DOCSLIB.ORG

Quarter Note Triplets

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Quarter Note Triplets Quarter note triplets Continue This article about comment groups. Look for mathematical groups in tuple. Music results are temporarily disabled. This rhythm has two tuplets: a triplet on the second rhythm and a quintuplet on the fourth beat. In music tuplet (as well as irrational rhythm or bands, artificial division or group, abnormal sharing, irregular rhythm, group shoulder, extrametric groups, or, rarely, contrametric rhythm) is any rhythm that involves dividing the rhythm into a different number of levels of divisions than is usually allowed by the time signature (e.g. triplets, duplets, etc.) (Humphries 2002, 266). This is indicated by a number (or sometimes two) indicating the fraction concerned. Notes are also often grouped with brackets or (older inscription) slur. The most common type of tuplet is triplet. Terminology The modern term tuplet comes from composite words, such as quintu(s)-(u)plet and sextu(s)-(u)plet, and related mathematical terms such as tuple, -uplet and -plet, which are used to form multiplets (Oxford Dictionary, entries multiplet, -plet, combo rebracketing. form, -let, clasp and -et, saga1). An alternative modern term irrational rhythm was originally borrowed from the Greek prosod, where it indicated a syllable whose metro value does not correspond to its true value of time, or ... metric foot containing such a syllable (Oxford English Dictionary, entry irrational). The term would be incorrect if used in mathematical terms (because the values of the note are rational fractions) or, from a more general point of view, unreasonable, completely illogical, absurd. Sometimes alternative terms found include artificial division (Jones 1974, 19), abnormal chapters (Donato 1963, 34), irregular rhythm (Read 1964, 181) and irregular rhythmic groups (Kennedy 1994). The term polyrhythm (or polymeter), sometimes misused by tuplets, actually means that opposite time signatures are used at the same time (see 1964, 167). In triplet, commonly used terms duplet, quadruplet, quintuplet, sextuplet, septuplet and octuplet are often used. It was suggested to use the terms nonuplet, decuplet, undecuplet, dodecuplet and tredecuplet, but had not been caught until 1925 (Dunstan 1925,[page required]). Until 1964, the terms nonuplet and decuplet were common and subsections were more often described as a group of eleven notes, a group of twelve notes, etc. (see 1964, 189). Triplet The most common tuplet (Schonbrun 2007, 8) is triplet (Ger. Triole, Fr. triolet, It. terzina or Tripletta, Sp. tresillo). Since the notes (crotch) of two quarters are usually the same duration as half of the notes (minim), the three notes for the triple quarter have the same duration, so the duration of the triple-quarter note is 2°3 Quarter. Music results are temporarily disabled. Similarly, three triple-eighth notes (quavers) are equal to a one-quarter note. If multiple note values are displayed under the triple holder, they all work the same way, reduced to 2°3 of their original duration. Music results are temporarily disabled. The triple instruction may also be applied to notes of different values, such as the quarterly note followed by one eighth note, in which case the quarterly pattern may be considered as two triple-eighths combined (Gehrkens 1921, 19). Music results are temporarily disabled. Some older scores, rhythms like this would be notated as dotted eighth note and sixteenth note as a kind of shorthand (Troeger 2003, 172), apparently that radiant clearer shows beats. Tuplet marking tuplets are usually notated either with brackets or with a number above or below the light if the notes are beams together. Sometimes a tuplet is marked with a ratio (and not just a number) with the first number indicating the number of tupleto notes and the second number indicating the number or ratio of ordinary banknotes with the same duration as the one. Rhythm Simple gauge For other tuplets, the number indicates the ratio to another lower normal value in the prevailing metre (2 power per normal metre). Thus, the quintile (quintile or pentuplet (Cunningham 2007, 111)) indicated by the number 5 means that the five values of the note in question usually have four (or, as a splitting the dotted note into a composite time, three), correspond to the second higher value of the note. For example, five of quintile's eighth notes have a total of the same duration as half of the notes (either in 38 or composite counters, e.g. 68, 98, etc., point quarterly notes). Music results are temporarily disabled. Some numbers are used inconsistently: for example, septuplets (septolets or septimoles) usually show 7 notes over 4 duration or compound