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Journal articles on the topic 'Metrical'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

White, Christopher. "Relationships Between Tonal Stability and Metrical Accent in Monophonic Contexts." Empirical Musicology Review 12, no. 1-2 (2017): 19. http://dx.doi.org/10.18061/emr.v12i1-2.5833.

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Recent corpus analyses have provided evidence for interactions between tonal and metric hierarchies by illustrating that tonally stable pitches occur disproportionately often on strong metrical positions while tonally unstable pitches occur more frequently on weaker metrical positions. This study begins to investigate whether this observed property is salient to listeners' identification of metrical accents: by presenting participants with tonally-determined but metrically ambiguous beat patterns, we ask how tonal hierarchies might influence listeners' interpretation of these metrical-accent p

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2

McCully, C. B. "Writing under the influence: Milton and Wordsworth, mind and metre." Language and Literature: International Journal of Stylistics 9, no. 3 (2000): 195–214. http://dx.doi.org/10.1177/096394700000900301.

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This article suggests, in the spirit of Hayes (1983), that poetic influence can in part be expressible through a series of constraints as these are manifest in metrical filters, devices which essentially define which cadences are metrical for one poet, yet unmetrical for another. Synchronically, metrical filters help to account for the differences between the pentametric lines of Shakespeare, say, and those of Marlowe or John Donne. Diachronically, however, the employment of metrical templates yields challenging insights into how one poet, or group of poets, inherits, and seems to absorb, the

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Dawe, Lloyd A., John R. Plait, and Ronald J. Racine. "Inference of Metrical Structure from Perception of Iterative Pulses within Time Spans Defined by Chord Changes." Music Perception 12, no. 1 (1994): 57–76. http://dx.doi.org/10.2307/40285755.

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In many theories of meter inference (e. g., Benjamin, 1984; Lerdahl & Jackendoff, 1983), the cues that serve as markers for major metrical accent locations are the basis from which one infers or determines a meter. However, phrase and metrical structure often support one another with phrase boundaries coinciding with metrically important locations. Thus, it becomes difficult to determine which cues, if any, are used predominantly as the basis for meter inference. Three experiments are presented in which different time spans defined by harmonic, melodic, and temporal accents, and their coin

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Weiskott, Eric. "Systematicity, a missing term in historical metrics." Language and Literature: International Journal of Stylistics 25, no. 4 (2016): 328–42. http://dx.doi.org/10.1177/0963947016660229.

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This essay identifies two persistent problems in the historical study of meter—nonconformant metrical patterns and metrical change—and offers a new term as a conceptual tool for understanding their interdependence. The term ‘systematic’ denotes metrical patterns that conform to synchronically operant metrical principles. The corresponding term ‘asystematic’ denotes the minority of actually occurring metrical patterns that fall outside the metrical system as such for historical reasons. All systematic patterns are necessarily metrical, but not all metrical patterns are systematic. It is argued

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Frog. "Mythological Names and dróttkvætt Formulae II: Base-Word-Determinant Indexing." Studia Metrica et Poetica 1, no. 2 (2014): 39–70. http://dx.doi.org/10.12697/smp.2014.1.2.03.

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This article explores patterns of language use in oral poetry within a variety of semantic formula. Such a formula may vary its surface texture in relation to phonic demands of the metrical environment in which it is realised. This is the second part of a four-part series based on metrically entangled kennings in Old Norse dróttkvætt poetry as primary material. Old Norse kennings present a semantic formula of a particular type which is valuable as an example owing to the extremes of textural variation that it enables. The first part in this series introduced the approach to kennings as semanti

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Zhang, Richong, Xinyu Liu, Xinwei Chen, Zhiyuan Hu, Zhaoqing Xu, and Yongyi Mao. "Generating Chinese Ci with Designated Metrical Structure." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 7459–67. http://dx.doi.org/10.1609/aaai.v33i01.33017459.

