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Example 1 sets out the two main types of metrical dissonance: “displacement” and “grouping’. Example 1a sees two simple rhythms in a “displacement” dissonance. All else being equal, hearing those parts separately would likely lead to different assumptions about “the” metre.
Oct 4, 2000 · A crucial part of musical expression is the succession of metrical states, in which “the resulting waves of tension and relaxation cannot fail to bear us as listeners with them, in fact to move us” (114). Krebs speaks of metrical progressions and the processes that can order them, and depicts these in metrical maps.
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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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Dec 4, 2022 · Santa shows how Brahms sometimes uses metrical dissonance and pattern repetition to blur or complicate the hypermeter and phrase structure of the theme: for example, in Variation III, creating a 3+3+4 hypermeter that goes against the 5+5 phrase structure, or blurring the same boundary in Variation V with a D3+1 dissonance.
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.
The next two chapters are broader analytical concepts for understanding meter and rhythm: Hypermeter and Metrical Dissonance. Both chapters address a wide variety of repertoires. The next chapters provide style-specific perspectives on rhythm: Swing Rhythms, Rhythm and Meter in Pop Music, Drumbeats, and Twentieth-Century Rhythmic Techniques ...