counter 7 to 6, but can sometimes be used 7 notes for the duration of 8 (Read 1964, 183-84). Thus, septuplet takes all attention can be written with either quarterly notes (7:4) or eighth notes (7:8). To avoid uncertainty, composers sometimes write the ratio clearly rather than just one number. This is also the case in cases such as 7:11, where the validity of this practice is determined by the complexity of the number. The French alternative is instead of a colon or an irregular number above parentheses (read 1964, 219-21). This reflects the use of the French, such as the six-pour-quatre as an alternative name for the sextolet (Damour, Burnett, and Elwart 1838, 79; Hubbard 1924, 480). There is controversy over sextuplet (pronounced with stress on the first syllable, according to Baker in 1895, also called sestole, sestolet, sextole, or sextolet (Baker 1895, 177; Cooper 1973, 32; Latham 2002; Shedlock 1876, 62, 68, 87, 93; Stainer and Barrett 1876, 395; Taylor 1879–1889; Taylor 2001). This six-part square can be considered a triple, each of which is divided into half (2 + 2 + 2), hence with an accent in the first, third and fifth notes, or as a simple duple pattern with each note divided into triplets (3 + 3) and highlighted in both the first and fourth notes. This indicates the radiance in the following example. Some authorities consider both groups to be equally valid forms (Damour, Burnett and Elwart 1838, 80; Köhler 1858, 2:52–53; Latham 2002; Marx 1853, 114; Read 1964, 215), while others challenged it, having the first type of true (or real) sextuplet, and the second type should be a proper double triplet, which should always be written and named as such (Kastner 1838, 94; Riemann 1884, 134-35; Taylor 1879–1889, 3:478). Some go as far as to call the latter when written with the number 6, false sextuplet (Baker 1895, 177; Column 1881, 36; Shedlock 1876, 62). Still others, by contrast, define sextuplet exactly and just as a double triplet (Stainer and Barrett 1876, 395; Semba 2006, 86) and a few more claim, in accepting the difference, that the actual sextuplet does not have internal divisions, but only the group's first note (Riemann 1884, 134; Taylor 1879–89, 3:478; Taylor 2001). Composite counter In a composite counter, even tuplets can indicate that the value of a note is changed according to the dotted version of another larger note value. Thus, two duplet eighth notes (commonly used for 68 meters) take the time usually sucmaging to three-eighth notes, equal to the dotted quarterly note. Four squares (or quartz) of the eighth notes would also be equal to the observation of the dotted quarter. Duplet's eighth note is exactly the same length as the dotted eighth note, but duplet marking is much more common in composite meters (Jones 1974, 20). Music results are temporarily disabled. In the compound time, duplet is more often written than 2:3 (the dotted quarter note is divided into two duplet eighth notes) than 2: 1 1°2 (the dotted quarterly note is divided into two duplet quarterly notes), although the first is incompatible with the quadruple is also written as 4:3 (the quarter-1997-2000). Embedded tuplets Sometimes tuplets are used inside tuplets. This is called nested tuplets. Music results are temporarily disabled. Calculation of Tuplets can produce rhythms such as hemiola or can be used as polyrhythms when played before normal duration. These are extrametric rhythmic units. The following example shows sex photos from Times. Music results are temporarily disabled. Tuplets can be counted, most often most often slow tempos using the least common multiple (LCM) between the initial and tuplet sections. For example, with 3-against-2 tuplet (triplets) LCM is 6. Since 6 ÷ 2 = 3 and 6 ÷ 3 = 2 quarter notes fall every three numbers (exaggerated) and triplets every two (underlined): 1 2 3 4 5 6 It is quite easy to draw to the pace, and depending on the pace of the music can be counted, while 7-against-4, having LCM 28, can be counted at a very slow tempo, but must be played intuitively (felt out) at the pace : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Play exactly half (minim) triple 44, the eighth note for triplets and tie them together in groups of four with tension in each target note, be : 1 – 2 – 3 1 – 2 – 3 1 – 2 – 2 – 2 – 2 – 2 – 3 1 1 3 1 The same principle can be applied to quintiles , septuplets, etc. Quadruplet number of drums Drumsquadruplet means one group of three sixteen-pattern triplets with an additional [non-tuplet eighth] note added at the end, thus filling one beat over 44 times (Peckman 2007, 127-28), with four notes of uneven value. Shown below is a quadruplet with each note on a different drum set used as a fill (Peckman 2007, 129) Music notes are temporarily disabled.
