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Dual-Aspect Meter: a Theory of Metrical Consonance, Dissonance, Weight, and Variety City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Dual-Aspect Meter: A Theory of Metrical Consonance, Dissonance, Weight, and Variety Andrew Wilson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1450 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Dual-Aspect Meter A Theory of Metrical Consonance, Dissonance, Weight, and Variety by Andrew Wilson A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2016 © 2016 Andrew Wilson All rights reserved ii This manuscript has been read and accepted by the Graduate Faculty in Music to satisfy the dissertation requirement for the degree of Doctor of Philosophy. _____________ ____________________________________ Date L. Poundie Burstein Chair of Examining Committee _____________ ____________________________________ Date Norman Carey Executive Officer _________William Rothstein, advisor__________ __________Stephen Blum, first reader__________ _____________L. Poundie Burstein____________ ______________Frank Samarotto______________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract DUAL-ASPECT METER: A THEORY OF METRICAL CONSONANCE, DISSONANCE, WEIGHT, AND VARIETY by Andrew Wilson Advisor: Professor William Rothstein The last forty years have witnessed a surge of interest in the nature of musical meter. Most metrical research has focused on music of appreciable but moderate rhythmic consistency, namely instrumental music of the classical and romantic periods. Christopher Hasty’s theory of meter as projection examines the smallest degree of rhythmic consistency and extrapolates from meter’s simplest manifestations. This dissertation takes the opposite approach, interrogating the experience of meter in music with a very high degree of rhythmic consistency and exploring its implications for the broader nature of meter. The core argument of the dissertation emerges as a synthesis of ideas introduced in the first four chapters. Resonances with recent metrical theories are explored in chapter 1. Chapter 2 problematizes modern and historical theories through a phenomenological examination of meter and phenomenal accent in a few baroque sarabandes. Meter in these pieces is shown to involve entrainment to both a beat hierarchy and a recurrent weight profile, clarifying that metrical dissonance is fundamentally an expressive category, not a phenomenal category. Chapters 3 and 4 articulate a theory of weight, reviewing and refining phenomenal-accent theory, developing a notion of musical mass, and offering a simple preference-rule system for the comparison of weight between musical moments. Chapter 5 synthesizes the arguments of chapters 2–4, positing a general theory of metrical experience situated on a spectrum of perceived rhythmic iv consistency. I argue that a listener’s metrical attitude necessarily involves entrainment to or projection of both beat hierarchy and weight profile. The notion of dual entrainment developed in chapter 2 is thus supplemented by single entrainment and dual projection, all of which are categories of dual-aspect meter. The theory’s analytical and hermeneutic utility is demonstrated through a combined metrical and narrative analysis in appendix 1. Other specific contributions of this dissertation include (1) clarification of the influence of dance choreography on rhythm in sarabandes and gavottes and the development of a rudimentary phenomenal-accent theory for French-baroque choreography; (2) recognition of the unique structure of attack embellishments and an explanation for their heaviness, a perennial difficulty for phenomenal-accent theory; (3) integration of Mathis Lussy’s hierarchically differentiated anatomy of the rhythmic group with metrical and phenomenal-accent theory; and (4) generalization of William Rothstein’s notions of “German” and “Italian” meters as departure meter and arrival meter, respectively. v Acknowledgements I owe immense thanks to my advisor, Bill Rothstein, for his patient mentorship and unswerving commitment to the finest details of musical structure and experience. From the nearly incoherent thoughts I first expressed in his seminar on rhythm and meter in tonal music, his guidance and support have shaped this project in innumerable ways. His exemplary integrity will remain an inspiration throughout my career. Stephen Blum and Poundie Burstein clarified my prose significantly, helping me to see the broader values engaged by the ideas and the rhetoric of this dissertation. Frank Samarotto’s insatiable creativity and curiosity challenged me to think expansively and to pursue my ideas to their limits. The core argument of chapter 5 owes much to his passionate encouragement. The breadth of perspectives and depth of expertise reflected in this committee is deeply humbling; I aspire to the heights of scholarship, musicality, creativity, professionalism, responsibility, and leadership they demonstrate. I thank CUNY for the support of an Enhanced Chancellor’s Fellowship, which significantly eased the financial burden of doctoral study and also helped to refine my teaching. Earlier versions of the ideas contained in this dissertation were presented at the CUNY Graduate Center and Lawrence University as well as meetings of the Society for Music Theory, Music Theory Midwest, and Music Theory Southeast. I am grateful for the clarity of thought these opportunities allowed and for the valuable feedback I received. As any scholar knows, many of the epiphanies that shape research happen neither in isolation nor in formalized presentations. Conversations with Drew Nobile, Zack Bernstein, Loretta Terrigno, Ed Klorman, Tim Best, and Ben Geyer were crucial to the refinement of several of the ideas in this project. vi Finally, I owe more than I could ever repay to the support of my family. My parents, Anthony and Jonette Wilson, have been an unending font of encouragement and wisdom. I am awed by the intrepid spirit, the strength, and the resilience of my wife, Julie, who sacrificed more than anyone else to support my dreams and carried me through many moments of doubt and fear. And my children, Elijah and Marie—I am eternally grateful for their energy, curiosity, and love of life, which has kept me from losing perspective on what is most important in this life. vii Table of Contents Abstract ......................................................................................................................................... iv Acknowledgements ...................................................................................................................... vi List of Musical Examples ..............................................................................................................x List of Illustrative Figures ......................................................................................................... xiv Chapter 1. Threads .........................................................................................................................1 Metrical Theory Divided......................................................................................................1 Continuous Meter: Shape and Precision ............................................................................24 Metrical Consonance and Metrical Dissonance .................................................................34 Conclusion .........................................................................................................................40 Chapter 2. Meter in the Sarabande: A Problem of Weight ..........................................................41 Triple Meter in the Baroque Period ...................................................................................48 Dual-Aspect Meter .............................................................................................................64 Choreography, Weight, and Meter.....................................................................................80 The Specificity of Weight ..................................................................................................92 Conclusion .......................................................................................................................101 Chapter 3. Weight I: Basics of Emphasis ...................................................................................103 A Brief Historical Background ........................................................................................104 Phenomenal Accent and Accentual Context ....................................................................108 Types of Phenomenal Accent ..........................................................................................115 Summary ..........................................................................................................................151 Chapter 4. Weight II: Mass and Subtleties of Emphasis ............................................................152 Mass: Loudness and Duration ..........................................................................................152 Negative Accents .............................................................................................................157
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