Various communications concerning previous topics covered in Performance Practice Revie

Houle, George

Silbiger, Alexander

English

Keck Graduate Institute

Performance Practice Review
Volume 3
Number 1 Spring Article 13
Communications
George Houle
Alexander Silbiger
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Houle, George and Silbiger, Alexander (1990) "Communications," Performance Practice Review: Vol. 3: No. 1, Article 13. DOI:
10.5642/perfpr.199003.01.13
Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/13
Communications
Professor George Houle, Stanford University, conveys the following:
I would like to respond to Alexander Silbiger's review of Meter in Music,
1600-1800 in this journal, vol. 2, no. 1 (Spring 1989). Unfortunately, Mr.
Silbiger has misperceived the fundamental purpose of the book, which is
to report the perception and performance of meter as conceived by
musicians of the time, rather than by looking at this material through the
framework of concepts that developed in later centuries. Mr. Silbiger
writes that "Houle's formulation could be improved by taking account of
the distinction between meter and accentuation, or rather, between
meter and rhythm." Specifically, he proposes applying Leo Treitler's
definitions of meter ("the background articulation of time in equal
intervals") and rhythm ("the foreground articulation by groups oriented
with respect to accents").1
It is precisely because of the realization that this topic cannot be pressed
into this ready mold that I have assembled this information and
attempted to show how subtly the perception of meter is distinguished
from its articulation by a large number of writers of the seventeenth and
eighteenth centuries. Accent is considered to be only one of many and
various means of articulation. Thus there is a crucial distinction between
the perception of meter and the various means used to articulate and
heighten this perception. Accents did not become identified with
metrical perception until the late eighteenth century.
Leo Treitler's definition of rhythm is very close to many found in
nineteenth- and twentieth-century theory books, but it is a concept not
found in those of the seventeenth and early eighteenth centuries. His
definitions of meter and rhythm in thirteenth-century music are logical
only if word accent is equated with musical accent. His ideas have been
challenged2 and considerably enlarged3 as they describe accent, meter,
1. "Regarding Meter and Rhythm in the Ars Anaqua," Musical Quarterly 56
(1979), 542.
2. By Ernest H. Sanders in JAMS 33 (1980), 602.
Communications 107
and rhythm in the thirteenth century. They are irrelevant to the music of
the seventeenth and eighteenth centuries when word accent is
represented in music by numerous and varied equivalents, such as length
and duration of notes, coincidence with harmonic consonance, a rise or
fall in melodic pitch, changes in timbre, as well as with accent or stress.
The writings I came to know during my investigations seemed at first
almost perverse in their difficult descriptions of metrical perception.
They could always be greatly simplified and "improved" if the word
"accent" were to be substituted for quantitas intrinseca, for example, and
in fact, most modern English translations of these theorists do just that.
But it is necessary to be wary of easy simplifications and to pay close
attention to the precise words actually used.
Mr. Silbiger comments that musicians need more guidance interpreting
the tempo relationships of seventeenth century notation than is provided
in the first chapter of Meter in Music. He is right about this. There are
some clear relationships between meter and tempo in the seventeenth
and eighteenth centuries, which are discussed in Meter in Music, but a
great deal more needs to be done in order to understand the use of
tempo-words, note values, the normative tempos of various genres of
composition, and particular practices of individual composers. I hope
that the topic of tempo in the seventeenth century will someday be given
the full-scale study it deserves.
I agree with Mr. Silbiger that more examples of the practical application
of theoretical concepts of meter would be helpful to performers today. It
is a project that I would like to undertake in the near future.
Professor Alexander Silbiger, Duke University, responds as follows:
I am baffled by Professor Houle's statement that I have misperceived the
fundamental purpose of his book, "to report the perception and
performance of meter as conceived by musicians of the time," since it is
precisely for doing this that I praised him in my first paragraph. I did
suggest that certain aspects of his presentation could be made clearer by
reference to the meter-rhythm distinction, which might also shed light on
3. By Margot E. Fassler, "Accent, Meter, and Rhythm in Medieval Treatises De
rithmis," Journal ofMusicology 5 (1987), 164.
108 George Houle
some supposed inconsistencies in writings on the topic by Mattheson and
others. Houle dismisses this suggestion, evidently on the basis that the
concept of this distinction does not appear explicitly in the literature of
the period. This raises a methodological (and perhaps also ideological)
issue which I don't want to get into here, except to say it probably is
illusory to think we can rid ourselves of the concepts that shaped our
thinking on a subject. On the contrary, the concepts of another age are
usually best understood with reference to our own concepts. Let me give
a concrete example by considering the type of basic question that one
would like a book like Houle's to address: Would a 17th-/18th-century
musician have distinguished, in perception or in performance, between
the two patterns:
3 J | J J | J J I J
and
3 J J 1 J J 1 J J 1
(e.g., see Mattheson's Zwesytbige Fussey nos. 3 and 4, represented in
Houle's book on p. 135)? If a distinction was made, whether by dynamic
accent or merely by bowing, tonguing, fingering, or other subtle Baroque
device, the distinction between Mattheson's two rhythmi is not one of
meter (not even for an 18th-century musician), but one of rhythm. If in
performance no distinction was made between the two patterns, then
we are dealing with identical rhythms shifted against a common metric
background. In short, I propose that the meter-rhythm distinction is
indispensable for a fruitful discussion of 17th-/18th-century practices and
perceptions.


Communications

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Communications

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