Tools

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001 ocm31288071;

003 OCoLC;

005 20141212115423.0;

008 940922s1994 nyua bk 001 0 eng ;

010 a| 94036464;

020 a| 0198161697;

035 a| (Sirsi) o31288071;

035 a| (OCoLC)31288071;

049 a| EREMa| NPEE;

050 00 a| ML437b| .H83 1994;

082 00 a| 781.4/322| 20;

092 a| 781.432b| H86s;

100 1 a| Hudson, Richard,d| 1924-2019=| ^A48060;

245 10 a| Stolen time :b| the history of tempo rubato /c| Richard Hudson.;

260 a| Oxford :b| Clarendon Press,c| 1994.;

300 a| xiv, 473 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 449-461) and indexes.;

504 a| Discography: pages 462-463.;

505 0 a| Background of the later rubato -- Background of the earlier rubato -- The earlier rubato in vocal music -- The earlier rubato in violin music -- Both types of rubato in keyboard music -- Haydn, Mozart, and Beethoven -- Chopin -- Contemporaries of Chopin -- The later Romantic rubato -- The modern rubato -- The future of rubato.;

520 a| The history of tempo rubato ('stolen time') is as old as music itself. Composers and performers sometimes alter the expected rhythm or tempo in order to enhance the expressive power of the music. The technique has been variously described by theorists and composers as 'an honest theft', 'a pernicious nuisance', even 'seductive' (by Franz Liszt), yet it remains integral to the performance and history of music. This book is the first to present the complex history of this device. The author identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar one in which the tempo of the entire musical substance fluctuates. In the course of his narrative he ranges widely over Western music, from Gregorian Chant to Chopin, from C.P.E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching rubato in the music of nineteenth-century composers such as Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky. As such his book will be of wide interest and of particular relevance to performers.;

650 0 a| Rubato.?| UNAUTHORIZED;

650 0 a| Musical meter and rhythm.=| ^A21645;

650 0 a| Performance practice (Music)=| ^A252120;

590 a| Little-287925--305130049603Y;

596 a| 2 3;

998 a| 574207;

999 a| ML437 .H83 1994w| LCc| 1i| 30372008881994d| 6/27/2016e| 3/12/1998f| 6/27/2016g| 3l| MSTm| JMUSICn| 4p| $61.20r| Ys| Yt| MGESBKu| 3/7/1995x| BOOKz| MCIRCo| .STAFF. enhanced, moved from closed to main stacks 10/22/24 -jjab;

999 a| ML437 .H83 1994w| LCc| 2i| 30372009386746d| 6/27/2016e| 11/9/1998f| 5/12/2025g| 4l| MCSm| JMUSICn| 2p| $61.20r| Ys| Yt| MCSSBKu| 4/15/1996x| BOOKz| MCIRCo| .STAFF. enhanced 10/22/24 -jjab;

Stolen time : the history of tempo rubato / Richard Hudson.

Author/creator	Hudson, Richard
Format	Book
Publication Info	Oxford : Clarendon Press, 1994.
Description	xiv, 473 pages : illustrations ; 24 cm
Subjects	Rubato. Musical meter and rhythm. Performance practice (Music)

Contents	Background of the later rubato -- Background of the earlier rubato -- The earlier rubato in vocal music -- The earlier rubato in violin music -- Both types of rubato in keyboard music -- Haydn, Mozart, and Beethoven -- Chopin -- Contemporaries of Chopin -- The later Romantic rubato -- The modern rubato -- The future of rubato.
Abstract	The history of tempo rubato ('stolen time') is as old as music itself. Composers and performers sometimes alter the expected rhythm or tempo in order to enhance the expressive power of the music. The technique has been variously described by theorists and composers as 'an honest theft', 'a pernicious nuisance', even 'seductive' (by Franz Liszt), yet it remains integral to the performance and history of music. This book is the first to present the complex history of this device. The author identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar one in which the tempo of the entire musical substance fluctuates. In the course of his narrative he ranges widely over Western music, from Gregorian Chant to Chopin, from C.P.E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching rubato in the music of nineteenth-century composers such as Chopin and Liszt, where we expect to encounter the term, but also illuminates the music of earlier and later periods, revealing its use even in the music of that most metronomic of composers, Stravinsky. As such his book will be of wide interest and of particular relevance to performers.
Local note	Little-287925--305130049603Y
Bibliography note	Includes bibliographical references (pages 449-461) and indexes.
Bibliography note	Discography: pages 462-463.
LCCN	94036464
ISBN	0198161697

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML437 .H83 1994	✔ Available	Place Hold
Music	Closed Stacks - Ask at Circulation Desk	ML437 .H83 1994	✔ Available	Place Hold

Stolen time : the history of tempo rubato / Richard Hudson.

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