Load more

Recommended publications
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Thinking in Song
    THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition.
    [Show full text]
  • Reinterpreting Metrical Reinterpretation Samuel Ng
    Reinterpreting Metrical Reinterpretation Samuel Ng I. The Problem of Metrical Reinterpretation Contemporary studies on phrase rhythm have drawn much attention to the phenomenon of overlap in formal and metrical domains. The coincidence of the end of one phrase and the beginning of the next is familiarly known as a phrase overlap. The rehearing of a weak beat as strong due to a (hyper)metrical shift is referred to as an elision, or, more commonly, a metrical reinterpretation (after Schenker’s Umdeutung).1 As William Rothstein asserts, both types of overlap are instrumental in creating forward musical momentum; the former “prevents any break in continuity,” while the latter “propels the motion onward with great force.”2 While the understanding of phrase overlap is relatively unproblematic, the conceptualization of metrical reinterpretation as the peculiar sonic event encompassing both accented and unaccented states on the metrical grid has generated a number of fundamental questions that have not been adequately addressed:3 1 Schenker 1935, 203. A related concept is Tacterstickung (“measure stifling”), which appears in Koch 1983, 55. Koch uses the term primarily to describe the elimination of a melodic cadence in the process of combining two basic phrases into a compound one. In Example 182, which illustrates Tacterstickung, Koch shows that the fourth measure of the first four-measure phrase has been elided with the first measure of the second four-measure phrase to create a seven- measure compound phrase. Such an elision is, to the modern reader, reminiscent of a metrical reinterpretation because the fourth element of one event sequence is at the same time the first element of the next.
    [Show full text]
  • A Survey of the Loure Through Definitions, Music, and Choreographies
    A SURVEY OF THE LOURE THROUGH DEFINITIONS, MUSIC, AND CHOREOGRAPHIES by JULIE ANDRIJESKI Submitted in partial fulfillment of the requirements For the degree of Doctor of Musical Arts Document III Advisor: Dr. Ross Duffin Department of Music CASE WESTERN RESERVE UNIVERSITY May 2006 TABLE OF CONTENTS List of Examples ii List of Tables iii SCOPE OF STUDY 1 SOURCES AND ABBREVIATIONS 4 DATABASE I: LOURE DEFINITIONS 5 Overview 5 Database I 28 DATABASE II: LOURE MUSIC 45 Overview 45 Database II 62 DATABASE III: LOURE CHOREOGRAPHIES 91 Overview 91 Database III 110 CROSS-DATABASE ISSUES 115 Emergence of the Loure through the Works of Lully 115 “L’Aimable vainqueur” and “The Louvre” 127 ALPHABETICAL LIST OF WORKS 130 BIBLIOGRAPHY OF SECONDARY SOURCES 139 ii LIST OF EXAMPLES Example I-1. Loure. Montéclair, Nouvelle méthode, 1709 17 Example I-2. Loure. Montéclair, Méthode facile, 1711 17 Example I-3. Loure. Montéclair, Petite méthode, 1735 19 Example I-4. Loure. Montéclair, Principes de Musique, 1736 20 Example I-5 Loure. Corrette, L’école d’Orphée, 1738 21 Example I-6. Loure. Corrette, Le parfait maître à chanter, 1758 22 Example I-7. Loure. Denis, Nouvelle méthode, 1757 23 Example I-8. Loure. Denis, Nouvelle méthode, 1757 25 Example I-9. Loure. Denis, Nouvelle méthode, 1757 26 Example I-10. Loure. Kirnberger, Recueil d’airs de danse caractéristiques, 1777 27 Example III-1. Campra, “L’Aimable vainqueur” from Hésione (1700) 99 Example III-2. Variation on Campra’s “L’Aimable vainqueur” from Ms-110 99 Example III-3. Comparison of Campra’s “L’Aimable vainqueur” with Ferriol y Boxeraus’s ornamented versions (1745) 101 Example III-4.
