| LDR | | 05365cmm u2200589 i 4500 |
| 001 | | 000000321315 |
| 003 | | OCoLC |
| 005 | | 20230613110536 |
| 006 | | m d |
| 007 | | cr cnu---unuuu |
| 008 | | 191001t20202020nyuag ob 001 0 eng |
| 010 | |
▼a 2019044702 |
| 019 | |
▼a 1155497563
▼a 1155521711 |
| 020 | |
▼a 0190886935
▼q electronic publication |
| 020 | |
▼a 9780190886929
▼q electronic book |
| 020 | |
▼a 0190886927
▼q electronic book |
| 020 | |
▼a 9780197506561
▼q (ebook) |
| 020 | |
▼a 0197506569 |
| 020 | |
▼a 9780190886936
▼q (electronic bk.) |
| 020 | |
▼z 9780190886912
▼q paperback |
| 035 | |
▼a 2398802
▼b (N$T) |
| 035 | |
▼a (OCoLC)1123181422
▼z (OCoLC)1155497563
▼z (OCoLC)1155521711 |
| 040 | |
▼a DLC
▼b eng
▼e rda
▼e pn
▼c DLC
▼d OCLCO
▼d OCLCF
▼d YDX
▼d IUL
▼d UKOUP
▼d N$T
▼d 248032 |
| 042 | |
▼a pcc |
| 049 | |
▼a MAIN |
| 050 | 04 |
▼a ML3850
▼b .H37 2020 |
| 082 | 00 |
▼a 781.2/2
▼2 23 |
| 100 | 1 |
▼a Hasty, Christopher,
▼d 1947-,
▼e author. |
| 245 | 10 |
▼a Meter as rhythm /
▼c Christopher Hasty.
▼h [electronic resource] |
| 250 | |
▼a 20th anniversary edition. |
| 260 | |
▼a New York, NY :
▼b Oxford University Press,
▼c [2020] |
| 300 | |
▼a 1 online resource (xi, 381 pages) :
▼b illustrations, music |
| 336 | |
▼a text
▼b txt
▼2 rdacontent |
| 337 | |
▼a computer
▼b c
▼2 rdamedia |
| 338 | |
▼a online resource
▼b cr
▼2 rdacarrier |
| 504 | |
▼a Includes bibliographical references and index. |
| 505 | 0 |
▼a General character of the opposition -- Two eighteenth-century views -- Evaluations of rhythm and meter -- Distinctions of rhythm and meter in three influential American studies -- Discontinuity of number and continuity of tonal "motion" -- Preliminary definitions -- Meter as projection -- Precedents for a theory of projection -- Some traditional questions of meter approached from the perspective of projective process -- Metrical particularity -- Obstacles to a view of meter as process -- The limits of meter -- Overlapping, end as aim, projective types -- Problems of meter in early-seventeenth-century and twentieth-century music -- Toward a music of durational indeterminacy -- The spatialization of time and the eternal "now moment". |
| 520 | |
▼a "In thinking about music it is difficult to avoid representing any concrete instance as if it were a stable and essentially pre-formed entity composed of fully determinate and ultimately static objects or relations. Certainly, in the actual performance of music there is no escaping the contingency and indeterminacy that inhere in every temporal act. When we attempt to analyze the musical event, however, it is most convenient to imagine that the intricate web of relationships that comes into play on such an occasion has already been woven in a prior compositional act or in a determinate and determining order of values and beliefs. We can, for example, point to the score as a fixed set of instructions for the recreation of an essentially self-same work or as a repository wherein the traces of a composer's thought lie encoded awaiting faithful decoding by a receptive performer/listener. Or, with even greater abstraction, we can point to the presence of an underlying tonal system, the governing rules of a style or "common practice," the reflection of a set of existing social relations, or the role of hardened ideologies in music's production and reception. It must be said that there is some truth in the variety of determinacies that intellectual analysis would ascribe to music (if little truth in the claims of any one perspective to speak for the whole). But it must also be said that, to the extent the abstractions of analysis deny or suppress the creativity, spontaneity, and novelty of actual musical experience, analysis will have misrepresented music's inescapably temporal nature. The challenge of taking this temporal nature into account lies in finding ways of speaking of music's very evanescence and thus of developing concepts that would capture both the determinacy and the indeterminacy of events in passage. Stated in this way, such an enterprise appears to be loaded with paradox. However, much of the paradox disappears if we can shift our attention from objects or products to process and from static being to dynamic becoming. Indeed, such a shift might provide a perspective from which the great variety of determinacies we ascribe to music could be seen as inseparable components of musical communication."--
▼c Provided by publisher. |
| 588 | |
▼a Description based on online resource; title from web page (Oxford Scholarship Online, viewed on July 21, 2020). |
| 590 | |
▼a Added to collection customer.56279.3 |
| 650 | 0 |
▼a Musical meter and rhythm. |
| 650 | 0 |
▼a Music
▼x Philosophy and aesthetics. |
| 650 | 0 |
▼a Time in music. |
| 650 | 7 |
▼a Music
▼x Philosophy and aesthetics.
▼2 fast
▼0 (OCoLC)fst01030408 |
| 650 | 7 |
▼a Musical meter and rhythm.
▼2 fast
▼0 (OCoLC)fst01030774 |
| 650 | 7 |
▼a Time in music.
▼2 fast
▼0 (OCoLC)fst01151110 |
| 655 | 4 |
▼a Electronic books. |
| 776 | 08 |
▼i Print version:
▼a Hasty, Christopher, 1947-
▼t Meter as rhythm
▼b 20th anniversary edition.
▼d New York : Oxford University Press, 2020.
▼z 9780190886912
▼w (DLC) 2019044701 |
| 856 | 40 |
▼3 EBSCOhost
▼u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2398802 |
| 938 | |
▼a Oxford University Press USA
▼b OUPR
▼n EDZ0002217483 |
| 938 | |
▼a EBSCOhost
▼b EBSC
▼n 2398802 |
| 990 | |
▼a 관리자 |
| 994 | |
▼a 92
▼b N$T |