Editing Metronome (section)

===Stricter rhythm in modern performance practice===
The metronome has become very important in performance practice, and "largely unchallenged in musical pedagogy or scholarship since the 20th century".<ref>{{cite book |last=Bonus |first=Alexander |chapter=Chapter 4. Refashioning Rhythm |chapter-url=https://books.google.com/books?id=qxiHDQAAQBAJ&pg=PT104 |title=Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918 |editor1-first=Kirsten |editor1-last=Gibson |editor2-first=Ian |editor2-last=Biddle |publisher=Routledge |date=2016 |isbn=978-1317156420 |page=104}}</ref> In the 19th century, the metronome was usually not used for ticking all through a piece, but only to check the tempo and then set it aside. This is in contrast with many musicians today, who practise with the metronome in the background for the entirety of a piece of music, generally leading to steadier performances.<ref>{{cite book |chapter-url=https://books.google.com/books?id=EzWkTNxqmF0C&q=using+the+metronome+to+tick&pg=PA19 |page=19 |editor1-first=James R. |editor1-last=Heintze |editor2-first=Michael |editor2-last=Saffle |title=Reflections on American Music: The Twentieth Century and the New Millennium |chapter=Is There a Future for the Traditions of Music and Music Teaching? |first=Leon |last=Botstein |publisher=Pendragon Press |date=2000|isbn=978-1-57647-070-1 }}</ref>

Oboist/musicologist [[Bruce Haynes]] described the role of the metronome in modern performance style in detail in his book ''The End of Early Music''. He emphasized that modern style is much more rhythmically rigid, compared with the effusive rubato and bluster characteristic of expressive 19th-century [[Romantic music]]. Because of this, musicologist and critic [[Richard Taruskin]] called Modernism "refuge in order and precision, hostility to subjectivity, to the vagaries of personality".<ref name=haynes>Haynes, Bruce (2007). ''The End of Early Music'' (Oxford University Press); pages [https://books.google.com/books?id=GcHS067yUn8C&pg=PA49 49], [https://books.google.com/books?id=GcHS067yUn8C&pg=PA57 57].</ref> These qualities gave rise to the term ''metronomic'', which [[music critic]]s use to describe performances with an unyielding tempo, a mechanical rhythmic approach, and equal stress to all subintervals; violinist [[Sol Babitz]] considered it "sewing machine" style with limited flexibility.<ref name=haynes/> Some writers have drawn parallels with a modern technological society that is ordered by the clock.<ref name=bonus /><ref>[[Michael Young, Baron Young of Dartington|Young, Michael]] (1988). ''Metronomic Society: Natural Rhythms and Human Timetables''.</ref>