes a number of cues that point to eighteenth-century recognition of what today is called hypermeter, and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. Mirka describes the proto-theory of hypermeter developed by German music theorists, recounts the recent history of this concept in American music theory, evaluates contributions made to it by authors working within different theoretical traditions, and introduces a dynamic model of hypermeter which allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of Haydn''s and Mozart''s chamber music for strings, which shed a new light upon this celebrated repertoire, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to offer a systematic classification of hypermetrical irregularities in relation to phrase structure and to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.
Trade ReviewWhat makes the book so compelling is how Mirka synthesizes four decades of music-theoretical research on rhythm and metre and deftly weaves in insights from topic theory, schema theory, historical music theory and music cognition. The result is an impressive set of new theoretical tools for eighteenth-century music that pertain not only to hypermetre but also to the analysis of melody, rhythm and small-scale forms. * Roger Mathew Grant, Eighteenth-Century Music *
fascinating book * W.E. Grim, CHOICE Connect, Vol. 59 No. 8 *
In its brilliant synthesis of historical music theories, current theoretical and cognitive research, and detailed analyses, this book sets the standard for future discussions of rhythmic structure in music of the Classical style. * Fred Lerdahl, Fritz Reiner Professor Emeritus of Musical Composition, Columbia University *
With the rigor characteristic of Metric Manipulations, Mirka now expertly weaves together historical and contemporary approaches to hypermetric manipulations, grounding rhythmic theory and eighteenth-century style and form in listener experience. * Leigh VanHandel, Associate Professor of Music Theory, University of British Columbia *
This book represents music theory scholarship at its very best. It sets new standards for how musicians can employ sophisticated historical concepts in a comprehensive and creative fashion, as it shares exciting insights into some of the most beloved works from the Classical repertoire. * L. Poundie Burstein, author of Journeys Through Galant Expositions *
Table of ContentsIntroduction Note on Terminology, Language, and Musical Examples Chapter 1. Hypermeter 1.1. Accents 1.2. Counting 1.3. Phrases and Hypermeasures 1.4. Dynamic Model of Hypermeter Chapter 2. Phrase Structure 2.1. Caesuras and Melodic Sections Contained by Them 2.2. Length and Proportion of Melodic Sections Chapter 3. Hypermetrical Irregularity in Basic Phrases 3.1. Irregular Phrases 3.2. Subdivisions 3.3. Long Phrases without Subdivisions Chapter 4. Hypermetrical Irregularities in Compound Phrases 4.1. Left Elision, Right Elision, and Overlap 4.2. Right and Left Deletion 4.3. Phrase-Rhythmic Scenarios after a Cadence 4.4. Shadow Hypermeter Chapter 5. Hypermetrical Irregularities in Expanded Phrases 5.1. Parenthesis 5.2. Repetition 5.3. Appendix Chapter 6. Further Means of Phrase Expansion 6.1. Overridden Caesuras 6.2. Twisted Caesuras 6.3. Loops 6.4. Stretches 6.5. Written-out Rallentando Chapter 7. Hypermeter Beyond Phrase Structure 7.1. Sequences 7.2. Fugato 7.3. Augmented Cadences Chapter 8. Hypermeter, Phrase Structure, and Rhetorical Figures 8.1. Ellipsis 8.2. Anadiplosis Chapter 9. Beyond Rhetoric 9.1. Haydn, String Quartet in E flat major, Op. 50 No. 3, First Movement 9.2. Haydn, String Quartet in C major, Op. 64 No. 1, First Movement 9.3. Fiddler on the Roof in Haydn's String Quartets Bibliography Index of Compositions by Haydn and Mozart General Index
