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Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791

Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791 In a recent in this journal—of Robert Gjerdingen’s Music in the Galant Style (2007; Temperley 2008)—I remarked on the wide range of analytical approaches that have been used in the study of late-eighteenth-century music. My list included Schenkerian analysis, theories of classical form such as Caplin (1998) and Hepokoski and Darcy (2006), and the more contextual, humanistic work of Rosen (1971), Ratner (1980), and Wheelock (1992), among others. I might have added (though it was not pertinent in my earlier ) that much of the recent work on late-eighteenth-century music has been concerned, in some way, with rhythm and meter. This includes several studies dedicated wholly to classical-period meter—I cited Kamien (1993), McKee (2004), and McClelland (2006)—but not only these. By general agreement, some of the most important recent research in the Schenkerian paradigm, notably that of Schachter (1976, 1980, 1987) and Rothstein (1989), has focused on rhythm, and both of these authors devote much attention to the classical period. The late eighteenth century also looms large in much other recent work on rhythm and meter, such as that of Lerdahl and Jackendoff (1983) and Hasty (1997). Recent musicological work on the classical period has also dealt extensively http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791

Temperley, David
Journal of Music Theory , Volume 53 (2) – Sep 1, 2009
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Publisher
Duke University Press
Copyright
Copyright 2009 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2010-005
Publisher site
See Article on Publisher Site

Abstract

In a recent in this journal—of Robert Gjerdingen’s Music in the Galant Style (2007; Temperley 2008)—I remarked on the wide range of analytical approaches that have been used in the study of late-eighteenth-century music. My list included Schenkerian analysis, theories of classical form such as Caplin (1998) and Hepokoski and Darcy (2006), and the more contextual, humanistic work of Rosen (1971), Ratner (1980), and Wheelock (1992), among others. I might have added (though it was not pertinent in my earlier ) that much of the recent work on late-eighteenth-century music has been concerned, in some way, with rhythm and meter. This includes several studies dedicated wholly to classical-period meter—I cited Kamien (1993), McKee (2004), and McClelland (2006)—but not only these. By general agreement, some of the most important recent research in the Schenkerian paradigm, notably that of Schachter (1976, 1980, 1987) and Rothstein (1989), has focused on rhythm, and both of these authors devote much attention to the classical period. The late eighteenth century also looms large in much other recent work on rhythm and meter, such as that of Lerdahl and Jackendoff (1983) and Hasty (1997). Recent musicological work on the classical period has also dealt extensively

Journal

Journal of Music Theory – Duke University Press

Published: Sep 1, 2009

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