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Ci is a lyric poetry form that follows highly restrictive metrical structures. This makes it challenging for a computer to compose Ci subject to a specified metrical requirement. In this work, we adapt the CVAE framework to automated Ci generation under metrical constraints. Specifically, we present the first neural model that explicitly encodes the designated metrical structure for Ci generation. The proposed model is shown experimentally to generate Ci with nearly perfect metrical structures.

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7

Willner, C. "Metrical Displacement and Metrically Dissonant Hemiolas." Journal of Music Theory 57, no. 1 (2013): 87–118. http://dx.doi.org/10.1215/00222909-2017115.

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TOIVIAINEN, PETRI, and JOEL S. SNYDER. "Tapping to Bach: Resonance-Based Modeling of Pulse." Music Perception 21, no. 1 (2003): 43–80. http://dx.doi.org/10.1525/mp.2003.21.1.43.

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We studied the process of pulse finding by using mechanical performances of composed music in which it is fairly challenging to find a pulse. Human participants synchronized to short musical excerpts that varied in the amount of musical information present, the amount of syncopation, and the metrical position of the first note. We quantified the period and phase of tapping, the amount of nonsynchronized tapping, the time to start tapping, the variability of the intertap interval, and the deviation of taps from the intended musical events. The amount of musical information and the amount of syn

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9

Gussenhoven, Carlos, and Jörg Peters. "Franconian tones fare better as tones than as feet: a reply to Köhnlein (2016)." Phonology 36, no. 3 (2019): 497–530. http://dx.doi.org/10.1017/s095267571900023x.

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Köhnlein (2016) proposes to represent the Franconian tone contrast as a difference in foot structure, whereby Accent 1 appears in lexically marked syllabic trochees and Accent 2 in default moraic trochees, as an alternative to analyses with an underlying privative tone for Accent 2. After sketching the two approaches, we argue against three arguments Köhnlein advances in favour of the metrical analysis. We then show that one of the disadvantages incurred by the metrically derived tonal representations is the introduction of a novel and otherwise unsupported concept of a single tone that incorp

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Acevedo, Stefanie, David Temperley, and Peter Q. Pfordresher. "Effects of Metrical Encoding on Melody Recognition." Music Perception 31, no. 4 (2012): 372–86. http://dx.doi.org/10.1525/mp.2014.31.4.372.

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We report two experiments exploring whether matched metrical and motivic structure facilitate the recognition of melodic patterns. Eight tonal melodies were composed from binary (four-note) or ternary (three-note) motivic patterns, and were each presented within a metrical context that either matched or mismatched the pattern. On each trial, participants heard patterns twice and performed a same-different task; in half the trials, one pitch in the second presentation was altered. Performance was analyzed using signal detection analyses of sensitivity and response bias. In Experiment 1, expert

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Frog. "Mythological Names and dróttkvætt Formulae I: When is a Valkyrie Like a Spear?" Studia Metrica et Poetica 1, no. 1 (2014): 100–139. http://dx.doi.org/10.12697/smp.2013.1.1.06.

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This article explores patterns of language use in oral poetry within a variety of semantic formula. Such a formula may vary its surface texture in relation to phonic demands of the metrical environment in which it is realized. Metrically entangled kennings in Old Norse dróttkvætt poetry provide material for a series of case studies focusing on variation in realizing formulae of this type. Old Norse kennings present a semantic formula of a particular type which is valuable as an example owing to the extremes of textural variation that it enables. Focus will be on variation between two broad sem

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12

Velleman, Shelley L., and Lawrence D. Shriberg. "Metrical Analysis of the Speech of Children With Suspected Developmental Apraxia of Speech." Journal of Speech, Language, and Hearing Research 42, no. 6 (1999): 1444–60. http://dx.doi.org/10.1044/jslhr.4206.1444.

