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A metric modulation is a modulation from one metric unit or metre to another. The use of asymmetrical rhythms – sometimes called aksak rhythm (the Turkish word for "limping") – also became more common in the 20th century: such metres include quintuple as well as more complex additive metres along the lines of 2+2+3 time, where each bar has ...
In music, metric modulation is a change in pulse rate and/or pulse grouping (subdivision) which is derived from a note value or grouping heard before the change.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
The metric beat time proportions may vary with the speed that the tune is played. The Swedish Boda Polska (Polska from the parish Boda) has a typical elongated second beat. In Western classical music, metric time bend is used in the performance of the Viennese waltz. Most Western music uses metric ratios of 2:1, 3:1, or 4:1 (two-, three- or ...
The system of note types used in mensural notation closely corresponds to the modern system. The mensural brevis is nominally the ancestor of the modern double whole note (breve); likewise, the semibrevis corresponds to the whole note (semibreve), the minima to the half note (minim), the semiminima to the quarter note (crotchet), and the fusa to the eighth note (quaver).
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Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The theory—which models musical transformations as elements of a mathematical group —can be used to analyze both tonal and atonal music .
In music of the common practice period, the composite rhythm usually confirms the meter, often in metric or even-note patterns identical to the pulse on a specific metric level. White defines composite rhythm as, "the resultant overall rhythmic articulation among all the voices of a contrapuntal texture". [ 51 ]