INDEX

Accent: as articulation of the beat, 31, 39, 79, 96, 108; and bar lines, 124; defined, 126; and dynamic stress, 130, 131; and emphasis, 125; and intrinsically long notes, 127-29

Accented and unaccented syllables, 63

Adlung, Jacob, 47, 128

Allemande no. 9 (Engramelle), 121

Anerio, Felice, 21

Anschlagende Noten and perception of the beat, 81

Antoniotto, Giorgio, 42, 131

Arger, Jane, 91, 137

Aristoxenus, 62, 63

Articulation of the beat: by accent, 79, 96, 108; by bowing, 103-109; detached, 91, 96; by fingering, 82, 91-97; mechanical organ, 110; by tonguing, 97-103

Articulation silences, 92, 110, 118

Bach, C. P. E., 94-96,134

Bach, Johann Christian, 83

Bach, Johann Sebastian, 48, 56, 83, 88, 96, 134

Bacilly, Bénigne de, 86

La Badine d’Alarius, 121

Baif, Antoine de, 64

Balbastre, Claude, 116, 162

Ballière de Laissement, Charles Louis Denis, 131

Banchieri, Adriano, 15

Bank, J. A., 3,15

La Barcelonette, 120

Barley, William, 8

Bar lines and accent, 124

Bathe, William, 29, 30

Beethoven, Ludwig van, 96, 134

Bol, Johan Hendrik Daniel, 103

Bona, Valerio, 21

Bononcini, Giovanni Maria, 14, 21, 23-25, 27-28, 42, 45,59

Borin, 37, 57

Bourgeois, Loys, 86

Bowing, 82, 103; and articulation of the beat, 103-109; in orchestras, 107; up- and down-bow on the viola da gamba, 103, 109; up- and down-bow on the violin, 104, 108

Boyden, David, 107, 108,109

Bressan, P. J., 88

Brossard, Sébastian de, 41, 42, 45, 57

Brunelli, Antonio, 15

Le Bûcheron, 120, 121

Buffardin, Pierre Gabriel, 88, 89

Burney, Charles, 76,131

Butler, Charls, 30, 31, 102, 125

c and , 14, 15, 16, 17, 40, 44, 57

Caccini, Giulio, 86

Callcott, John Wall, 42, 76, 124-26

Calvisius, S., 15

Carissimi, Giovanni Giacomo, 26, 45

Celtes, Konrad, 63

Clementi, Muzio, 96

Conducting techniques: 17th century, 6—12; 18th century, 38, 51, 87

Conductor’s beat, speed of, 5

Corelli, Archangelo, 82, 107, 108, 131

Corrette, Michel, 37, 57, 58, 59, 60, 102, 108

Couperin, François, 24, 92, 121

Courville, Joachim Thibault de, 64

Czerny, Carl, 96

Dahlhaus, Carl, 9, 20, 22

Dalla Casa, Girolamo, 97

Dance music and rhythmopoeia , 65, 67, 70

Danoville, 103

David, François, 37, 57

Deila Ciaja, Azzolino, 95

Démotz de la Salle, J. F., 37, 57

Descartes, René, 76

Detached articulation, 91, 96

Détacher, 87

Devienne, François, 102

Diderot, Denis, 56

Dieupart, Charles, 88

Diruta, Girolamo, 81, 92-94

Doni, Giovanni Batrista, 63

Dowland, John, 3-4

Du Caurroy, Eustache, 63

Du Cousu, Antoine, 18

Duple meter signs, mensural notation, 13

Dupont, Pierre, 37, 38, 108

Dynamic stress and accent, 130, 131

Eisel, J. P., 47

Emphasis and accent, 125

Engramelle, Marie-Dominique-Joseph, 110, 114-23

Erig, Richard, 97, 98

Falck, Georg, 19

Fantini, Girolamo, 98

Finck, Heinrich, 3

La fontaine de Jouvance, 121

Forqueray, Antoine, 109

Freillon Poncein, Jean Pierre, 98,100

French meter signs, 18, 28

Frescobaldi, Girolamo, 25, 26

Fuhrmann, Heinrich, 45

Gabrieli, Giovanni, 16, 93

Galilei, Giovanni, 63—65

Ganassi dal Fontego, Sylvestro, 103

Geminiani, Francesco, 108,131

Genre as a tempo indication, 15-17, 19, 26, 37, 38, 49, 57-60

Glareanus, Heinrich, 13

Goetting, V., 15

Good and bad notes, 81-83; equated with accent, 130; and perception of the beat, 84, 89

Good and bad fingers, 81, 82, 92

Grassineau, James, 41, 42, 45, 57—60

Handel, George Frederic, 131

Hasse, Johann Adolf, 83

Haydn, Joseph, 134

Heinichen, Johann David, 81

Herbst, Johann Andreas, 104, 109

Herrmann-Bengen, Irmgard, 32

Heyden, Sebald, 3

Hiller, Johann Adam, 47, 83, 84

Hofhaimer, Paul, 63

Holden, John, 42, 78-80, 83, 84, 131

Horn, J. C., 67

Hotteterre, Jacques Martin, 98, 100-102, 121

Hsu, John, 109

Inequality varied in performing notes inégales, 119

Intrinsically long notes: equated with accent, 127-29; as a perception of the beat, 80, 83

Jones, Rev. William of Nayland, 131

Josquin Despres, 8

Kalkbrenner, Christian, 47

Keyboard fingering, 91—97; and articulation of the beat, 82, 94; super-legato, 92

Kircher, Athanasius, 63, 65

Kirnberger, Johann Philipp, 47-49, 51, 56-60

Koch, Heinrich Christoph, 49, 126, 128, 130

Kollmann, A. C. F., 43, 131

L’Abbé le fils, 108

Laborde, Jean-Benjamin de, 56

Lacassagne, l’Abbé Joseph de, 54-56, 58-60

Lanfranco, Giovanni Maria, 3

LaRiche, François, 88

Lasso, Orlando di, 16, 21

La Voye-Mignot, de, 14

Le Blanc, Hubert, 109

Legato style, 96

Le Jeune, Claude, 63

Listenius, Nikolaus, 3

Loeillet, J. B., 88

Loulié, Etienne, 19, 27, 29, 36, 86-88, 90, 109

Lourer, 87, 89

Lully, Jean Baptiste, 18, 19, 29, 67, 70, 88, 103, 108

Lustig, Jean Gerard, 68

Mace, Thomas, 30

Maichelbeck, Franz Anton, 47

Maier, J.F.B. C., 47, 57-59

Malcolm, Alexander, 38, 39, 40, 41, 57, 102, 125

Manfredini, Vincenzo, 37

Mann, Elias, 43

Marais, Marin, 86, 109

La Marche du Roy, 121

Marche no. 10 (Engramelle), 121

Marcou, Pierre, 91

Marenzio, Luca, 21

Marpurg, Friedrich Wilhelm, 47, 91

Masson, Charles, 19

Mattheson, Johann, 45-48, 51, 56-60, 67-71, 73, 76, 77, 126, 127

Mauduit, Jacques, 63

Melopoeia, 63

Mensural notation: duple meter signs, 13; proportions in, 19, 20, 24; signs, 21, 25, 30; triple meter signs, 20

Menuet de Zelindor ; 115, 116

Menuet du Roy de Prusse, 121

Menuet no. 6 (Engramelle), 120

Merck, Daniel, 10, 17, 28, 33

Mersenne, Marin, 5, 64, 65-68, 71, 74, 103, 125, 126

Meter: defined, vii; and emotion, 64, 71-73, 75; French signs for, 18, 28; metrical hierarchy, 33, 68, 70; poetic meter and music, 63, 64, 70

Momigny, Jérome-Joseph de, 131

Montéclair, Michel Pignolet de, 36, 52-55, 108

Monteverdi, Claudio, 16

Morley, Thomas, 3

Mozart, Leopold, 46, 47, 108, 131, 133

Mozart, W.A., 96, 134

Muffat, Georg, 19, 29, 82, 88, 103, 104,107, 108, 109,133

Münster, Joseph Joachim Benedict, 47

Musical humanism, 63

Musique mesurée à l’antique, 63

Nanino, G. B., 8

Notational reform, 49-56

Notes inégales, 86-91, 119-21; and tonguing, 101; with varied inequality, 119

Note values and the tactus , 3—12

Olthof, Statius, 63

Ornithoparchus, Andreas, 3, 4

Ortiz, Diego, 86, 91

Paisible, Jacques, 88

Palestrina, G. P. da, 8

Parkins, Robert, 94

Pasquini, Bernardo, 82

Penna, Lorenzo, 9, 14, 23, 24, 28, 34, 42, 45, 82

Perception of the beat: as anschlagende Noten, 81; as good and bad notes, 81, 82, 84, 89; as heavy and light, 79; as intrinsically long and short notes, 80, 83; as pulsation and remission, 79-80; as strong and weak pulses, 78; as superior regard, 79

