Meter As Rhythm

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.

PART I METER AND RHYTHM OPPOSED

1

(64)

ONE General Characterization of the Opposition

3

(19)

Periodicity and the Denial of Tense

6

(4)

Rhythmic Experience

10

(3)

Period versus Pattern; Metrical Accent versus Rhythmic Accent

13

(9)

TWO Two Eighteenth-Century Views

22

(12)

THREE Evaluations of Rhythm and Meter

34

(14)

FOUR Distinctions of Rhythm and Meter in Three Influential American Studies

48

(11)

FIVE Discontinuity of Number and Continuity of Tonal "Motion"

59

(6)

PART II A THEORY OF METER AS PROCESS

65

(240)

SIX Preliminary Definitions

67

(17)

Beginning, End, and Duration

69

(7)

"Now"

76

(2)

Durational Determinacy

78

(6)

SEVEN Meter as Projection

84

(12)

"Projection" Defined

84

(7)

Projection and Prediction

91

(5)

EIGHT Precedents for a Theory of Projection

96

(7)

NINE Some Traditional Questions of Meter Approached from the Perspective of Projective Process

103

(45)

Accent

103

(4)

Division

107

(8)

Hierarchy

115

(4)

Anacrusis

119

(10)

Pulse and Beat

129

(1)

Metrical Types--Equal/Unequal

130

(18)

TEN Metrical Particularity

148

(20)

Particularity and Reproduction

149

(5)

Two Examples

154

(14)

ELEVEN Obstacles to a View of Meter as Process

168

(15)

Meter as Habit

168

(6)

"Large-Scale" Meter as Container (Hypermeter)

174

(9)

TWELVE The Limits of Meter

183

(27)

The Durational "Extent" of Projection

183

(14)

The Efficacy of Meter

197

(4)

Some Small Examples

201

(9)

THIRTEEN Overlapping, End as Aim, Projective Types

210

(27)

Overlapping

211

(8)

End as Aim

219

(6)

Projective Types

225

(12)

FOURTEEN Probelms of Meter in Early-Seventeenth-Century and Twentieth-Century Music

237

(45)

Monteverdi, "Oime, se tanto amate" (First Phase)

237

(6)

Schutz, "Adjuro vos, filiae Jerusalem"

243

(14)

Webern, Quartet, op. 22

257

(18)

Babbitt, Du

275

(7)

FIFTEEN Toward a Music of Durational Indeterminacy

282

(14)

SIXTEEN The Spatialization of Time and the Eternal "Now Moment"

296

(9)

References

305

(3)

Index

308

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