    [Show full text]
  • Rhythm, Beat, Drum Pattern
    FH SBG MMA – Rhythm, Beat and Drum Pattern – Page 1 of 13 AUDITIVE GESTALTUNG Rhythm, Beat and Drum Pattern 1. Rhythm 1.1 Origins 1.2 Early Notation 1.3 Metrical foot 1.4 Modern Notation 1.5 Time signature (meter), beat and tempo 1.6 Beat, Downbeat, Upbeat, Backbeat, Breakbeat 1.7 Groove 1.8 Drum Pattern 1 Rhythm Rhythm (from Greek ῥυθμός – rhythmos, "any regular recurring motion, symmetry") is defined by the Oxford English Dictionary as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." Rhythm is the timing of musical sounds and silences, as well as speech syllables. While rhythm most commonly applies to sound, such as music and spoken language, it may also refer to visual presentation, as "timed movement through space", such as in dance, video or film arts. 1.1 Origins At the most basic level, rhythm relates to our body: how we walk, our heartbeat, our breathing. Our urge to move in rhythm (dance) is probably designed to boost our energy level to prepare for a chase, a fight or a flight. Perceiving rhythm is the ability to master the 4th invisible dimension: time, and appears to be a unique trait in humans (animals show no similar appreciation of rhythm). 1.2 Early Notation In Western music, notation specifying longer and shorter note values evolved from the “Neume” notation type, prior to the invention of five-line staff. The earliest neumes were inflective marks which originally indicated the general shape and duration, but not necessarily the exact notes or rhythms to be sung.
    [Show full text]
  • Unicode Technical Note: Byzantine Musical Notation
    1 Unicode Technical Note: Byzantine Musical Notation Version 1.1: February 2006 Version 1.0: January 2005 Nick Nicholas; [email protected] This note documents the practice of Byzantine Musical Notation in its various forms, as an aid for implementors using its Unicode encoding. The note contains a good deal of background information on Byzantine musical theory, some of which is not readily available in English; this helps to make sense of why the notation is the way it is. 1. Preliminaries 1.1. Kinds of Notation. Byzantine music is a cover term for the liturgical music used in the Orthodox Church within the Byzantine Empire and the Churches regarded as continuing that tradition. This music is monophonic (with drone notes),1 exclusively vocal, and almost entirely sacred: very little secular music of this kind has been preserved, although we know that court ceremonial music in Byzantium was similar to the sacred. Byzantine music is accepted to have originated in the liturgical music of the Levant, and in particular Syriac and Jewish music. The extent of continuity between ancient Greek and Byzantine music is unclear, and an issue subject to emotive responses. The same holds for the extent of continuity between Byzantine music proper and the liturgical music in contemporary use—i.e. to what extent Ottoman influences have displaced the earlier Byzantine foundation of the music. There are two kinds of Byzantine musical notation. The earlier ecphonetic (recitative) style was used to notate the recitation of lessons (readings from the Bible). It probably was introduced in the late 4th century, is attested from the 8th, and was increasingly confused until the 15th century, when it passed out of use.
    [Show full text]
  • Byzantine Notation Exercises
    Byzantine Notation Exercises adapted into English from those of John D. Margazioti A ByzantineChant.Org Publication A ByzantineChant.Org Publication 2 Introductory Comments Before beginning, it is necessary to learn the names of the notes of the Byzantine Scale: Ni - Pa - Vou - Ga - Dhi - Ke - Zo. These names correspond to the Western scale names of: "Do, Re, Mi..." (the Solfège and European scale system) or "C, D, E..." (the American scale system). Try to use the Byzantine note names when chanting the exercises; while it will be an adjustment, it will get easier with time, and will be well worth your effort. This method of chanting a hymn (or exercise) is called parallegē. It may be helpful to write in the note names at first; the initial exercise has already been filled out for you. Byzantine notation is a symbolic notation that is read from left to right. When ascending, it is also read bottom to top; conversely, when descending, it is read top to bottom. It is a relative notation, meaning that the symbols don't tell you on what note you should be, but how large of a jump you should make from the previous note. There are 10 ascending and descending symbols to learn; we will call these quantitative symbols (since they tell us where to go, musically, and by how much). Each quantitative symbol initially gets one beat. This will be adjusted by other symbols, which will be introduced later in the exercises. Most music has a two beat meter, meaning you will count: "One, two, One, two, One, two, etc.".
