Academic literature on the topic 'Non-isochronous meter'

Goldberg (this issue) presents evidence of interactions between percussive timing and song structure in two 3+2+2-meter Balkan performances. Using interonset measurements and checking carefully for statistical significance, he shows that formal and contextual characteristics of each performance coincide with timing changes at the level of the beat and bar, with durations becoming slightly shorter or longer at consistent locations. I review Goldberg&rsquo;s main findings and contribute brief supporting analyses. For one of the songs, I provide additional context regarding verse meter, melodic structure, anacrustic drive, links between timing and breathing, and offsets between taps and syllabic onsets. For the other song, I attempt to tease out the difference between shortened non-isochronous beats (an altered <em>aksak</em> ratio) and shortened bars (an accelerated tempo). I end with a brief analysis of a different song by the same performer as the first song, showing that the timing effects Goldberg observed in one are also present in the other.

This paper reviews the results of the processing of synchronized data on hydrosphere pressure variations and the Earth’s crust deformation in the microseismic range (5–15 s), obtained over the course of numerous experiments, using a coastal laser strainmeter and laser meters of hydrosphere pressure variations installed in various points of the Sea of Japan shelf. Interpreting the results, we have discovered new regularities in the dynamics of surface progressive gravity waves, and their transformation into primary microseisms, when waves move at the shelf of decreasing depth. For example, we found non-isochronous behavior of progressive waves, which manifests itself in a decrease in the periods of gravity waves due to the transformation of a part of their energy into the energy of primary microseisms. Furthermore, when processing the synchronous fragments of the records, made by laser strainmeters and laser meters of hydrosphere pressure variations, we identified approximate zones of the most effective transformation of the energy of gravity progressive waves into the energy of primary microseisms, which start from the depth of less than a half-wavelength and stretch to the surf zone.

We investigated whether and how the timing of musical rhythms changes with tempo. Twelve skilled pianists played a monophonic eight-bar melody in 21 different rhythmic versions at four different tempi. Within bars, the rhythms represented two isochronous patterns and all possible ordered pairs and triplets of different note values with ratios from the set {3, 2, 1}. The three-note rhythms also occurred in each of two meters (3/4 and 6/8). Significant deviations from the notated interval ratios were observed in performances of most rhythms, even at the slowest tempo. The observed ratios of the two-note rhythms changed little with tempo. By contrast, those of the three-note rhythms showed increasing assimilation of the two longer intervals as tempo increased, while the relative duration of the short interval was barely affected by tempo. These results replicate previous findings of Fraisse (1956), obtained in a nonmetrical and non-musical context. At fast tempi, the distinction between three different interval durations seems difficult to maintain.

Abstract The Messinian salinity crisis is typically recorded by evaporites in the abyssal plains of the Mediterranean Sea and by canyons incised into the Mediterranean margins and their hinterlands. However, the impacts of crisis on geomorphology and surface dynamics lasted, until canyons were filled by sediments in the Pliocene (fig. 2). In the mid-Rhône valley, the Ardeche Cretaceous carbonate platform is incised over 600 m by the Rhône Messinian canyon. The canyon thalweg is located – 236 m bsl (below sea level) in the borehole of Pierrelatte [Demarcq, 1960; fig. 1]. During the Pliocene, this canyon was flooded as a ria and infilled by a Gilbert type fan delta [Clauzon and Rubino, 1992; Clauzon et al., 1995]. The whole Messinian-Pliocene third order cycle [Haq et al., 1987] generated four benchmark levels. The first two are [Clauzon, 1996]: (i) The pre-evaporitic abandonment surface which is mapped around the belvedere of Saint-Restitut (fig. 1). This surface is synchronous [Clauzon, 1996] of the crisis onset (5.95 Ma) [Gautier et al., 1994; Krigjsman et al., 1999] and, consequently, is an isochronous benchmark. (ii) The Messinian erosional surface is also an isochronous benchmark due to the fast flooding [Blanc, 2002] of the Rhône canyon, becoming a ria at 5.32 Ma [Hilgen and Langereis, 1988]. These surfaces are the result of endoreic Mediterranean sea level fall more than a thousand meters below the Atlantic Ocean. A huge accommodation space (up to more than 1000 m) was created as sea-level rose up to 80 m above its present-day level (asl) during the Pliocene highstand of cycle TB 3.4 (from 5.32 to 3.8 Ma). During the Lower Pliocene this accommodation space was filled by a Gilbert fan delta. This history yields two other benchmark levels: (i) the marine/non marine Pliocene transition which is an heterochronous surface produced by the Gilbert delta progradation. This surface recorded the Pliocene highstand sea level; (ii) the Pliocene abandonment surface at the top of the Gilbert delta continental wedge. Close to the Rhône-Ardeche confluence, the present day elevations of the four reference levels are (evolution of base-level synthesized in fig. 4): (1) 312 m asl, (2) 236 m bsl, (3) 130 m asl, (4) 190 m asl. The Ardèche carbonate platform underwent karstification both surficial and at depth. The endokarst is characterized by numerous cavities organised in networks. Saint-Marcel Cave is one of those networks providing the most complete record (fig. 5). It opens out on the northern side of the Ardeche canyon at an altitude of 100 m. It is made up by three superposed levels extending over 45 km in length. The lower level (1) is flooded and functionnal. It extends beneath the Ardeche thalweg down to the depth of 10 m bsl reached by divers. The observations collected in the galleries lead us to the conclusion that the karst originated in the vadose area [Brunet, 2000]. The coeval base-level was necessarily below those galleries. The two other levels (middle (2) and upper (3)) are today abandoned and perched. The middle level is about 115 m asl and the upper one is about 185 m asl. They are horizontal and have morphologies specific to the phreatic and temporary phreatic zone of the karst (fig. 6). In literature, the terracing of the Saint-Marcel Cave had been systematically interpreted as the result of the lowering by steps of the Ardeche base-level [Guérin, 1973; Blanc, 1995; Gombert, 1988; Debard, 1997]. In this interpretation, each deepening phase of the base level induces the genesis of the gravitary shaft and the abandonment of the previous horizontal level. The next stillstand of base level leads to the elaboration of a new horizontal level (fig. 7). This explanation is valid for most of Quaternary karsts, that are related to glacioeustatic falls of sea-level. However our study on the Saint-Marcel Cave contests this interpretation because all the shafts show an upward digging dynamism and no hint of vadose sections. The same “per ascensum” hydrodynamism was prevailing during the development of the whole network (figs. 8 and 9). We interpret the development of the Ardeche endokarst as related to the eustatic Messinian-Pliocene cycle TB 3.4/3.5 recorded by the Rhône river. The diving investigations in the flooded part of the Saint-Marcel Cave and also in the vauclusian springs of Bourg-Saint-Andeol reached - 154 m bsl. Those depths are compatible only with the incision of the Messinian Rhône canyon at the same altitude (−236 m bsl). The Saint-Marcel lower level would have develop at that time. The ascending shaping of levels 2 and 3 is thus likely to have formed during the ensuing sea-level rise and highstand during the Pliocene, in mainly two steps: (i) the ria stage controlled by the Mediterranean sea level rise and stillstand; (ii) the rhodanian Gilbert delta progradation, that controlled the genesis of the upper level (fig. 10).

