Metric Dissonance in Non-Isochronous Meters Page: 72
The following text was automatically extracted from the image on this page using optical character recognition software:
between both beat-level and metric-level conflicts contributes to the dissonances occuring in the
segment from mm. 97-115 (Example 5.11). In mm. 97-100, Ligeti's slurs and beams indicate a
2+3+2 7-group. Furthermore, each internal pattern's boundaries occur at a change of pitch
direction. This grouping is followed by 6-groups (2+2+2). These groups have the effect of a
diminution of the 7-group, where the last two eighth notes of the group are replaced with
sixteenth notes. Because of this, it may be tempting to label the pattern 2+3+1, but that would
result in vastly different beat lengths (2:1 and 3:1). This is unlikely because beats at a 2:1 or 3:1
ratio could not possibly be on the same metrical level. Although Ligeti's beaming shows motivic
repetitions of fourths, the beaming here does not reflect the best beat grouping. Because of the
aversion to these differences in lengths, 6-groups should be either 2+2+2 or 3+3. I choose 2+2+2
because of the contour. In the first 6-group, beats 1 and 2 both leap down by a fourth, and the
direction changes between beats 1 and 2. The last two 6-groups (mm. 104-106) are 3+3. This
pattern also conflicts with Ligeti's notation, as the groups begin and end in the middle of a slur.
Alternatively, the sixteenth notes could be heard as a downbeat, but because of the previous 6-
group's ending on sixteenth notes, I hear the sixteenth notes as leading to the next beat or group.
The right-hand groupings augment to 8-groups (2+2+2+2). Still considering the sixteenth notes
as leading to the beats, Ligeti reflects by beaming eighth-notes in groups of twos and by the
changing direction between each of those patterns. In mm. 109-110 and m. 113, the 8 groups
shift to 3+2+3. Ligeti's use of an eighth rest after the first two eighth notes and his beaming of
the last three eighth-notes reflects this grouping. Alternatively, this may still be heard as
2+2+2+2 with syncopation because it immediately follows four statements of the 2+2+2+2
Here’s what’s next.
This dissertation can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Dissertation.
Smith, Jayson. Metric Dissonance in Non-Isochronous Meters, dissertation, August 2018; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc1248499/m1/83/: accessed April 19, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; .