Music 254 Regularity vs Irregularity Meter Ordinary meters as notated Ordinary meters as soundedheard Unmeasured music Polymeter hypermeter Accent Prosody approach Tonal and inflectional ID: 549475
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Slide1
Aspects of Rhythm and Meter
Music 254Slide2
Regularity
vs
Irregularity
MeterOrdinary meters as notatedOrdinary meters as sounded/heardUnmeasured musicPolymeter; hypermeterAccentProsody approachTonal and inflectional Hierarchical aspects of rhythmMelodic contributionsHarmonic contributions
2016 Eleanor Selfridge-Field
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Meter
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Meter and metrical ambiguity
Compound meter
Dual-role notes (chained melodies)
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Accent
Prosody models
Combination measures
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Metrical evaluation
Metrical skimming
Variable meter
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Performance of time
Tempo-loudness visualizations
(
Widmer et al.)2016 Eleanor Selfridge-Field7Slide8
Widmer
(2006-09): Performance worms
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8Performance alphabet
Beat-level changes:
Famous performers Slide9
Widmer
et al. (ISMIR 2015)
2016 Eleanor Selfridge-Field
9Focus: Classical music on the webObjective: compare visual user interfaces
Observations:
popular music – linear listening
c
lassical music – content-oriented
Multi-modal navigation:
Beethoven’s “
Eroica
”
Symphony (No. 3)
Structural navigationSlide10
Accent
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Metrical challenges
Mensural
notation
Unmeasured music
Beat contradictions
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Pitch accents (Jones,
Pfordresher
, 2003)
“Melodic” vs. “rhythmic” accentFirst, last pitches in phraseHighest, lowest pitches in phraseVarious combinations of these in judgments of melodic similarity2016 Eleanor Selfridge-Field
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Cf. Essen software for folk-song researchSlide13
Hierarchical Aspects of Rhythm
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Harmonic Rhythm: Joseph Swain
1. Activity levels
2. Rhythm of Harmonic Change
3. Root rhythm
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Harmonic rhythm (Swain), cont.
5a. Density + Function
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Harmonic rhythm (Swain), cont.
4. Density
6. Final tiered view
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Less
metri
cally oriented approaches
Winograd (1968)Temperley (Melisma, c. 1999)
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