Metric Dissonance in Non-Isochronous Meters Page: 88
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exist here in modified form. Despite differing diminution processes in the left- and right-hand
melodies, the phasing process remains intact (marked by rectangles). The first two iterations are
four measures long, just as they are in the first phase. When the metric diminution begins,
however, the phases become three measures long. Measures 46-48 and mm. 49-51 are grouped
as such because they are clear iterations of the phase despite the change in meter. Those phases
follow a structured diminution of beat groupings that will be discussed in the next section. The
heavily modified hypermetric palindrome complements the heavily modified metric structures-
both contribute to the destruction of meter.
Example 6.2. Composite Downbeat Attack Point (CDAP) visual for Ligeti's Disordre, A
Beginning of Palindrome Quasi-Phnsing
P I- ,
p3 SI BI
S2 B2 S r Sr S
Palindrome Ends Beginning of Quasi-Palindrome
= Consonanceat the metric level S = Soprano Phrase Beginning
f ~B = Bass Prase Beginning
= Downbeat only in the left hand
Colors correspond to phrases
= Downbeat only in the right hand in Example 6.1
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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/m1/99/: accessed April 25, 2019), University of North Texas Libraries, Digital Library, https://digital.library.unt.edu; .