Metric Dissonance in Non-Isochronous Meters Page: 49
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The motive under observation first occurs as a half-note/eighth-note figure in mm. 28-29
(Example 4.10) and reappears, modified with metric diminution, in the transition section
(Example 4.11). In mm. 28-29, the motive is marked with rectangles as a half-note D-flat major
triad on beat four and its progression to a B major triad on the downbeat of the following
measure. The motive occurs for a second time two measures later in mm. 30-31 and a third time
two measures after that in mm. 32-33. The fourth time it appears only one measure later at mm.
33-34, marking a diminution of time between the motives.
Example 4.10. Motivic diminution in the first theme group
28 29 30 31
32 , 33_,_4_,
S32 3 33 3 34 3
In mm. 57-66, Example 4.11, the motivic diminution is accompanied by metric
diminution. Unlike in the first theme group, where the meter was clearly 5/4, the primary meter
here is 5/2 (the ostinato is absent). From mm. 57-60, the motives align with the implicit 5/2
meter, as they did in mm. 28-31. The diminution at mm. 61-64 mirrors the diminution at mm.
32-34, though it includes an extra statement of the motive. This diminution coincides with a
clear change in meter to 5/4 in mm. 62-63. Note that in m. 62, the rhythms in the high
woodwinds and strings change from a repeated J .0 figure to a . r d. figure. There
do do do do do do do 40
Here’s what’s next.
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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/m1/60/: accessed April 22, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; .