    [Show full text]
  • Glossary of Musical Terms
    GLOSSARY OF MUSICAL TERMS A absolute music: instrumental music with no intended story (non-programmatic music) a cappella: choral music with no instrumental accompaniment accelerando: gradually speeding up the speed of the rhythmic beat accent: momentarily emphasizing a note with a dynamic attack adagio: a slow tempo allegro: a fast tempo alto: a low-ranged female voice; the second lowest instrumental range andante: moderate tempo (a walking speed; "Andare" means to walk) aria: a beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat art-music: a general term used to describe the "formal concert music" traditions of the West, as opposed to "popular" and "commercial music" styles. art song: (genre) a musical setting of artistic poetry for solo voice accompanied by piano (or orchestra) atonality: modern harmony that intentionally avoids a tonal center (has no apparent home key) augmentation: lengthening the rhythmic values of a fugal subject avant-garde: ("at the forefront") a French term that describes highly experimental modern musical styles B ballet: (genre) a programmatic theatrical work for dancers and orchestra bar: a common term for a musical measure baritone: a moderately low male voice; in range between a tenor and a bass Baroque Era: c1600-1750; a musical period of extremely ornate and elaborate approaches to the arts. This era saw the rise of instrumental music, the invention of the modern violin family and the creation of the first orchestras (Vivaldi, Handel, JS Bach) bass: the lowest male
    [Show full text]
  • ANALYZING the PARAMETERS of FLOW in RAP MUSIC Robert
    ANALYZING THE PARAMETERS OF FLOW IN RAP MUSIC Robert Komaniecki Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University August 2019. Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ______________________________________ Kyle Adams, Ph.D. Research Director ______________________________________ Gretchen Horlacher, Ph.D. ______________________________________ Roman Ivanovitch, Ph.D. ______________________________________ Adrian Matejka, M.F.A. August 2019 ii Copyright © 2019 Robert Komaniecki iii Acknowledgements My dissertation would not have been possible without the support of mentors, colleagues, friends, and family. Of these, I would like to first thank my dissertation advisor Kyle Adams for his steadfast encouragement, pragmatic advice, good humor, analytical shrewdness, and kindness. Professor Adams helped spark an interest in rap music scholarship that gave my career as a music theorist direction and purpose. I would also like to extend my gratitude to the other members of my dissertation committee, Gretchen Horlacher, Roman Ivanovitch, and Adrian Matejka, for their help and guidance as I grow as a scholar. In addition to my committee members, many other faculty members at Indiana University have shaped my growth as a lover of music and scholarship, including Halina Goldberg, Frank Samarotto, Andrew Mead, Dominick DiOrio, and Marianne Kielian-Gilbert. Professor Kielian-Gilbert’s readings seminar was the first class in which I wrote a paper on rap music, and I thank her for her encouragement. I am also grateful for my current colleagues and position at Appalachian State University.
    [Show full text]
  • CM0052005 Booklet:CM0052005 Booklet
    Jean-Féry Rebel (1666–1747) BALLETS SANS PAROLES PRATUM INTEGRUM ORCHESTRA 1 Caprice (1711) . [2:37] Caprice (1711) Les élémens, simphonie nouvelle (1737–1738) The Elements, a new symphony (1737–1738) 2 Le Cahos . [5:55] 3 Loure I . [2:13] 4 Chaconne . [2:40] 5 Ramage . [1:03] 6 Rossignols . [1:16] 7 Loure II . [2:11] 8 Tambourin I & II . [2:01] Total 9 Sicilienne. [1:28] Time 10 Air pour l'Amour . [1:19] [60:00] 11 Caprice . [2:23] 12 Boutade (1712) . [5:38] Joke (1712) Performers: Pavel Serbin (viola da gamba), Mark Vainrot (viola da gamba), Anna Karpenko (harpsichord) Les plaisirs champêtres (1734) The Pastoral Pleasures (1734) 13 Musette I . [0:51] 14 Gavotte . [1:52] 15 Musette II . [0:23] 16 Chaconne . [2:40] 17 Passepied . [1:26] 18 Bourrée/Rigaudon/Bourrée . [3:21] BALLETS SANS PAROLES Les caractères de la danse, fantaisie (1734) The Dance Characters (1734) 19 Prelude . [0:31] 20 Courante . [0:29] 21 Menuet . [0:25] 22 Bourrée. [0:22] 23 Chaconne . [0:55] 24 Sarabande . [0:36] 25 Gigue . [0:28] 26 Rigaudon. [0:17] 27 Passepied . [0:26] 28 Gavotte . [0:22] Total 29 Time Sonate I . [0:36] [60:00] 30 Loure . [0:15] 31 Musette . [1:46] 32 Sonate II . [1:12] Fantaisie (1729) Fantasy (1729) 33 Grave . [1:19] 34 Chaconne . [3:05] 35 Loure. [2:03] 36 Tambourin. [2:25] Scores revised by Pavel Serbin (2005) 1 , 19 – 32 JEAN-FÉRY REBEL JEAN-FÉRY Transcription for viola da gamba and b. c. by Pavel Serbin (2005) 12 Compositions arranged by Pavel Serbin (2005) 13 – 18 , 33 – 36 I n 1711 Jean-Féry Rebel published his orchestral Caprice.
