Some thoughts on the conventional alteration of rhythm

Authors

DOI:

https://doi.org/10.21638/11701/spbu15.2018.203

Abstract

The article is dedicated to the problem of terminology concerning the main forms of the conventional rhythmic alteration in Baroque and partly Post-Baroque music. Beginning with the study by Arnold Dolmetsch who, in 1915 introduced into scholarly usage the lexeme conventional alteration of rhythm, many authorities have directed their scientific research toward the problem of the specific conventions which existed in rhythmic notation. As a result numerous related musical terms entered the thesaurus of contemporary research: ‘conventional alteration of rhythm’, ‘rhythmic alteration’, ‘notes inégales’, ‘inequality’, ‘overdotting’, ‘unequal’, and the like, which have become abundantly used. However, strict definitions and hierarchies among these terms are lacking in scholarly knowledge. Moreover, until the present day, one may uncover diametrically opposed and controversial interpretations of the basic concepts in the sphere of rhythmic alteration in thematically oriented music publications, reference and encyclopedic literature. The principal disagreements have arisen in connection with the French artistic technique of the notes inégales when a number of authors spread it far beyond the performance practice of French Baroque and Post-Baroque music contrary to, and without justification in, the opinions of early French musicians. This lead to great confusion in early music performance for those musicians who put much effort into their search for historically informed interpretation. The article attempts to reveal the most problematic aspects of modern ideas about the practice of rhythmic alteration in Western European music of the 17th and 18th centuries, and to point to the most characteristic and typological errors in the interpretation of historical sources by contemporary researchers.

Keywords:

сonventional alteration of rhythm, rhythmic alteration, notes inégales, inequality, overdotting, marqué, coulés, dont les points

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Author Biographies

Alexei A. Panov, Saint Petersburg State University

Dr. Habil., Professor, Director of the Department of Organ, Harpsichord and Carillon, Member of the Board of the Russian National Society for Theory of Music

Ivan V. Rosanoff, Saint Petersburg State University, The Rimsky-Korsakov Saint Petersburg State Conservatory

Dr. Habil., Professor of the Department of Organ, Harpsichord and Carillon at the Saint Petersburg State University; Professor of the Department of Organ and Harpsichord at the Rimsky-Korsakov Saint Petersburg State Conservatory

References

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Published

2018-06-08

How to Cite

Panov, A. A. ., & Rosanoff, I. V. . (2018). Some thoughts on the conventional alteration of rhythm. Vestnik of Saint Petersburg University. Arts, 8(2), 195–213. https://doi.org/10.21638/11701/spbu15.2018.203

Issue

Vol. 8 No. 2 (2018)

Section

Music

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Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.

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