Example 6. Napalm Death, “Scum,” blast beat. More

Figure 1. Music theorists tend to conceive of beats as points separated by spans (numbers above). Dancers tend to conceive of beats as spans separated by points (numbers in boxes). More

Figure 1. A time-line pattern often referred to as the standard pattern , shown with the main beat (metrical interpretation). More

Example 18. Chuck Berry, “School Day” (1957). AB/CD/EF poetic form with lines spanning a weak upbeat position and the following strong downbeat position. On the level of the beat the lines stretch across beats 2, 3, 4, and 1 in every weak-strong pair and the instrumental responses have the same More

Figure 18. Agogically accented notes from Miles Davis's first solo in Flamenco Sketches , composed by Davis and Bill Evans, depicted in scale degree versus onset beat performance space. More

Figure 19. Agogically accented notes in three solos from Flamenco Sketches depicted in scale degree versus onset beat performance space: John Coltrane (a), Julian “Cannonball” Adderley (b), and Miles Davis's second solo (c). More

Figure 19. Agogically accented notes in three solos from Flamenco Sketches depicted in scale degree versus onset beat performance space: John Coltrane (a), Julian “Cannonball” Adderley (b), and Miles Davis's second solo (c). More