Common-Time Displacement in Mozart

Grave, Floyd K.

doi:10.2307/763589

Cited by 3 publications

(3 citation statements)

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“…With this result combined with the metric displacements in Mozart's music in common time demonstrated hy Grave (1984Grave ( , 1985, it seems reasonahle to helieve that Mozart sometimes wrote in compound common time. It would he possihle to come away from this study with a rather skeptical position with regard to Koch's metrical theories.…”

Section: Discussionmentioning

confidence: 81%

“…As a cue to the use of compound measures, this is extremely common in music from the first half of the 18th century, for example in works by Vivaldi or Telemann, but there are only two documented instances that I know of in Mozart's music.T his fact alone should indicate that, as Grave (1984Grave ( ,1985 has also argued, if we perceive Mozart using compound meter, it is in a form that is both a remnant of and a transformed reference to an earlier, more robust practice.^" Cadence placement is another relatively objective cue, though there is room for argument regarding the degree to which the rule of cadences on the (real) downbeat should be expected to hold. The least equivocal evidence is the return of a complete thematic statement with a shifted metrical position.…”

Section: Discussionmentioning

confidence: 98%

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Koch’s Metrical Theory and Mozart’s Music

Ito

2012

Music Perception

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MiRKA (2009) HAS RECENTLY ARGUED THAT THE18th-century metrical theories of Heinrich Christoph Koch can be revelatory for a reconstruction of contemporary ways of hearing Viennese high classicism. Koch's claims revolve around interactions between the metrical placement of cadences and the articulation of specific beat levels, and these claims are most specific and testable for common time and 6/8. This paper reports two atatistical surveys of works by Mozart that were designed to gauge the fit between the corpus and Koch's theory. In the works examined, the theory was strongly supported for common time, strongly disconfirmed for 6/8, and weakly supported for the other meters encountered. It is argued that these results point toward caution regarding the use of Koch's theories but not toward their outright rejection, and that unexpected statistical contrasts within the corpus indicate the need for a finegrained approach to meter in music of the later 18th century.

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Section: Discussionmentioning

confidence: 81%

Section: Discussionmentioning

confidence: 98%

Koch’s Metrical Theory and Mozart’s Music

Ito

2012

Music Perception

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“…While Mirka's work is more current and thorough, the view of compound 4/4 advanced by Grave ( and ) resembles the hypermetrical floor quite closely: his passages in compound 4/4 include shifts of phrases and sub‐phrases against the bar lines. However, like the eighteenth‐century theorists he interprets, Grave remains fixated on notation: he is preoccupied with the visual displacement of these phrases against the bar lines.…”

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confidence: 99%

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

Love¹

2015

Music Analysis

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This article attempts a partial reconstruction of historical metrical hearing for late eighteenth‐century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth‐century listeners were first‐time listeners, a simple fact with significant consequences for how we understand composers’ intentions and listeners’ experiences. Second, eighteenth‐century listeners were saturated with the music of the day, to a much broader and shallower extent than the modern canon‐bound listener. This second trait enabled eighteenth‐century listeners to absorb the statistical regularities of their musical culture, giving them a set of norms through which to comprehend pieces on the first hearing. In this essay I discuss the consequences of these traits for hypermetre. Drawing on a corpus study of 1780s Viennese chamber music, I offer answers to several questions: How does the first‐time listener respond to hypermetre, compared to the more experienced listener? What consequences does this have for analysis? And what are some of the stylistic regularities underlying hypermetre in chamber music from 1780s Vienna? To answer the latter question, I posit a special level of the metrical hierarchy called the hypermetrical floor, against which hypermetrical phenomena are measured.

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Beethoven and Mozart's Requiem: A New Connection

Churgin¹

1987

Journal of Musicology

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Common-Time Displacement in Mozart

Cited by 3 publications

References 3 publications

Koch’s Metrical Theory and Mozart’s Music

Koch’s Metrical Theory and Mozart’s Music

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

Beethoven and Mozart's Requiem: A New Connection

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