Metric Dissonance in Non-Isochronous Meters Page: 33
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second half of m. 107, but the pair continues its groupings of 3. The dissonance is intensified as
the Violin II/Cello pair begins alternations of groups of 3 and 2. At this point, the complexity of
the dissonance at the beat level is no longer easily shown by ski-hill graphs because of the
displacements created by these conflicting groupings. Furthermore, because the displacement is
not consistent, Krebs's displacement dissonance methodology would not show the full picture
The states of consonance and dissonance can be clearly shown with a Composite Beat
Attack Point visual. Example 3.7 shows the moments of consonance and dissonance in the
context of 3/4, where the eighth note is the length of the eighth notes in the Violin I/Viola pair.
Example 3.7. Composite Beat Attack Point (CBAP) visual for Bart6k's String Quartet, no. 4, II,
III'. I '
The attack points occur on eighth notes in the context of the Violin I/Viola pair for the first seven
measures. When the groupings of three begin to occur in the Violin II/Cello pair, however, many
of the attack points occur at the sixteenth-note level (see the eighth measure). This shift suggests
that the states of consonance and dissonance may be best understood in terms of the Violin
II/Cello pair's 2/4 time signature beginning at the seventh measure of the example. The green
and red states return in this passage. Interestingly, mm. 109 and 112 contain the same rhythm as
the yellow states in the previous CBAP visual, but the state is much more dissonant this time
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Smith, Jayson. Metric Dissonance in Non-Isochronous Meters, dissertation, August 2018; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1248499/m1/44/: accessed April 25, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; .