104. The word time in musical nomenclature has been greatly abused, having been used to indicate:
(1) Rhythm; as "the time was wrong."
(2) Variety of measure-signature; as "two-four time."
(3) Rate of speed; as "the time was too slow."
To obviate the confusion naturally resulting from this three-fold and inexact use of the word, many teachers of music are adopting certain changes in terminology as noted in Sections [105], [106], and [107]. Such changes may cause some confusion at first, but seem to be necessary if our musical terminology is to be at all exact.
[105.] The first of the changes mentioned in the above paragraph is to substitute the word rhythm for the word time when correcting mistakes involving misplaced accent, etc. E.g., "Your rhythm in the third measure of the lower score was wrong," instead of "Your time—was wrong."
[106.] The second change mentioned would eliminate such blind and misleading expressions as "two-four time," "three-four time," "four-four time," "six-eight time," etc., and substitute therefor such self-explanatory designations as "two-quarter measure," "three-quarter measure," "four-quarter measure," "six-eighth measure," etc. E.g., "The first movement of the Beethoven Sonata Op. 2, No. 3, is in four-quarter measure."
[107.] The third change referred to above would substitute the word tempo (plural—tempi) for the word time in all allusions to rate of speed. E.g., "The scherzo was played in very rapid tempo."
The word tempo has been used in this connection so long by professional musicians that there can be no possible objection to it on the ground of its being a foreign word. In fact there is a decided advantage in having a word that is understood in all countries where modern music (i.e., civilized music) is performed, and just here is found the principal reason for the popularity of the Italian language in musical terminology. Schumann, MacDowell and other well known composers have tried to break down this popularity by using their own respective vernaculars in both tempo and dynamic indications, but in spite of these attempts the Italian language is still quite universally used for this purpose, and deservedly so, for if we are to have a music notation that is universal, so that an American is able to play music written by a Frenchman or a German, or a Russian, then we ought also to have a certain number of expressions referring to tempo, etc., which will be understood by all, i.e., a music terminology that is universal. The Italian language was the first in the field, is the most universally known in this particular at the present time, and is entirely adequate. It should therefore be retained in use as a sort of musical Esperanto.
108. There are several ways of finding the correct tempo of a composition: