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hypermeter
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Journal Article
Journal of Music Theory (2013) 57 (1): 47–85.
Published: 01 April 2013
...John Paul Ito This article extends existing approaches to hypermeter by introducing schemas that make measure-by-measure correlations between grouping units and hypermeasures. These schemas offer an account of how listeners track hypermeter through irregularities and discontinuities. In order...
Journal Article
Journal of Music Theory (2014) 58 (1): 1–24.
Published: 01 April 2014
... for keyboard. It turns out that the subject of this fugue is so marked in rhythm and contour that it seems to motivate—and even demand—its own transformation as the fugue unfolds. One consequence of such transformation is a series of metric shifts from triple hypermeter during expositions to duple hypermeter...
Journal Article
Journal of Music Theory (2021) 65 (1): 81–106.
Published: 01 April 2021
... and music consistently extended to multiple hypermetric levels. In addressing the importance of contredanse choreography to eighteenth-century hypermeter, this article makes a broader appeal for incorporation of dance and the body into the study of meter. Beginning and ending points are the least flexible...
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Journal Article
Journal of Music Theory (2007) 51 (2): 211–243.
Published: 01 October 2007
... . Frankfurt: Waldemar Kramer. Irmen, Hans-Josef. 1989 . “Die Musik und ihre folkloristischen Quellen.” In Hänsel und Gretel: Studien und Dokumente zu Engelbert Humperdincks Märchenoper , 89 -104. New York: Schott. Kaplan, Amelia. 2000 . “Meter and Hypermeter as a Means of Signification in Wagner's...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
... themes are closing themes, and a great many closing themes
are end-accented.11 The themes are similar, also, with regard to the fac-
tors causing this “end-accented” hearing to arise. The most important fac-
tor is context; in each case, the previous cadence, ending in a hypermet-
rically strong...
Journal Article
Journal of Music Theory (2009) 53 (2): 305–328.
Published: 01 October 2009
.... McClelland, Ryan. 2006 . “Extended Upbeats in the Classical Minuet: Interactions with Hypermeter and Phrase Structure.” Music Theory Spectrum 28 : 23 –56. McKee, Eric. 2004 . “Extended Anacruses in Mozart's Instrumental Music.” Theory and Practice 29 : 1 –37. Ratner, Leonard. 1980 . Classic...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... in the Music of Robert Schumann . New York : Oxford University Press . ———. 2005 . “ Hypermeter and Hypermetric Irregularity in the Songs of Josephine Lang .” In Engaging Music: Essays in Music Analysis , ed. Stein Deborah J. , 13 – 29 . New York : Oxford University Press . ———. 2009...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...), the
resulting phrase overlap constitutes a rare instance of metrical reinterpreta-
tion in five-bar hypermeter. As such, it illustrates hypermetrical irregularity
1 Throughout this article I use Koch’s (1782–93) terminology harmonic basis” (1983, 56 [1787, 457 in reference to
for descriptions...
Journal Article
Journal of Music Theory (2015) 59 (2): 321–332.
Published: 01 October 2015
...-level hypermeter (139–40). He uses “min-
imally metrical” to refer to music “that does not ask the listener to mobilise
any metrical structure deeper than that which governs the relationships
between the tactus and its subdivisions” (144).
Dueck presents three case studies, from fiddling...
Journal Article
Journal of Music Theory (2018) 62 (1): 145–154.
Published: 01 April 2018
...), Mozart (lesson 7), Beethoven (lessons 8, 9, and
12), and Haydn (lesson 11). The exceptions are lessons 1 and 10, which deal
respectively with “Linear Progressions and Neighbor Notes” and “Rhythm,
Hypermeter, and Phrase.” The issues raised in lessons 1 and 10 are relevant
to practically all...
Journal Article
Journal of Music Theory (2001) 45 (2): 457–469.
Published: 01 October 2001
... overlaps
the division into lines” (p. 89). In contrast with works that have regular
hypermeters and even proportional Ursätze, Schachter concedes that this
particular song “is highly unusual” from a rhythmic perspective and has
“no consistent hypermeter” (pp. 92, 89). He defends Schubert’s decision...
Journal Article
Journal of Music Theory (2021) 65 (1): 11–16.
Published: 01 April 2021
... what we earlier presumed to be the notated downbeat. It is what modern music theorists refer to as a hyperpulse , which participates in a hypermeter : a meter whose slowest pulse period exceeds the size of a notated measure. The recursive units of rhythm, groups or phrases, interact...
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Journal Article
Journal of Music Theory (2021) 65 (1): 3–9.
Published: 01 April 2021
... visualization (sometimes to humorous effect, as in “mickey-mousing”). At the other end is counterpoint from the level of local accent up to the various levels of hypermeter. This is especially relevant, too, in the examination of interacting forms, another kind of visualization, with the dance matching...
Journal Article
Journal of Music Theory (2021) 65 (2): 375–386.
Published: 01 October 2021
... by Moore ( 2012 : 19–21), of the functional layers in a popular-music texture: melody, harmonic filler, bass, and explicit beat. Chapter 5 focuses on aspects of melody: grouping structure and its relationship to the meter and hypermeter, beginning- and end-accented motives, the relationship of melody...
Journal Article
Journal of Music Theory (2017) 61 (2): 289–296.
Published: 01 October 2017
..., as beginning oriented, while oth-
ers imagine it as ending oriented. A related issue is that of hypermeter, which
was implicitly acknowledged in theories of compounded meter in the eigh-
teenth century but became a more general concern later on.
An important manifestation of the independence of meter...
Journal Article
Journal of Music Theory (2021) 65 (1): 107–137.
Published: 01 April 2021
... seemingly jumps ahead of the hypermeter to a cadential 6/4 harmony, as the dancer leaps into a repeated jeté en tournant (occupying two measures each) across the front of the stage. I am not so quick to read this occurrence as a metrical “reinterpretation,” especially considering that G3/2—a 6-unit...
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Journal Article
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
...: Interactions with Hypermeter and Phrase Structure.” Music Theory Spectrum 28 : 23 -56. McKee, Eric. 2004 . “Extended Anacruses in Mozart's Instrumental Music.” Theory and Practice 29 : 1 -37. Ratner, Leonard. 1980 . Classic Music: Expression, Form, and Style . New York: Schirmer. Rosen...
Journal Article
Journal of Music Theory (2012) 56 (2): 285–291.
Published: 01 October 2012
...,
hypermeter. but because it places them in relation to their opposites”
(24).
290 J O U r n a l o f M U S I c T h e o r y
confusion, or at least kept her focus sharper, had she held to them more...
Journal Article
Journal of Music Theory (2024) 68 (1): 117–124.
Published: 01 April 2024
... open-access textbook Open Music Theory 2 (Gotham et al. 2023 ) does a better job in this regard, with the expected chapters on rhythm fundamentals, sections on jazz and pop that include discussions of rhythm in these genres, and on metric dissonance and hypermeter (although these are relegated...
Journal Article
Journal of Music Theory (2000) 44 (2): 261–322.
Published: 01 October 2000
... of three-measure phrases forms a metrical pattern—namely,
three-measure hypermeter, a concept that Cone (1968), Schachter (1976),
Rothstein (1989), and others have explored, and that Rothstein has defined
most succinctly as a “. . . combination of measures on a metrical basis . . .
including both...
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