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Previous studies have shown that metrical analysis accounts for syllable omissions in young normally developing children better than prior perspectives. This approach has not yet been applied to children with disorders. Inappropriate sentential stress has been proposed as a diagnostic marker for a subgroup of children with suspected developmental apraxia of speech (SD-DAS), suggesting that the application of metrical perspectives to this population may be appropriate. This report extends the goal of identifying diagnostic markers for SD-DAS using analytic procedures from metrical phonology. Th

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PEYGHAN, E., A. NADERIFARD, and A. TAYEBI. "ALMOST PARACONTACT STRUCTURES ON TANGENT SPHERE BUNDLE." International Journal of Geometric Methods in Modern Physics 10, no. 09 (2013): 1320015. http://dx.doi.org/10.1142/s0219887813200156.

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Using the almost product structure given by Druta, we introduce a metrical framed f(3, -1)-structure on the tangent bundle of a Riemannian manifold. Then by restricting this metrical framed f(3, -1)-structure to the tangent sphere bundle, we obtain an almost metrical paracontact structure on the tangent sphere bundle.

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Levelt, Willem J. M., and Niels O. Schiller. "Is the syllable frame stored?" Behavioral and Brain Sciences 21, no. 4 (1998): 520. http://dx.doi.org/10.1017/s0140525x9833126x.

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This commentary discusses whether abstract metrical frames are stored. For stress-assigning languages (e.g., Dutch and English), which have a dominant stress pattern, metrical frames are stored only for words that deviate from the default stress pattern. The majority of the words in these languages are produced without retrieving any independent syllabic or metrical frame.

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Dyck, Carrie. "Cayuga Accent: A Synchronic Analysis." Canadian Journal of Linguistics/Revue canadienne de linguistique 42, no. 3 (1997): 285–322. http://dx.doi.org/10.1017/s0008413100016959.

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AbstractCayuga (Northern Iroquoian) is a pitch accent language displaying different conditions for the accenting and lengthening of even-numbered and odd-numbered penults (counting from left to right). It is shown that Cayuga accent placement is predictable from metrical structure, and that metrical structure is in turn influenced by constraints on syllable structure. Syllable structure constraints are that: 1) all things being equal, coda consonants are parsed as light; and 2) vowel length is dispreferred. In odd-numbered penults, dispreferred syllable structure can be avoided, and this resul

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Van Den Toorn, Pieter C. Van Den Toorn. "Stravinsky's Les Noces (Svadebka), and The Prohibition Against Expressive Timing." Journal of Musicology 20, no. 2 (2003): 285–304. http://dx.doi.org/10.1525/jm.2003.20.2.285.

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In Stravinsky's Les Noces, folklike fragments are repeated relentlessly and literally (ritualistically). They are not varied or developed, strictly speaking, but are cut up and displaced metrically. Typically, displacement results in a disruption of the meter. Conflicting expectations of metrical parallelism are raised in the mind of the listener, expectations which catch the listener off guard. And if this disruptive effect is indeed to materialize, then the beat must be held firmly and without expressive nuance. This analytical perspective suggests a specifically musical rationale for exact,

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Kaplan, Max J. "Southern Pomo syncope is metrically conditioned: Metrical opacity and stratal derivation." Proceedings of the Linguistic Society of America 5, no. 1 (2020): 584. http://dx.doi.org/10.3765/plsa.v5i1.4736.

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Southern Pomo displays a process of rhythmic vowel deletion that appears to be sensitive to a metrical structure that is incompatible with surface stress, and is thus metrically opaque. This pattern implicates a metrical reversal, which is best accounted for by re-ranking constraints at different derivational stages in Stratal OT. The first stratum defines weak positions by building structure from left to right, while the second stratum deletes vowels in those weak positions and reassigns prominence from right to left. Some prior work has asserted that stratal models of rhythmic phonotactics o

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18

Temperley, David, and Christopher Bartlette. "Parallelism as a Factor in Metrical Analysis." Music Perception 20, no. 2 (2002): 117–49. http://dx.doi.org/10.1525/mp.2002.20.2.117.

