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- Metrical dissonance refers to the coexistence of two or more unaligned metrical layers in a single passage of music.
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“Metrical dissonance” refers to the presence of two or more different ways of hearing the music’s metrical structure. This is usually divided into two types: Displacement dissonance sees two forms of the same meter displaced against each other, so with the same period and structure but a different phase.
Metric dissonance refers to the phenomenon where conflicting rhythmic patterns create tension or a sense of instability within music. This occurs when the perceived meter is at odds with the established rhythm, leading to unexpected accents or shifts in emphasis.
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Adam, Nathan. 2011. “Coding OK Computer. Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music.” PhD diss., University of Michigan. Attas, Robin. 2011. “Meter as Process in Groove-Based Popular Musics.” PhD diss., University of British Columbia. Banfield, Stephen. 1993. Sondheim's Broadway Musicals. University...
Ex. 3a. Transcription by the author, in consultation with Kerry Livgren, “Carry On Wayward Son” in The Best of Kansas, Guitar Recorded Versions, transcribed by Jesse Gress and Bill LaFleur (Hal Leonard, 1999). Ex. 3b. Transcription adapted from Anthony Iommi, John Osbourne, William Ward and Terence Butler, “Paranoid” in Black Sabbath: Paranoid, Gui...
* Thanks to Yonatan Malin and the anonymous readers for helpful comments on this article. Return to text 1. See, for example, Eggertson 2003, 3; Graham 2008, 35; and Pressing 2002, 291. Return to text 2. The concept of metric dissonance as analogous to pitch dissonance has been explored in Yeston 1976, Lewin 1981 and 1987, Lester 1986, Kaminsky 198...
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Jan 7, 2019 · This article develops existing models of metric dissonance, most notably that of Harald Krebs, by formalizing them through the calculus of finite differences, thereby introducing a methodology for quantifying metric dissonance.
- Steven Reale
- 2019
The underlying premise behind Harald Krebs's analysis of the first movement from Schumann's Third Symphony is that metrical dissonances established in the opening bars of the piece act as pseudo-motivic rhythmic kernels to shape the course of the movement.
Dec 4, 2022 · And of course (my second reason), this is reflected in Krebs’s (and Santa’s) conceptual presentation as well, and in their terminology: a metrical dissonance involves a “metrical layer” and an “antimetrical layer.” In Example 1A, it is not clear from the notation which is the “antimetrical layer.”
