National metrical types in music of the eighteenth and early nineteenth centuries

Rothstein, William

doi:10.1017/cbo9780511481376.006

Cited by 66 publications

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“…Although the experimental design of the current study strongly supported an unambiguous perception of duple and triple grouping by the addition of accents every two or three tones (with each sequence beginning with an accented tone), it was not possible to determine the specific location of the accented tones within listeners' perceived groups, an important aspect of spontaneous metricization given that the association of accent with group beginning would seem to be influenced by cultural factors (e.g., Iversen et al, 2008;Rothstein, 2008). Furthermore, the post hoc findings of grouping preferences based on gender, including the larger proportion of dissonant grouping percepts associated with participants who identified themselves as women, and the larger proportion of ''no grouping'' (GR 1) associated with men participants, are without a theoretical basis and warrant further investigation.…”

Section: Resultsmentioning

confidence: 83%

The Influence of Rate and Accentuation on Subjective Rhythmization

Poudrier

2020

Music Perception

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The parsing of undifferentiated tone sequences into groups of qualitatively distinct elements is one of the earliest rhythmic phenomena to have been investigated experimentally (Bolton, 1894). The present study aimed to replicate and extend these findings through online experimentation using a spontaneous grouping paradigm with forced-choice response (from 1 to 12 tones per group). Two types of isochronous sequences were used: equitone sequences, which varied only with respect to signal rate (200, 550, or 950 ms interonset intervals), and accented sequences, in which accents were added every two or three tones to test the effect of induced grouping (duple vs. triple) and accent type (intensity, duration, or pitch). In equitone sequences, participants’ grouping percepts (N = 4,194) were asymmetrical and tempo-dependent, with “no grouping” and groups of four being most frequently reported. In accented sequences, slower rate, induced triple grouping, and intensity accents correlated with increases in group length. Furthermore, the probability of observing a mixed metric type—that is, grouping percepts divisible by both two and three (6 and 12)—was found to be highest in faster sequences with induced triple grouping. These findings suggest that lower-level triple grouping gives rise to binary grouping percepts at higher metrical levels.

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Section: Resultsmentioning

confidence: 83%

The Influence of Rate and Accentuation on Subjective Rhythmization

Poudrier

2020

Music Perception

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“…Bars 1-27 are an instrumental introduction in C minor. The boundaries given for the antecedent and consequent phrases are the beginning and end of the vocal groupings that deliver a stanza of text, which are not always equivalent to the tonic or dominant starting points/endpoints of the phrase, nor to the start and end of hypermeasures; on the potential non-congruence of harmony, melody and hypermetre, see Rothstein (1989), pp. 5-13.…”

Section: Notesmentioning

confidence: 99%

Phrase Rhythm and Loss in the Music of Maurice Ravel

Blättler¹

2023

Music Analysis

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A particular subset of Ravel's output features a phrase‐rhythmic technique wherein tonal and thematic returns are accompanied by surprisingly asymmetrical or ambiguous phrase rhythm. This defies both generic conventions linking thematic reprise and tonal closure to relatively stable phrase rhythm and specific expectations created by these works’ formal processes, and contrasts with trajectories moving from phrase‐rhythmic instability to stability which Ravel deploys in other works. The set of pieces which features this technique includes À la manière de … Chabrier, the Menuet sur le nom d'Haydn, pieces from Le Tombeau de Couperin, the last of the Valses nobles et sentimentales, and the ‘Blues’ movement from the Violin Sonata. This study notes how themes of loss and distance connect these pieces, allowing for the phrase‐rhythmic technique to be bound up with interpretative implications which can enhance our understanding of how phrase rhythm can carry expressive freight.

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“…Rothstein's work on ‘national metrical types’ () also relates to historical theory and the hypermetrical floor. Rothstein recognises three kinds of compound 4/4.…”

Section: The Hypermetrical Floormentioning

confidence: 99%

“…Implicitly contradicting Mirka, Rothstein claims that Italian compound metre ‘is the type described by Marpurg, Koch, and other theorists’ (, p. 135).…”

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confidence: 98%

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

Love¹

2015

Music Analysis

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This article attempts a partial reconstruction of historical metrical hearing for late eighteenth‐century Viennese chamber music. Specifically, I build on two traits of the historical listener. First, eighteenth‐century listeners were first‐time listeners, a simple fact with significant consequences for how we understand composers’ intentions and listeners’ experiences. Second, eighteenth‐century listeners were saturated with the music of the day, to a much broader and shallower extent than the modern canon‐bound listener. This second trait enabled eighteenth‐century listeners to absorb the statistical regularities of their musical culture, giving them a set of norms through which to comprehend pieces on the first hearing. In this essay I discuss the consequences of these traits for hypermetre. Drawing on a corpus study of 1780s Viennese chamber music, I offer answers to several questions: How does the first‐time listener respond to hypermetre, compared to the more experienced listener? What consequences does this have for analysis? And what are some of the stylistic regularities underlying hypermetre in chamber music from 1780s Vienna? To answer the latter question, I posit a special level of the metrical hierarchy called the hypermetrical floor, against which hypermetrical phenomena are measured.

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National metrical types in music of the eighteenth and early nineteenth centuries

Cited by 66 publications

References 0 publications

The Influence of Rate and Accentuation on Subjective Rhythmization

The Influence of Rate and Accentuation on Subjective Rhythmization

Phrase Rhythm and Loss in the Music of Maurice Ravel

Historical Hypermetrical Hearing: Uncertainty, Floors and Trapdoors

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