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Article

David Fallows

(from Gk. metron: ‘a measure’ and nomos: ‘law’; Fr. métronome; Ger. Metronom, Taktmesser; It. metronomo)

An apparatus for establishing musical tempo. More specifically, it is the clockwork-driven double-pendulum device perhaps invented about 1812 by Diederich Nikolaus Winkel but refined and patented by Johann Nepomuk Maelzel in 1815. The name seems to have entered the English and French languages specifically on Maelzel’s patents filed in London and Paris; and there is no apparent evidence of its earlier use in any European language.

Traditionally the metronome has had two main purposes, which should be considered quite separately.

Nearly all the main developments have been driven by the need for composers and editors to fix the tempo they considered appropriate for a particular work (but see Tempo and expression marks, §4). This began to seem necessary for the first time in the late 17th century, when the music of different nationalities evolved markedly different styles and performance conventions but was internationally available. Thus Etienne Loulié (1696...

Article

Margaret Bent and Alexander Silbiger

[musica falsa](Lat.: ‘false, feigned or contrived music’ synonymous with falsa mutatio, coniuncta )

These terms were used by theorists from the late 12th century to the 16th, at first in opposition to musica recta or musica vera, to designate ‘feigned’ extensions of the hexachord system contained in the so-called Guidonian hand. Most scholars accept that notated polyphony of this period required performers to interpret under-prescriptive notation in accordance with their training (by contrapuntal and melodic criteria about which scholars disagree), ensuring the perfection of consonances, and approaching cadences correctly. These requirements could often be met within the rectasystem, but musica ficta was used ‘where necessary’ – in modern terms only, by ‘adding accidentals’; in medieval terms, by ‘operating musica ficta’.

In modern usage, the term musica ficta is often loosely applied to all unnotated inflections inferred from the context, for editorial or ‘performers'’ accidentals rather than notated ones (whether properly recta or ficta). Editors usually place accidentals that they have supplied, on behalf of performers, above the affected note or in brackets or small type, to distinguish them from those having manuscript authority. (On the placing of editorial accidentals, see especially Anglès, ...