An example of the first patented model of the Maelzel Metronome, made in Paris around 1816. Credit Tony Bingham/Basel Historical Museum
This music critic scored a humiliating 47 percent.
“That’s not very good, by the way,” Martin Kirnbauer, a musicologist said gently, and somewhat redundantly. He is the curator of the exhibition “Up Beat! Metronomes and Musical Time” here, which investigates how timekeeping devices have affected the way composers and performers relate to time. Isabel Münzner, the museum’s director, cut in diplomatically: “We get drum majors here from the Basel Carnival bands, and they are shocked when they only score in the 70 percent range.” Full story.
Corinna da Fonseca-Wollheim (The New York Times) / June 30, 2017
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