This paper addresses important issues in the theory of meter by means of a detailed study of a particular form of non-isochronous (NI) meter, the North Indian rūpak tāl. Rūpak tāl is described as comprising 7 equal mātrās (time units), organized into three groups (3+2+2 mātrās), and is therefore non-isochronous at the group rather than the beat or subdivision level. The term “long-form non-isochronous meter” is introduced to describe the phenomenon of metrical structures including a non-isochronous pulse level with IOIs >1000ms, of which this is an example. This phenomenon is explored with the aid of empirical analysis of a corpus of recordings of rūpak tāl performances, focusing particularly on vocal performances in khyāl style. This empirical data is considered in light of extant literature on Indian metrical organization, on ethnomusicological theories of aksak, on psychological theories of rhythm perception in NI-meters, and on metrical theory more broadly. The implications for a general theory of musical meter are then considered, leading to an argument that (a) while theorization is not a necessary condition of metrical perception, a recognized metrical pattern must be treated not only as a form of perception based on the entrainment of attention (London 2012), but as a form of culturally-shared knowledge contributing to top-down processing of meter; and (b) the theorization and representation of aspects of metrical structure means that metrical cycles are not limited to the extent of the psychological present.

This article studies the empirical structures and theoretical status of rhythmic feels in jembe music, which is a popular style of drum ensemble music from West Africa. The focus is onsystematic variations of durations(Bengtsson 1975)—that is, cyclic patterns of non-isochronous pulse streaming at the metric level of beat subdivision. Taking for example a standard piece of jembe repertoire that is set in a 4-beat/12-subpulse metric cycle (often notated as 12/8), I show that the ternary beat subdivision forms a repeated sequence of unequal (short, flexible, and long) subpulses. This stable rhythmic feel pattern, SFL, is unmistakable and non-interchangeable with a second ternary pattern, which is characterized by long, flexible, flexible subpulses (LFF) and occurs in other pieces of jembe music. As predicted in Justin London’s “hypothesis of many meters” (London 2004), these timing patterns distinguish individual meters. I further analyze how schemes of binary and ternary beat subdivisions can be synchronized to operate in parallel. Such metric nesting is based on the patterned non-isochrony of rhythmic feels. Cyclic variation of subpulse durations, I argue, is inherent in the repertoire and fundamental to the metric system of jembe music.

Although music of the twentieth and twenty-first centuries makes frequent use of non-isochronous meter (meters involving beats of different length, such as 5/4 and 7/8), most studies on meter and metric dissonance focus on isochronous meters (meters involving beats of the same length, such as 4/4 and 9/8). This dissertation bridges this gap by developing two methodologies to account for metric dissonance involving non-isochronous pulses: modified ski-hill graphs and the composite beat attack point system. Modified ski-hill graphs, adapted from Richard Cohn's ski-hill graphs, illustrate metric states involving non-isochronous pulses and reveal degrees of dissonance in musical passages that share time spans, as in 5/4 grouped 3+2 vs. 5/4 grouped 2+3. The composite beat attack point system uses rhythmic notation to illustrate metric states involving any pulse duration or time span, revealing specific points of dissonance and consonance, relative strength of dissonance and consonance, and patterns of dissonance and consonance. The methodology is used to closely examine the treatment of metric dissonance in Holst's "Mars," from The Planets, Ligeti's Hungarian Rock (Chaconne), and Ligeti's Désordre. The analyses focus on passages where the metric dissonance becomes ever more pronounced and ends up obliterating any sense of meter.

This thesis discloses my exploration of non-isochronous meters through composition and practice. During my two-year studies at the Royal College of Music in Stockholm, I explored different unevenly divided time signatures by practicing them in various ways, producing transcriptions, compositions and arrangements.The main purpose of this project was to further my knowledge and skills within these time signatures and thereby expand my horizon on perceiving, conceptualizing, composing and playing them. My endeavors culminated in seven original compositions, arranged for a jazz sextet, which I rehearsed and performed with an ensemble. During the process of composing, arranging, practicing and rehearsing, I gained a lot of articulated knowledge as well as embodied knowledge of the idiosyncrasies of various non-isochronous meters and different ways to perceive and play them.