    [Show full text]
  • Download This PDF File
    Byzantine Particles, a Case Study: Juxtaposed τε καί and δέ in Medieval Dodecasyllables Julie Boeten ARTICLES in Byzantine texts have hardly been investi- gated, even though they are important indicators of P language evolution and change. To study them in a metrical context proves to be especially illuminating, since the metre provides a prosodic framework, and at the same time the particles can provide us with more information on the function- ing of Byzantine metre, about which in-depth research is only just beginning to emerge. Investigation of the particles τε and δέ appears especially meaningful in this regard, since on even a brief glance their word order and function seem to have changed by Byzantine times. In this paper I examine this systematically in order to provide insight into not only the functioning of the Byzantine dodecasyllable metre but also the changed usage of particles such as τε and δέ. 1. Introduction Byzantine metre has mostly been studied in comparison with its earlier counterparts (especially the classical iambic trimeter, from which the dodecasyllable evolved)1 or its later successors (the metres of Modern Greek folk songs).2 Only in the past few years has it started to be examined for its own value and in its 1 P. Maas, “Der byzantinische Zwölfsilber,” BZ 12 (1903) 278–323; A. Rhoby, “Vom jambischen Trimeter zum byzantinischen Zwölfsilber. Beo- bachtung zur Metrik des spätantiken und byzantinischen Epigramms,” WS 124 (2011) 117–142. 2 P. Mackridge, “The Metrical Structure of the Oral Decapentasyllable,” BMGS 14 (1990) 200–213. ————— Greek, Roman, and Byzantine Studies 59 (2019) 529–550 2019 Julie Boeten 530 BYZANTINE PARTICLES, A CASE STUDY own right, most notably by Lauxtermann.3 Byzantine particles, similarly, have been largely ignored by scholars, the main ex- ceptions being Tonnet4 and Soltic.5 As Wahlgren has remarked, “there is still much work to be done on Greek particles.
    [Show full text]
  • Irregular Grooves and Drumbeats in the Songs of Tori Amos, Radiohead, and Tool
    Unpopular Meters Irregular Grooves and Drumbeats in the Songs of Tori Amos, Radiohead, and Tool by Scott James Hanenberg A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Music University of Toronto © Copyright by Scott James Hanenberg 2018 Unpopular Meters: Irregular Grooves and Drumbeats in the Songs of Tori Amos, Radiohead, and Tool Scott James Hanenberg Doctor of Philosophy Faculty of Music University of Toronto 2018 Abstract This dissertation investigates the drumbeat’s role in articulating irregular metric structures in rock music from the past three decades. Having analyzed a corpus of 240 songs, I theorize several distinct categories of metric irregularity; establish drumbeat conventions in the most common irregular grooves; explore connections between drumbeat, meter, hypermeter, and form; and present numerous examples of unique or idiosyncratic drumming practices. While explaining metric trends broadly within a historically situated genre, my research also highlights the metric idiolects of Tori Amos, Radiohead, and Tool. The dissertation comprises three parts. Part I establishes my theoretical position and methodological framework. In Chapter 1, I stress the importance of the snare drum in the mapping of unfamiliar metric terrain: through constant exposure to the backbeat as the standard drumbeat of 4/4 meter, popular music listeners have come to equate snare-drum articulations with a specific metric implication, which informs our interpretation of metrically irregular structures. Chapter 2 establishes a historical and generic context for discussing metric irregularity in recent rock and delineates the boundaries of the corpus. Part II consists of an annotated catalogue of every repeating metrically irregular drumbeat in the corpus.
    [Show full text]