MTO 27.2 Examples: Hahn, Reframing Generated Rhythms and the Metric Matrix As Projections of Higher-Dimensional Lattices in Scott Joplin’S Music

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MTO 27.2 Examples: Hahn, Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Lattices in Scott Joplin’s Music (Note: audio, video, and other interactive examples are only available online) https://mtosmt.org/issues/mto.21.27.2/mto.21.27.2.hahn.html Example 1. Drawing from Abbott’s Flatland Example 2. 3-generated and 5-generated beat streams shown together Example 3. The same two beat steams represented by dots along two sloped lines such that the ratio of their slopes is −3:5 Example 4. Copying the sloped lines at the beginning of each bar generates a lattice Example 5. Select five horizontal rows of dots to yield the generated rhythm with n = 8, k = 5 and g = 3 Example 7. Jess’s The Bert Williams/George Walker Paradox in torus form Example 8. Cylinder enhancement to the lattice-projection model Example 9. Torus enhancement to the lattice-projection model shown with n = 8 and k = 5 Example 10. Joplin’s Magnetic Rag, mm. 59–62 Example 11. Joplin’s Magnetic Rag, mm. 1–2 Example 12. Intersection pattern between the 3- and 5-generated cycles and the left hand Example 13. Joplin’s Magnetic Rag, mm. 59–62, with the left hand’s generated sets represented Example 14. Bethena, mm. 9–12 Example 15. The metric matrix in torus form Example 16. Second strain from Joplin’s Magnetic Rag Example 17. Measures 18–21 from Joplin’s Maple Leaf Rag Example 18. Measures 30–33 from Joplin’s Original Rags Example 19. The final strain from Elite Syncopations Example 20. Measures 243–51 from Joplin’s Treemonisha Example 21. Measures 1–10 from Joplin’s Treemonisha Example 22. Measures 19–22 from Joplin’s Treemonisha Example 23. Measures 208–10 from Joplin’s Treemonisha Example 24. Bethena, mm. 13–16 Example 25. Bethena, mm. 77–80 Example 26. The first line from Exercise No. 6 in School of Ragtime Example 27. The final cadence of Stoptime Rag .

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University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
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Reframing Generated Rhythms and the Metric Matrix As Projections of Higher-Dimensional LaIces in Sco Joplin’S Music *

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