Tracing the complex history of tempo rubato, this book identifies and traces the development of two main types of rubato: an earlier one in which note values in a melody are altered while the accompaniment keeps strict time, and a later, more familiar one in which the tempo of the entire musical substance fluctuates. In the course of his narrative, Hudson ranges widely over western music, from Gregorian Chant to Chopin, from C.P.E. Bach to jazz, quoting extensively from the writings of theorists, composers, and performers. In so doing he not only suggests new ways of approaching the rubato in...

Word grammar is a theory of language structure and is based on the assumption that language, and indeed the whole of knowledge, is a network, and that virtually all of knowledge is learned. It combines the psychological insights of cognitive linguistics with the rigour of more formal theories. This textbook spans a broad range of topics from prototypes, activation and default inheritance to the details of syntactic, morphological and semantic structure. It introduces elementary ideas from cognitive science and uses them to explain the structure of language including a survey of English...

This book argues that language is a network of concepts which in turn is part of the general cognitive network of the mind. It challenges the widely-held view that language is an innate mental module with its own special internal organization. It shows that language has the same internal organization as other areas of knowledge such as social relations and action schemas, and reveals the rich links between linguistic elements and contextual categories. Professor Hudson presents a new theory of how we learn and use our knowledge of language. He puts this to work in a series of extended...

This book concerns the cadences which reach their conclusion by jumping from scale degree 3 down to 1 or to 1-7-1. The chronological history commences in Gregorian Chant, where the falling third is often preceded by scale degree 4, forming the striking figure 4-3-1. The cadences move, along with the borrowed chant melodies, into the polyphony of the late 14th, 15th and 16th centuries. Here, melodic figures with the shape of 4-3-1, but on any scale degree, become a significant element of style. At cadence the unbroken melodic progression 4-3-1-7-1 may lie entirely in the upper voice, or 4-3-1...