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<TITLE>Re: [Smt-talk] Classical metric fakeouts</TITLE>
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<FONT FACE="Palatino"><SPAN STYLE='font-size:12pt'>Dear All,<BR>
This goes rather earlier than anyone has suggested, but what about the C# minor fugue from Book 1 of the WTC, which suggests a standard <I>alla breve</I> minim beat of a fairly boring organ kind at the beginning, only to break out in crotchets & quavers later with the two countersubjects/other subjects, as if to say ‘this is what I really meant’?<BR>
<I>f<BR>
</I>-- <BR>
<FONT COLOR="#800080">(Dr) Fiona McAlpine<BR>
Honorary Research Fellow<BR>
School of Music <BR>
University of Auckland<BR>
Auckland<BR>
NEW ZEALAND<BR>
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Secretary/Treasurer<BR>
New Zealand Musicological Society<BR>
<BR>
Le Béguinage <BR>
42 Horns Rd<BR>
RD 1<BR>
Oxford 7495<BR>
North Canterbury<BR>
NEW ZEALAND<BR>
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On 28/03/11 4:25 , "Michael Morse" <<a href="mwmorse@bell.net">mwmorse@bell.net</a>> wrote:<BR>
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</SPAN></FONT><BLOCKQUOTE><FONT SIZE="2"><FONT FACE="Tahoma, Verdana, Helvetica, Arial"><SPAN STYLE='font-size:10pt'>Not entirely sure that this is a pure example of the rhythmic fakeout, but the first movement of CPE Bach's Bb Sinfonia starts with held tones answered by moving lines; the precise relation of both to the tempo isn't entirely ambiguous, but neither is it entirely clear. <BR>
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This example raises the question for me: is what London is talking about, and is what you're interested in, a particular subclass of rhythmic ambiguity? i.e., that would also include Brahms's <I>Scheintakte</I> and Beethoven's bar groupings that sound like beat groupings, e.g. the scherzo to the Ninth? Or is there another phenomenon here?<BR>
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Michael Morse<BR>
Trent University Peterborough/Oshawa<BR>
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