Meter in Music, 1600}}}1800: Performance, Perception, and Notation [Paperback]

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.

More than the notation was different!

A Choice Outstanding Academic Book of 1988

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 m?moire, Le ballet des f?cheux, and Ockeghem's Missa Cuiusvis Toni, and co-editor of The Music for Viola Bastarda by Jason Paras (all from Indiana University Press).

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