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This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
Most time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value that the signature is counting. This number is always a power of 2 (unless the time signature is irrational), usually 2, 4 or 8, but less often 16 is also used, usually in Baroque music. 2 corresponds to the half note (minim), 4 to the quarter note (crotchet), 8 to the eighth ...
Persian and Parthian-speaking Manichaeans used the name of Mithra current in their time (Mihryazd, q.e. Mithra-yazata) for two different Manichaean angels. The first, called Mihryazd by the Persians, was the "Living Spirit" (Aramaic rūḥā ḥayyā), a savior-figure who rescues the "First Man" from the demonic Darkness into which he had plunged.
Rashnu [pronunciation? ] ( Avestan : 𐬭𐬀𐬴𐬢𐬏 ) is the Avestan language name of the Zoroastrian yazata of justice. Together with Mithra and Sraosha , Rashnu is one of the three judges who pass judgment on the souls of people after death.
Early medieval music was often structured in subdivisions of three, while the note values in modern music are most often subdivided into two parts, 4/4 being the most common time signature, meaning that minor prolation has primarily survived in our time signature system, while major prolation has been replaced by notation modifying note values ...
It seems to me that there are three categories: (A) all time signatures involved are common (e.g. 2/4 vs 3/4), and the inclusion of such works here is debatable; (B) only one is uncommon (e.g. 4/4 vs 24/16), and it is clear that these should go under their uncommon time signature; (C) more than one is uncommon (e.g. 11/8 vs 13/8), and it's not ...
Federico Mompou used some unusual ways of indicating time signatures in his piano music. In many cases he uses just a single number, e.g. "3", rather than, say, 3 over 4. In many cases he puts the time signature (whether 1 or 2 numbers) not on the staves but in the white space between them, or above or below the stave where there's only one stave.
I would say these time signature issues, for the most part, are obvious enough (for musicians anyway) that they don't need citations. To put it another way, it may be "original", but it's not "research". For the other conversation, about songs with compound meters, I put in a separate discussion topic, "Compound time signature songs".