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A model is proposed of the effect of parallelism on meter. It is wellknown that repeated patterns of pitch and rhythm can affect the perception of metrical structure. However, few attempts have been made either to define parallelism precisely or to characterize its effect on metrical analysis. The basic idea of the current model is that a repeated melodic pattern favors a metrical structure in which beats are placed at parallel points in each occurrence of the pattern. By this view, parallelism affects the period of the metrical structure (the distance between beats) rather than the phase (exa

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19

Clayton, Martin, Kelly Jakubowski, and Tuomas Eerola. "Interpersonal entrainment in Indian instrumental music performance: Synchronization and movement coordination relate to tempo, dynamics, metrical and cadential structure." Musicae Scientiae 23, no. 3 (2019): 304–31. http://dx.doi.org/10.1177/1029864919844809.

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Two complementary aspects of interpersonal entrainment – synchronization and movement coordination – are explored in North Indian classical instrumental music, in the auditory and visual domains respectively. Sensorimotor synchronization (SMS) is explored by analysing pairwise asynchronies between the event onsets of instrumental soloists and their tabla accompanists, and the variability of asynchrony by factors including tempo, dynamic level and metrical position is explored. Movement coordination is quantified using cross wavelet transform (CWT) analysis of upper body movement data, and diff

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Galbraith, Daniel. "Meter, prosody and performance: evidence from the Faroese ballads." Nordic Journal of Linguistics 42, no. 3 (2019): 227–61. http://dx.doi.org/10.1017/s0332586519000192.

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AbstractIn this paper, I argue that the folk ballad tradition of the Faroe Islands, to date never examined in detail by metrists, offers substantial empirical support for the necessity of maintaining the classic metrical template, as well as the distinction between metrical and prosodic structure: meter is an abstraction which can neither be collapsed into phonology, nor fundamentally detached from it (Kiparsky 2006, Blumenfeld 2015, pace Hayes & MacEachern 1998, Fabb & Halle 2008). The ballad performances also reveal a unidirectional correspondence from strong metrical positions to st

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21

Downing, Laura J. "Local and metrical tone shift in Nguni." Studies in African Linguistics 21, no. 3 (1990): 261–318. http://dx.doi.org/10.32473/sal.v21i3.107431.

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In this paper I argue that the Nguni languages have both a metrical tone shift rule and a non-metrical (local) tone shift rule which precedes and feeds assignment of metrical prominence (accent). As Goldsmith, Peterson, and Drogo [1986] and Peterson [1989b] have argued, a metrical tone shift rule best accounts for the fact that the rightmost high tone in most words surfaces on the antepenult. Not all high tones shift to the antepenult, however; instead, they shift one syllable to the right. Earlier metrical analyses accounted for (some) of these cases by proposing rules of accent shift. The pr

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22

Maw, David. ""Trespasser mesure": Meter in Machaut's Polyphonic Songs." Journal of Musicology 21, no. 1 (2004): 46–126. http://dx.doi.org/10.1525/jm.2004.21.1.46.

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Comments by Jacques de Lige suggest that Ars nova notation operated metrically at more than one rhythmic level. This is borne out by Machaut's compositions, the lais in particular. Inconsistencies within and between the two complete editions of Machaut's works in the reductions of note-values used for transcription indicate that the matter has not been fully resolved; uncertainty concerning metrical level in the polyphonic songs is evident in the different barrings of modus-level rhythmic organization. The system of 12 "modes" (mensural types) in the Compendium de discantu mensurabili by Petru

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Boyd, Clifton. "Metrical Ambiguity in the Scherzo of Brahms's String Sextet, Op. 18." Music Theory and Analysis (MTA) 8, no. 1 (2021): 41–60. http://dx.doi.org/10.11116/mta.8.1.2.

