HIPP

This essay deals with possible interpretative differences between cut time (𝇍) and 2/2 in French Baroque music. To this goal I will explore several treatises from that period and area. Cut time (𝇍) is different from 2/2 with respect to interpretation in at least three 18th-century French sources. In those sources, the differences between both […]

This is a follow-up on my essay What is Inégalité (Inequality) in French Baroque Music? to broaden one’s understanding of the practice of rhythmic inequality (notes inégales). It focusses on six terms/concepts used by 17th– and 18th-century French writers related to inégalité or to other performance-practice features that often cause interpretative problems for modern-day performers

This is an article that focusses on one of the most characteristic and stylistically important aspects of French Baroque (and galant) performance practice: inégalité (inequality) and its notes inégales (unequal notes). A considerable number of historical sources point out that, when interpreting French Baroque (and galant) music, inégalité is the norm and that failing to