...Channan Willner Hemiolas are by definition metrically dissonant, in durational disagreement with the notated meter. But when extended metrical shifts (known also as afterbeats or afterbeat displacement ) displace a composition in part or in whole to the right (in order to emphasize the closing beat...

... space can be isomorphic with pitch space. Keywords meter, hemiola, Baden Powell, nonisochronous, Afro-diasporic Led by the pathbreaking work of Yeston (1976) and Lerdahl and Jacken- doff (1983), metric theory has advanced significantly over the past forty years. For meter analysts, one promising line...

... is significantly limited. Figure 1.  Cohn’s type I metric space Cohn’s second kind of metric relation leads to what he formally chris- tened a “metric space” in his article “On Complex Hemiolas, Ski-Hill Graphs, and Metric Spaces” (2001), and what I...

... Example 5. Phrases A to D, chorus 1 with Timmons’s responses HEMIOLA                     8 E 3...

...Example 7. Hemiola, funky rhythms, and the bass line's melodic contour. BWV 1043, mvt. 3, mm. 123–26. ...

... � � �� � � � � � � � � � �� � � � � � � � � � � � � � � � � � � � � � � � � �� � � � � � � � � hemiola � 96...

... of irregular or exceptional texts; a chapter on hypermeter in the Lied; a chapter on metric dissonance; a chapter on complex hemiolas; and the like. This he does not do. Rather, although he gives us, in part I, a pair of 3  That earlier writers have slighted the text in favor of the striking...

...) also bear important similarities to Euler’s theory of rhythm. Cohn’s theory, on which Leong and Murphy elaborate, models nested interactions of duple and triple periodici- ties, or complex hemiolas (Cohn 2001). Cohn illustrates the relationships between divisions of 2 and 3 in networks that he...

... While this hearing may be attractive from a Schenkerian or a metrical- dissonance perspective (due to melodic fluency and the consistent hemiola formed by the dotted eighth pulse, respectively), it fails to take into full...

... is projected through durational ²Ł ² ðý ¦Ł Ł Ł ð accents in the right hand on the downbeats of the even-numbered measures � and intensifies in m. 128. A further metrical dissonance not heard elsewhere ! ¼ −Ł Ł ¼ Ł Ł ¼ Ł Ł ¼ Ł in the piece, namely, a hemiola arising from...

... rather than 2+1. Unequal triple meter has important implications for analysis. When an occasional measure is subdivided irregularly into 1+2, that deviation is defined as a syncopation. From this point of view, a hemiola is not, as usually explained, a regrouping of 3+3 into 2+2+2...

... -206. ____. 1992b . “Metric and Hypermetric Dissonance in the Menuetto of Mozart's Symphony in G minor, K. 550.” Integral 6 : 1 -33. ____. 2001 . “Complex Hemiolas, Ski-Hill Graphs and Metric Spaces.” Music Analysis 20 : 295 -326. Humperdinck, Engelbert. 1907 . “Parsifal-Skizzen...

... chords of the sequence, and which enters into a hemiola relationship with the two- chord transposition blocks. The complex metric implica- tions of this passage are studied in Cohn 1992: 200 202. for the bass line to alternate descending fifths with ascending fourths, creat- ing two-chord blocks in pitch...

... Indian Rūpak Tāl .” Music Theory Online 26 , no. 1 . mtosmt.org/issues/mto.20.26.1/mto.20.26.1.clayton.html . Cohn Richard . 2001 . “ Complex Hemiolas, Ski-Hill Graphs, and Metric Spaces .” Music Analysis 20 , no. 3 : 295 – 326 . Cox Arnie . 2017 . Music and Embodied...

... if Mozart’s slurring does not concur fully with this reading, the resulting harmonic rhythm generates a credible underlying hemiola con- sisting of tonic and dominant harmonies alternating in multiples of two beats. This hemiola does...

... of this harmony, and the last projects this scale weakly (scale notes are projected on the strong beats of the hemiola meter, and are connected by chromatic passing 310 Example 6. Debussy, “Ondine” Example 6 (continued) Example 6 (continued) notes). The last strand does not provide a clear sense...

... from the closing two-measure hemiola, providing an effective transition to the new 6/8 meter; a readily heard melodic correspondence joins the 143 first violin’s closing E-(EFDC≥ gesture in mm. 26–28 (repeated in the viola in mm. 28-31...

...; their pliés (bends before rising to relevé positions) create a choreomusical G4/3, or a double hemiola (Cohn 1992 ). 19 In this statement of the main theme, however, Tchaikovsky begins to add musical articulations of metrical 3-layers to the music, first with single strikes on a triangle...

... associated with the beginning of an exposition’s second part: The B≤-major chord is not cadentially confirmed (and as we have seen, it has not been harmonically prepared, either), and the metrical complexity created by the hemiolas of the first violins and low...