In this influential book on the subject of rhythm, the authors develop a theoretical framework based essentially on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm, with exercises for the student's own work."This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."—New York Times Book Review"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."—Notes". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."—Journal of Music TheoryThe late GROSVENOR W. COOPER, author of Learning to Listen, was professor of music at the University of California at Santa Cruz.

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory  "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review

Meyer makes a valuable statement on aesthetics, criteria for assessing great works of music, compositional practices and theories of the present day, and predictions of the future of Western culture. His postlude, written for the book's twenty-fifth anniversary, looks back at his thoughts on the direction of music in 1967.

Meyer makes a valuable statement on aesthetics, criteria for assessing great works of music, compositional practices and theories of the present day, and predictions of the future of Western culture. His postlude, written for the book''s twenty-fifth anniversary, looks back at his thoughts on the direction of music in 1967.

In this volume Leonard Meyer proposes a theory of style and style change that relates the choices made by composers to the constraints of psychology, cultural context, and musical traditions. He seeks to explore why, out of the abundance of compositional possibilities, composers choose to replicate some patterns and neglect others. Meyer devotes the latter part of his book to a sketch-history of 19-century music. He shows explicitly how the beliefs and attitudes of Romanticism influenced the choices of composers from Beethoven to Mahler and into more recent times.

Leonard B. Meyer's writings on the theory, history, perception and aesthetics of music have inspired and provoked generations of readers. This book makes available a selection of his essays originally published between 1974 and 1998. Gathering them together in one volume not only enables the essays to "converse" with and illuminate each other, but also allows Meyer to revise, recant and comment on the ideas they present. The text joins music theory to history, history to culture, culture to aesthetics, aesthetics to psychology and psychology back to theory. In so doing, it highlights the complex interrelationships at the heart of the creation, comprehension and history of music.

In this influential book on the subject of rhythm, the authors develop a theoretical framework based essentially on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm, with exercises for the student's own work."This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."—New York Times Book Review"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."—Notes". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."—Journal of Music TheoryThe late GROSVENOR W. COOPER, author of Learning to Listen, was professor of music at the University of California at Santa Cruz.

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory  "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review

Meyer makes a valuable statement on aesthetics, criteria for assessing great works of music, compositional practices and theories of the present day, and predictions of the future of Western culture. His postlude, written for the book's twenty-fifth anniversary, looks back at his thoughts on the direction of music in 1967.

Meyer makes a valuable statement on aesthetics, criteria for assessing great works of music, compositional practices and theories of the present day, and predictions of the future of Western culture. His postlude, written for the book''s twenty-fifth anniversary, looks back at his thoughts on the direction of music in 1967.

In this volume Leonard Meyer proposes a theory of style and style change that relates the choices made by composers to the constraints of psychology, cultural context, and musical traditions. He seeks to explore why, out of the abundance of compositional possibilities, composers choose to replicate some patterns and neglect others. Meyer devotes the latter part of his book to a sketch-history of 19-century music. He shows explicitly how the beliefs and attitudes of Romanticism influenced the choices of composers from Beethoven to Mahler and into more recent times.

Leonard B. Meyer's writings on the theory, history, perception and aesthetics of music have inspired and provoked generations of readers. This book makes available a selection of his essays originally published between 1974 and 1998. Gathering them together in one volume not only enables the essays to "converse" with and illuminate each other, but also allows Meyer to revise, recant and comment on the ideas they present. The text joins music theory to history, history to culture, culture to aesthetics, aesthetics to psychology and psychology back to theory. In so doing, it highlights the complex interrelationships at the heart of the creation, comprehension and history of music.