Mensuration and proportion signs : origins and evolution /
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| Author / Creator: | Berger, Anna Maria Busse, author. |
|---|---|
| Imprint: | New York : Oxford University Press, [2021] ©1993 |
| Description: | xi, 271 pages : illustrations ; 24 cm. |
| Language: | English |
| Series: | Oxford monographs on music Oxford monographs on music. |
| Subject: | |
| Format: | Print Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/12769767 |
Table of Contents:
- List of Figures
- Abbreviations
- Introduction
- 1. The Representation and Interpretation of Mensuration Signs
- I. Tempus Signs
- II. Modus Signs
- A. Mode-Rest Signs
- B. Modus cum tempore Signs
- C. Unusual Mode Signs
- III. Prolation Signs
- IV. Intrinsic Signs
- V. Modifications of Geometric Signs and Figures to Indicate Diminution and Proportion
- VI. Mensuration when No Sign is Given
- VII. An Explanation of &revcipa; and C in German Sources
- 2. The Origins of the Mensural System and Mensuration Signs
- 3. The Relationship between Perfect and Imperfect Time
- I. The Problem
- II. Method of Investigation
- III. Theorists who Favour Breve Equality
- A. Direct Evidence
- B. Indirect Evidence
- IV. Theorists who Favour Equal Breve and Equal Minim
- V. Theorists who Favour Equal Minim
- A. Direct Evidence
- B. Indirect Evidence
- VI. Placement of Tactus (Battuta, Mensura)
- VII. Conclusions Drawn from Theoretical Evidence
- VIII. Equal Breve in Musical Sources
- IX. Origins of the Equal-Breve Tradition
- X. Suggestions for Performance
- 4. The Relationship between Major and Minor Prolation
- I. The Problem
- II. Major Prolation Combined with Minor Prolation
- A. Augmentation
- B. Minim Equivalence between Major and Minor Prolation
- C. Major Prolation in One Voice in Musical Practice
- III. Major Prolation in All Parts
- A. Method of Investigation
- B. Theorists who Favour Equal Semibreve
- C. Theorists who Favour Equal Minim
- D. Conclusions Drawn from Theoretical Evidence
- E. Major Prolation in All Parts in Musical Practice
- F. Suggestions for Performance
- 5. Diminution by Stroke and by Mode Signs
- I. The Problem
- II. Cut Signs
- A. Southern Theorists
- B. Northern Theorists
- III. Diminution in the Fourteenth and Early Fifteenth Centuries
- IV. Conclusions Drawn from Theoretical Evidence
- V. Modus cum tempore Signs
- A. O3, O2, C3, and C2 in Theory
- B. O2 in Musical Practice
- VI. The Relationship between Cut Signs and Modus cum tempore Signs
- 6. Proportion Signs
- I. The Problem
- II. Which Proportions were Used?
- III. How were the Proportions Indicated?
- IV. From Mensuration Signs to Fractions
- V. The Relationship of Proportions to each Other
- VI. Is the Mensuration Dependent on the Proportion Sign or the Preceding Mensuration Sign?
- VII. The Mensuration of the Note-Values Compared in a Proportion
- VIII. The Influence of Arithmetic on Mensural Proportions
- IX. The Division of the Battuta in Unequal Proportions
- X. The Compared Note-Value in a Proportion
- Conclusions
- Appendix: Index of Signs
- Bibliography
- Index of Compositions
- General Index