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This article explores the metrical and hypermetrical ambiguities present in the Scherzo of Brahms's String Sextet in B♭ major, Op. 18 (1859–60). Drawing upon Lerdahl and Jackendoff's metrical preference rules, Mirka's parallel multiple-analysis model, and Ito's fractional notation, I argue that each hearing of material from the opening phrase (at the beginning, during its first repeat, after the Trio, etc.) affords the possibility of a different hypermetrical experience. Furthermore, rather than the metrical structure becoming increasingly clear over time, there are a number of hypermetrical i

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Hammond, Michael. "Metrical Phonology." Annual Review of Anthropology 24, no. 1 (1995): 313–42. http://dx.doi.org/10.1146/annurev.an.24.100195.001525.

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Kooij, Jan G. "Metrical complexity." Linguistics in the Netherlands 13 (August 10, 1996): 147–58. http://dx.doi.org/10.1075/avt.13.15koo.

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Tempereley, Nicholas. "Metrical Psalters." Musical Times 129, no. 1739 (1988): 2. http://dx.doi.org/10.2307/964968.

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Turbet, Richard, and Robin Leaver. "Metrical Psalmody." Musical Times 133, no. 1792 (1992): 300. http://dx.doi.org/10.2307/966077.

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Lartillot, Olivier, and Didier Grandjean. "Tempo and Metrical Analysis by Tracking Multiple Metrical Levels Using Autocorrelation." Applied Sciences 9, no. 23 (2019): 5121. http://dx.doi.org/10.3390/app9235121.

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We present a method for tempo estimation from audio recordings based on signal processing and peak tracking, and not depending on training on ground-truth data. First, an accentuation curve, emphasizing the temporal location and accentuation of notes, is based on a detection of bursts of energy localized in time and frequency. This enables the detection of notes in dense polyphonic texture, while ignoring spectral fluctuation produced by vibrato and tremolo. Periodicities in the accentuation curve are detected using an improved version of autocorrelation function. Hierarchical metrical structu

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Hammerschmidt, David, and Clemens Wöllner. "Sensorimotor Synchronization with Higher Metrical Levels in Music Shortens Perceived Time." Music Perception 37, no. 4 (2020): 263–77. http://dx.doi.org/10.1525/mp.2020.37.4.263.

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The aim of the present study was to investigate if the perception of time is affected by actively attending to different metrical levels in musical rhythmic patterns. In an experiment with a repeated-measures design, musicians and nonmusicians were presented with musical rhythmic patterns played at three different tempi. They synchronized with multiple metrical levels (half notes, quarter notes, eighth notes) of these patterns using a finger-tapping paradigm and listened without tapping. After each trial, stimulus duration was judged using a verbal estimation paradigm. Results show that the me

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Keller, Peter E., and Denis K. Burnham. "Musical Meter in Attention to Multipart Rhythm." Music Perception 22, no. 4 (2005): 629–61. http://dx.doi.org/10.1525/mp.2005.22.4.629.

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Performing in musical ensembles can be viewed as a dual task that requires simultaneous attention to a high priority �target� auditory pattern (e.g., a performer�s own part) and either (a) another part in the ensemble or (b) the aggregate texture that results when all parts are integrated. The current study tested the hypothesis that metric frameworks (rhythmic schemas) promote the efficient allocation of attentional resources in such multipart musical contexts. Experiment 1 employed a recognition memory paradigm to investigate the effects of attending to metrical versus nonmetrical target pat

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Richards, Susan, and Usha Goswami. "Impaired Recognition of Metrical and Syntactic Boundaries in Children with Developmental Language Disorders." Brain Sciences 9, no. 2 (2019): 33. http://dx.doi.org/10.3390/brainsci9020033.

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In oral language, syntactic structure is cued in part by phrasal metrical hierarchies of acoustic stress patterns. For example, many children’s texts use prosodic phrasing comprising tightly integrated hierarchies of metre and syntax to highlight the phonological and syntactic structure of language. Children with developmental language disorders (DLDs) are relatively insensitive to acoustic stress. Here, we disrupted the coincidence of metrical and syntactic boundaries as cued by stress patterns in children’s texts so that metrical and/or syntactic phrasing conflicted. We tested three groups o

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Khumaeroh, Putri, and Syahfitri Purnama. "EXPLORING LEXICAL AND METRICAL STRESS IN MAYA ANGELOU'S POEM ENTITLED 'STILL I RISE': A PHONOLOGICAL ANALYSIS PERSPECTIVE." INFERENCE: Journal of English Language Teaching 3, no. 1 (2020): 1. http://dx.doi.org/10.30998/inference.v3i1.5804.

