I can think of at least one example where practice followed theory, and that's the case of modal/Garlandian notation in the Parisian Organum repertory. The fact is that the theorists wrote about the rhythmic modes and invented mode 2 (short long) to balance mode 1 (long short), but at the time of the theorizing, mode 2 really didn't exist. But after the theorizing, music started being composed that *did* use mode 2, because it had been revealed theoretically, and so was then used in actual music. (Fenton)
Sure, and this happened in electronic music too. It happened so often, also in Bartok, but this isn't actually my thesis, which I do not feel like explaining again, since I did it yesterday already. Send instant messages to your online friends http://uk.messenger.yahoo.com _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
