Roger Mathew Grant
- Published in print:
- 2014
- Published Online:
- December 2014
- ISBN:
- 9780199367283
- eISBN:
- 9780199367306
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199367283.003.0004
- Subject:
- Music, Theory, Analysis, Composition
From its earliest formulations in writings on music, triple meter has held a special position. Conceptions of triple meter as the perfect mode of temporal division gave way during the sixteenth ...
More
From its earliest formulations in writings on music, triple meter has held a special position. Conceptions of triple meter as the perfect mode of temporal division gave way during the sixteenth century to conceptions of triple meter grounded in a basic inequality, connected to the construction of the unequal tactus or battuta. While duple meters consisted of a lowering and raising of the hand that were equal in length, triple meters consisted of a lowering of the hand that was double the length of the following raise. An unequal meter, triple meter was similar in nature to the unbalanced meters in five or seven with which we are familiar today. This chapter revitalizes an unequal conceptualization of triple meter and brings this consideration to bear in analyses of Schein, Susato, Gervaise, Purcell, and Handel.Less
From its earliest formulations in writings on music, triple meter has held a special position. Conceptions of triple meter as the perfect mode of temporal division gave way during the sixteenth century to conceptions of triple meter grounded in a basic inequality, connected to the construction of the unequal tactus or battuta. While duple meters consisted of a lowering and raising of the hand that were equal in length, triple meters consisted of a lowering of the hand that was double the length of the following raise. An unequal meter, triple meter was similar in nature to the unbalanced meters in five or seven with which we are familiar today. This chapter revitalizes an unequal conceptualization of triple meter and brings this consideration to bear in analyses of Schein, Susato, Gervaise, Purcell, and Handel.
Todd Decker
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520282322
- eISBN:
- 9780520966543
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520282322.003.0010
- Subject:
- Film, Television and Radio, Film
Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of ...
More
Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characterize new sorts of soldierly action—such as work at a computer—as exciting combat action. Beat-driven combat film scores for Black Hawk Down, United 93, and Green Zone are compared. Finally, an extended combat sequence from The Thin Red Line scored to a stately ostinato musical cue is considered as an extreme case of music taking the place of diegetic sound.Less
Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characterize new sorts of soldierly action—such as work at a computer—as exciting combat action. Beat-driven combat film scores for Black Hawk Down, United 93, and Green Zone are compared. Finally, an extended combat sequence from The Thin Red Line scored to a stately ostinato musical cue is considered as an extreme case of music taking the place of diegetic sound.
