Tactus, Mensuration and Rhythm in Renaissance Music

Nonfiction, Entertainment, Music, Theory & Criticism, Theory, Songbooks, Musical Scores
Cover of the book Tactus, Mensuration and Rhythm in Renaissance Music by Ruth I. DeFord, Cambridge University Press
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Author: Ruth I. DeFord ISBN: 9781316234846
Publisher: Cambridge University Press Publication: April 23, 2015
Imprint: Cambridge University Press Language: English
Author: Ruth I. DeFord
ISBN: 9781316234846
Publisher: Cambridge University Press
Publication: April 23, 2015
Imprint: Cambridge University Press
Language: English

Ruth I. DeFord's book explores how tactus, mensuration, and rhythm were employed to articulate form and shape in the period from c.1420 to c.1600. Divided into two parts, the book examines the theory and practice of rhythm in relation to each other to offer new interpretations of the writings of Renaissance music theorists. In the first part, DeFord presents the theoretical evidence, introduces the manuscript sources and explains the contradictions and ambiguities in tactus theory. The second part uses theory to analyse some of the best known repertories of Renaissance music, including works by Du Fay, Ockeghem, Busnoys, Josquin, Isaac, Palestrina, and Rore, and to shed light on composers' formal and expressive uses of rhythm. DeFord's conclusions have important implications for our understanding of rhythm and for the analysis, editing, and performance of music during the Renaissance period.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Ruth I. DeFord's book explores how tactus, mensuration, and rhythm were employed to articulate form and shape in the period from c.1420 to c.1600. Divided into two parts, the book examines the theory and practice of rhythm in relation to each other to offer new interpretations of the writings of Renaissance music theorists. In the first part, DeFord presents the theoretical evidence, introduces the manuscript sources and explains the contradictions and ambiguities in tactus theory. The second part uses theory to analyse some of the best known repertories of Renaissance music, including works by Du Fay, Ockeghem, Busnoys, Josquin, Isaac, Palestrina, and Rore, and to shed light on composers' formal and expressive uses of rhythm. DeFord's conclusions have important implications for our understanding of rhythm and for the analysis, editing, and performance of music during the Renaissance period.

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