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We often take it for granted that pieces of eighteenth-century music are consistent in their use of written meter. That is, we expect a piece to remain in the same meter – as indicated by the time signature provided at the outset – from beginning to end, or at least until the start of a new section.1 To be sure, composers would often write in such a way as to create the aural effect of a changing meter (a phenomenon known to several eighteenth-century theorists as imbroglio).2 Yet this type of metric play almost always took place within an unchanging notated meter: in other words, where the length of the written measure remained constant.

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French Influence in the Mixed Metric Practices of George Frideric Handel

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  • 发表日期：

    2025年

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  • Paul Newton-Jackson

摘要

We often take it for granted that pieces of eighteenth-century music are consistent in their use of written meter. That is, we expect a piece to remain in the same meter – as indicated by the time signature provided at the outset – from beginning to end, or at least until the start of a new section.1 To be sure, composers would often write in such a way as to create the aural effect of a changing meter (a phenomenon known to several eighteenth-century theorists as imbroglio).2 Yet this type of metric play almost always took place within an unchanging notated meter: in other words, where the length of the written measure remained constant.