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It can also be found in which words are highlighted either by dynamics (any range from very soft to very loud) or length of the note value.
The top number represents how many beats there are in a measure, and the bottom number represents the note value which makes one beat.
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At one point in "La Cathédrale Engloutie," Debussy nearly doubles the written tempo in relation to the note values around it.
As late as 1944 for some concerts in Boston, Stravinsky rewrote the whole of the "Danse Sacrale", doubling the note values to make it easier for an orchestra to understand.
Simultaneously, Joplin doubled all the note values, effectively making the unusual 4/4 time signature have no practical effect on the way the piece sounded or the way it was performed.
Hyperinflation hit the country from 1943-1945, forcing the Japanese to raise the maximum note value from 10 pesos to 1000 pesos.
In the application of rubato, the written note values must not be disregarded, and the performer eventually returns to the strict underlying rhythm from which the rubato deviated.
The top number indicates the number of beats in a measure, and the bottom number is which note value gets the beat.
So we have a basso continuo playing a walking bass, [sings] [plays piano] something like that, just going on and on sort of with the same note values, tends to be step-wise, have the same note values.
Such imitation may occur in the same note values, in augmentation (longer note values), or in diminution (shorter note values).
I remember Mompou on an ancient Angel LP giving the same note values their literal worth, and to magical effect.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com