The History of Music a Reference List Or Syllabus of Periods Topics And Author
The History of Music a Reference List Or Syllabus of Periods Topics And Author
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Time and its Notation. Of the two fundamental rhythms, duple and triple, the first mediaeval theorists exalted the triple for the whimsical reason that three sym- bolizes the Trinity ! Triple rhythm, therefore, they called ' perfect, ' duple rhythm ' imperfect '. In notation, the former was indicated by a circle, the latter by a half- circle (whence the modern time-signature for duple or quadruple rhythm. ) The possi- bility of using either long or short tones within a given rhythm was freely r...ecognized. Forthwith appeared distinctive 'notes' for such tones, first the 'maxima, ' ' longa, ' 'brevis, ' 'semibrevis' (the modern ' semibreve"), and later the 'minima, ' ' semimin- ima, ' ' fusa, " 'semifusa' (the modern 'semiquaver'), together with their respective ' rests '. In ' perfect ' time a ' maxima ' was equivalent to three ' longse, " but in ' im- perfect' time to two (as in modern notation). Various compound characters, called ' ligatures, ' were used for certain groups of tones occupying the rhythmic place of some standard note (somewhat like the modern ' triplet ').
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To quickly assess the difficulty of the text, read a short excerpt:
Time and its Notation. Of the two fundamental rhythms, duple and triple, the first mediaeval theorists exalted the triple for the whimsical reason that three sym- bolizes the Trinity ! Triple rhythm, therefore, they called ' perfect, ' duple rhythm ' imperfect '. In notation, the former was indicated by a circle, the latter by a half- circle (whence the modern time-signature for duple or quadruple rhythm. ) The possi- bility of using either long or short tones within a given rhythm was freely r...ecognized. Forthwith appeared distinctive 'notes' for such tones, first the 'maxima, ' ' longa, ' 'brevis, ' 'semibrevis' (the modern ' semibreve"), and later the 'minima, ' ' semimin- ima, ' ' fusa, " 'semifusa' (the modern 'semiquaver'), together with their respective ' rests '. In ' perfect ' time a ' maxima ' was equivalent to three ' longse, " but in ' im- perfect' time to two (as in modern notation). Various compound characters, called ' ligatures, ' were used for certain groups of tones occupying the rhythmic place of some standard note (somewhat like the modern ' triplet ').
What to read after The History of Music a Reference List Or Syllabus of Periods Topics And Author?
You can find similar books in the "Read Also" column, or choose other free books by Ties20for20classes20and20private20studentsb to read onlineMoreLess
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