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Author:   Danuta Mirka (Reader in Music, Reader in Music, The University of Southampton, Southampton, UK)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 15.50cm , Height: 2.50cm , Length: 23.10cm
Weight:   0.499kg
ISBN:  

9780199354085

ISBN 10:   0199354081
Pages:   352
Publication Date:   17 April 2014
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   To order  
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Table of Contents

Introduction Note on Terminology, Language, and Musical Examples Chapter 1. Musical Meter between Composition and Perception 1.1. The Concept of Meter in the Late Eighteenth Century 1.2. Revival of the Hierarchical Concept of Meter in the Twentieth Century 1.3. Toward a Dynamic Model of Meter 1.4. Borrowing from a Different Model Chapter 2. Finding Meter 2.1. Statistical Parameters 2.2. Harmony 2.3. Streaming and the Role of Bass 2.4. Cadence (Structural Accent) Chapter 3. Sustaining Meter -- Challenging Meter 3.1. Metrum and Regularity of Beats 3.2. Missing Beats 3.3. General Pauses 3.4. Fermatas 3.5. Syncopations Chapter 4. Changing Meter I: Change of Period 4.1. Imbroglio 4.2. Submetrical Dissonance 4.3. Hemiola Chapter 5. Changing Meter II: Change of Phase 5.1. Chains of Rhythmical Dissonances 5.2. Other Parameters in Displacement Dissonances 5.3. Imitation 5.4. Ligaturae, Retardation, Anticipation 5.5. Syncopated Accompaniment 5.6. Remark on Subliminal Dissonances Chapter 6. Changing Meter III: Change of Tactus 6.1. Changes of Taktteile in Compound Meters 6.2. Changes of Taktteile in Double Measures 6.3. Perceptual Factors 6.4. Taktteile and the Tactus Chapter 7. Analyses of Long-Range Metrical Strategies Haydn, String Quartet in C major, Op. 50 No. 2, First Movement Haydn, String Quartet in F minor, Op. 55 No. 2, Finale Chapter 8. Wit, Comedy and Metric Manipulations in Haydn and Mozart's Personal Styles 8.1. Haydn 8.2. Mozart 8.3. Haydn's Earlier and Later String Quartets 8.4. Inconclusive Conclusion Bibliography Index of Compositions by Haydn and Mozart General Index

Reviews

A superb book. Through detailed and sensitive re-hearings of a range of chamber music by Haydn and Mozart, Danuta Mirka persuades us how the syntactic manipulation of meter contributes to the sound of classical style as much as more familiar harmonic or formal conventions. What I find particularly remarkable about this study is the brilliant way the author is able to gain analytic traction using both historical music theory sources as well as insights drawn from contemporary cognitive psychology. It is a model for the kind of synthetic analysis so sorely needed in the field of music theory today. --Thomas Christensen, Professor of Music and the Humanities, University of Chicago To explain a joke, it is often said, is to kill it. But when the jokester is an eighteenth-century composer, writing for connoisseurs, some explanation is in order. In this exceptionally lucid book, Danuta Mirka helps the reader to listen with eighteenth-century ears. In so doing, she sheds new light on the genius of Haydn and Mozart and on the music theory of their time. --William Rothstein, Queens College and The Graduate Center, City University of New York Metric Manipulations in Haydn and Mozart exemplifies--if not pioneers--a sort of synthetic analysis that should hopefully prove an inspiration for theorists in other areas as well. --Notes An excellent monograph. Mirka's combination of psychological perspective with detailed study of historical sources, insightful analysis of compositions, and critical engagement with modern music-theoretical views is extremely stimulating. --Bruno Repp, Music Perception This is an extraordinarily good book. The theoretical reasoning is careful and rigorous; the analyses are perceptive and convincing; the historical discussions are thoughtful and sensitive; the writing is first-rate. . . . What distinguishes MMHM, then, is not just its uniquely synthetic character, but the extremely high quality of

Author Information

Danuta Mirka is Reader in Music at the University of Southampton. She is the author of of The Sonoristic Structuralism of Krzysztof Penderecki and coeditor, with Kofi Agawu, of Communication in Early Music.

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