Meter as Rhythm

PART I METER AND RHYTHM COMPOSED ONE General Characterization of the Opposition Periodicity and the Denial of Taste Rhythmic Experience Period versus Pattern; Metrical Accent versus Rhythmic Accent TWO Two Eighteenth-Century Views THREE Evaluations of Rhythm and Meter FOUR Distinctions of Rhythm and Meter in Three Influential American Studies FIVE Discontinuity of Number and Continuity of Tonal "Motion" PART II A THEORY OF METER AS PROCESS SIX Preliminary Definitions: Begining, End, and Duration "Now" Durational Determinacy SEVEN Meter as Projection: "Projection Defined" Projection and Prediction EIGHT Precedents for a Theory of Projection NINE Some Traditional Questions of Meter Approached from the Perspective of Projective Process: Accent Division Hierarchy Anacrusis Pulse and Beat Metrical Types - Equal/Unequal TEN Metrical Particularity: Particularity and Reproduction Two Examples ELEVEN Obstacles to a View of Meter as Process: Meter as Habit "Large Scale Meter as Container (Hypermeter) TWELVE The Limits of Meter: The Durational "Extent" of Projection The Efficacy of Meter Some Small Examples THIRTEEN Overlapping, End as Aim, Projective Types: Overlapping End as Aim Projective Types FOURTEEN Problems of Meter in Early-Seventeenth-Century and Twentieth-Century Music: Monteverdi, "Oime, se tanto amate" (First Phase) Shutz, "Adjuro vos, filiae Jerusalem" Webern, Quartet, op. 22 Babbitt, Du SIXTEEN The Spatialization of Time and the Eternal "Now Moment"