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tempo giusto
Tempo giusto is a musical term that means “in exact time,” often directing a return to strict time following a rubato or to play in “strict time” or “suitable time”
==General==
The literal meaning of the term is 'in exact time'. Its most common meaning is to indicate a return to the main tempo after a temporary change (e.g. a rallentando).〔David Fallows. 'Tempo giusto' in Grove Music Online. Oxford University Press. www.oxfordmusiconline.com. Accessed 20 Feb 2015.〕
In the seventieth and eighteenth centuries, 'tempo giusto' referred to the idea that each meter has its own 'ideal' tempo. The larger the beat value of the meter, the slower the tempo. Therefore, meters with beat values of a minim/half note (e.g. 2/2, 3/2) should be performed with a slow tempo; those with quaver/eighth note beats (e.g. 3/8) are fast; while those with crotchet/quarter note beats (e.g. 2/4, 3/4, 4/4) are performed at a moderate or middling tempo. The composer and music theorist, Johann Kirnberger (1776) refined this idea by instructing the performer to consider the following details in combination when determining the best performance tempo of a piece: the tempo giusto of the meter, the tempo term (Allegro, Adagio, etc., if there is one, at the start of the piece), the particular rhythms in the piece (taking account of the longest and shortest notes), the 'character' of the piece, and the piece's genre (whether it was a minuet, sarabande, gigue, etc.). In this way, an experienced musician could rely on his/her (informed) intuition to find the 'right' tempo.〔Kirnberger, Johann Philipp. 1771–76. Die Kunst des reinen Satzes in der Musik. 2 vols. Berlin: Christian Friedrich Boß. Reprint vol. 1 Berlin und Königsberg: G. J. Decker und G. L. Hartung, 1774. Trans. David Beach and Jurgen Thym. 1982. The Art of Strict Musical Composition. New Haven and London: Yale University Press.〕 Occasionally, a composer will mark a piece 'tempo giusto' to request the performer to use his/her experience in this way: that is, to intuit the correct tempo from the structure and nature of the piece itself.〔David Fallows. 'Tempo giusto' in Grove Music Online. Oxford University Press. www.oxfordmusiconline.com. Accessed 20 Feb 2015.〕
From the mid-eighteenth century, the notion of each meter having an 'ideal tempo' fell out of fashion, as composers started preferring to indicate tempi with tempo terms and (later, in the nineteenth century) with metronome speeds.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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