Search Results for pulse

... if they interpret the same time span, metric cubes permit the comparison of meters that interpret different time spans. Furthermore, a metric cube posits a different kind of adjacency relation: while Cohn's most recent metric space connects two meters if their ordered pulse representations differ by only one pulse...

... phonology: intonation units, various rhythmic aspects of intonation (pulses, pauses, and lengthening), intonation sequences, and intonation contours. The study develops new methods of textual analysis specifically for use in forming and comparing interpretations of nineteenth-century German lyric song...

...Matthew Bell Abstract Much of Tchaikovsky's music for the ballets Sleeping Beauty and Nutcracker exhibits what Harald Krebs calls metrical dissonance : the juxtaposition or superimposition of noncoincident pulses and rhythmic patterns. This article shows how the dances of the composer's...

... that share a constant span; dis- tance is measured in units of hemiola. London s (2012) Zeitnetz is a subgraph of Cohn s ski hill that eliminates pulses too fast or too slow to be entrained. Murphy (2009) introduces a space occupied by meters that share a common number of pulse levels, together with at least...

... : Academic . Danielsen Anne . 2018 . “ Pulse as Dynamic Attending: Analysing Beat Bin Metre in Neo-soul Grooves .” In The Routledge Companion to Popular Music Analysis: Expanding Approaches , edited by Scotto Ciro , Smith Kenneth M. , and Brackett John , 179 – 89 . Andover...

... .” Ph.D. diss., University of Chicago. Roeder, John. 1994 . “Interacting Pulse Streams in Schoenberg's Atonal Polyphony.” Music Theory Spectrum 16 : 231 -49. ———. 2003 . “Beat-Class Modulation in Steve Reich's Music.” Music Theory Spectrum 25 : 275 -304. Rogers, Nancy and Michael...

...) and Murphy (2006) base their models on the conception of meter as a hierarchy of pulse levels. Any such hierarchy is here called a metric state, following Cohn (2001, 296). Cohn and Murphy place specific restrictions on the metric states that they model; both writers deal only with states in which...

...Example 3. Bach's 4-eighth-pulse accompaniment pattern appears immediately before Balanchine's 4-eighth-pulse hops on pointe. BWV 1043, mvt. 3, mm. 123–27. ...

... different from the pulse of 80 that pre- cedes it.1 The discrepancy is 5%, the Just Noticeable Difference much discussed in Shaping Time (though ignored in the review). Rothstein (137) characterizes such a perception, in a different context, as being in “rec- ognizably the same pulse-stream.” His phrase...

... that further aspects of rhythm also derive from our physical motion, however. We are extremely sensitive to the differences between even and odd groups of pulses, whether they be at the level of the beat, its subdivision, or num- bers of bars in a phrase. It strikes me as not unreasonable to reflect...

... threads through the pieces—the use of cyclic rhythms, unvarying pulse, and rhythmic canons, for instance—there is also variety in the kinds of rhythms he uses. In particular, Reich uses a variety of rhythmic cycles, including ones that correspond to conventional sorts of regular meters (cycles of 8, 12...

... beginnenden 19. Jahrhundert . Wien: Böhlau. Michon, John. 1964 . “Studies on Subjective Duration. I. Differential Sensitivity in the Perception of Repeated Temporal Intervals.” Acta Psychologica 22 : 441 -50. Parncutt, Richard. 1994 . “A Perceptual Model of Pulse Salience and Metrical Accent...

...) Later on, in the second chapter, he continues: In music quantities determine order. Whether we consider pitch or duration, either is determined by quantity. Pitch is determined by the frequency of the pulses produced in the air; duration, by the length of time each tone is held...

... requiring “reinterpretation in which a projected potential of four bars (P1 and U1) is interrupted by a new beginning” (211). His Example 14.10 (259) from Webern’s op. 22 Quartet, illustrates a very different kind of music, where there is “no clear pulse,” and “the projective field is so volatile...

... this term to characterize passages that suggest an alternative metrical structure (or “antimetrical pulse layer”) to the established one. She adopts Krebs’s dis- tinction between grouping dissonance, in which the antimetrical layer has...

...—but as the physically “felt” higher level of regular or even irregular pulses (e.g., 2 + 2+3 + 2+3 spans within one measure, and these spans are already only an approximation), as in isochronous or nonisochronous meters. This research tells us about the problems of notation as well as the subtleties of the dance...

... rubato,” where the tempo changes follow the grouping structure, and “rubato within the mea- sure,” which relates more closely to meter, as it transforms the equal spacing of tactus pulses implied by the notation into an unequal spacing such that some...