Tempo in music is difficult to capture in words. Are there any general rules governing its definition? Did standardized tempos exist in the Baroque period? Can we deduce  the correct tempo of a piece from the appearance of the music on the page? To answer such  questions  Ido   Abravaya  provides the  method of observing “durational strata”.<br>
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 He also examines such tempo-defining factors as time signatures and tempo marks and contrasts them with the theories of tempo in Bach’s age. The object of his study is to obtain insight from the vantage point of tempo into the larger area of rhythmic  structures.<br>