Pergolesi, Giovanni Battista, 91

Pincherle, Marc, 108

Pisa, Agostino, 5, 6, 8

Playford, John, 8,30

Poetic feet and musical equivalents, 66, 68, 69

Les Portraits à la Mode, 121

Praetorius, Christoph, 15, 22

Praetorius, Michael, 15, 16, 17, 21, 22, 23, 26

Prelleur, Peter, 42,57

Printz, Wolfgang Caspar, 13, 14, 19, 24, 26, 27, 67-71, 74, 76, 77, 80, 81, 130

Pronunciation: accented and unaccented syllables, 63; and articulation silences, 110; long and short syllables, 65, 81, 83

Proportions in mensural notation, 4, 7, 20-26, 58

Pulsation and remission as perception of the beat, 79-80

Purcell, Henry, 14

Quantz, Johann Joachim, 47, 57, 58, 83, 89, 90, 98, 102, 103,108

Quirsfeld, Johann, 9, 34

Quitschreiber, Georg, 16, 17

Rameau, Jean-Philippe, 19, 42, 49, 50, 51, 53-55, 57, 92, 121, 130

Ravenscroft, Thomas, 8,13, 30

Reese, Gustave, 63

Rhythmopoeia: defined, 62; in the 17th and 18th centuries, 65-71; and dance music, 65, 67, 70; and emotion, 71—73; decline of, 74-76

Riepel, Joseph, 68

Ritardando, 117

Rodgers, Julane, 93

Rognoni, Francesco, 97

Romance (Engramelle), 121

Romance de Mr. Balbastre, 116

Rousseau, Jean, 19, 27, 29, 86, 102, 103

Rousseau, Jean-Jacques, 37, 53, 54, 55, 74, 75, 130, 131

Saint Lambert, Michel de, 18, 19, 29, 37, 38

Salinas, Francisco de, 64, 65

Scarlatti, Alessandro, 95

Scarlatti, Domenico, 95

Scheibe, Johann Adolf, 49, 71, 81,127

Schmelzer, Johann Heinrich, 44

Schneegasz, Cyriacus, 3, 15

Schröter, Leonhard, 71

Senfl, Ludwig, 63

Serinette, 110, 122

Sextupla (6/4), 22, 28

Simpson, Christopher, 8, 103

Slurs, 92, 102

Speer, Daniel, 17

Sperling, Johann Peter, 43, 44

Steele, Joshua, 42, 79, 80, 84

Stickney, John, 42, 57

Stowell, Robin, 109

Stringed-instrument bowings, 103-109

Strong and weak pulses as a perception of the beat, 78

Superior regard as a perception of the beat, 79

Super-legato keyboard fingering, 92

Syllables: accented and unaccented, 63; long and short, 65, 81, 83

Tactus: defined, 1; equated with the semibreve, 3; as gesture, 4, 6, 9, 30, 33; measure of, 2; speed of, 3, 5, 7, 8, 17, 22; as unvarying beat, 3

Tans’ur, William Sr., 41, 42, 57-60

Tartini, Giuseppe, 130

Tempo indications: genre, 15-17, 19, 26, 37, 38, 49, 57—60; mensural proportion signs, 25; mensural signs, 13; meter signs, 21, 29, 41; note values, 14, 27, 40, 49, 53; tempo words, 15,16, 27, 29, 33, 40, 44, 48, 52, 55; time signatures, 37, 46, 47, 48

Tenues and tactées, 110

Thiémé, Frédéric, 56

Time signatures: and bowing patterns, 104; classification, 36, 37, 41-43, 45, 47, 49, 54; defined, 35; early definitions, 23, 43; 18th-century English, 38ff.; 18th-century French, 36ff.; 18th-century German, 43; inverted, 24, 44; and notes inégales, 87; as tempo indications, 37, 46, 47, 48; and tonguing patterns, 98

Tomás de Santa Maria, 86, 91

Tonguing patterns: 97—103

La Tonotechnie, 110-22

Torlée, J. C, 88

Triple meter signs from mensural notation, 20

Tritonius, Petrus, 63

Türk, Daniel Gottlob, 91, 92, 96, 128

Turner, William, 40, 41, 57, 58, 60

Tyard, Pontus de, 64, 65

Valentini, Pier Francesco, 5, 6, 8, 20, 21, 23, 24

Vaucanson, Jacques de, 110

Viadana, Lodovico, 16

Vogel, Harald, 93

Void notation, 24, 36

Volumier, J. B., 88

Vossius, Isaac, 72—75

Walker, D. P., 63, 64

Walther, Johann Gottfried, 45, 82, 89, 128

Walther, Johann Jacob, 44

Williams, C F. Abdy, 62

Williams, Peter, 95, 96

Wolf, johannes, 19

Zannetti, Gasparo, 104, 109

Zarlino, Gioseffo, 4