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<p>This study deals with phonological analysis, which focuses on analyzing lexical and metrical stress in Maya Angelou's poem entitled 'Still I Rise.' This study explores the lexical stress and metrical stress used in Angelou's poem, which answers the research questions. This method is the qualitative method which means the data was written text. The writer intends to determine what lexical stress (primary and secondary stress) and metrical stress (iamb, trochee, and dactyl) are in the poem text. This research showed that lexical stress, namely primary stress with total numbers, is 43 it

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Bolger, Deirdre, Jennifer T. Coull, and Daniele Schön. "Metrical Rhythm Implicitly Orients Attention in Time as Indexed by Improved Target Detection and Left Inferior Parietal Activation." Journal of Cognitive Neuroscience 26, no. 3 (2014): 593–605. http://dx.doi.org/10.1162/jocn_a_00511.

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When we direct attentional resources to a certain point in time, expectation and preparedness is heightened and behavior is, as a result, more efficient. This future-oriented attending can be guided either voluntarily, by externally defined cues, or implicitly, by perceived temporal regularities. Inspired by dynamic attending theory, our aim was to study the extent to which metrical structure, with its beats of greater or lesser relative strength, modulates attention implicitly over time and to uncover the neural circuits underlying this process of dynamic attending. We used fMRI to investigat

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Hagel, Stefan. "Adjusting Words to Music: Prolongating Syllables and the Example of ‘Dactylo-Epitrite’." Journal of Hellenic Studies 138 (2018): 227–48. http://dx.doi.org/10.1017/s0075426918000149.

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AbstractComparison between an original ancient composition and modern supplements shows that the ancient poetcomposer paid attention to sub-metrical parameters defining the suitability of a metrically long syllable for extended voiced performance. This criterion is explored as a potential guide to overlong syllables, developing a statistical method including thoroughly calculated weighted expectations. The method is then applied to Pindar's dactylo-epitritic Epinicia, where the rhythmical time of ‘missing link syllables’ is shown to have been incorporated within the preceding syllable. The not

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Lin, Yen-Hwei. "San Duanmu (2000). The phonology of Standard Chinese. Oxford: Oxford University Press. Pp. xv+300." Phonology 18, no. 3 (2001): 458–63. http://dx.doi.org/10.1017/s0952675701004195.

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This new addition to the series on the phonology of the world's languages edited by Jacques Durand is the most comprehensive study of the synchronic phonology of Standard Chinese (or Standard Mandarin) since the publication of Cheng's (1973) monograph. Duanmu provides a detailed description of the phonological facts in Standard Chinese (henceforth SC), some of which are new or little studied before, offers new perspectives on old problems and proposes a theoretical analysis of these facts in current frameworks such as feature geometry, metrical phonology and Optimality Theory. The main innovat

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Bell, Matthew. "Danses Fantastiques." Journal of Music Theory 65, no. 1 (2021): 107–37. http://dx.doi.org/10.1215/00222909-9124750.

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Abstract Much of Tchaikovsky's music for the ballets Sleeping Beauty and Nutcracker exhibits what Harald Krebs calls metrical dissonance: the juxtaposition or superimposition of noncoincident pulses and rhythmic patterns. This article shows how the dances of the composer's collaborators, Enrico Cecchetti, Antonietta Dell'Era, Lev Ivanov, and Marius Petipa, respond to and participate in these metrical dissonances. The first part of the article defines metrical dissonance, the processes that transform it, and the related but distinct phenomenon of metric type. The second part presents four chore

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Willink, C. W. "Euripides, Supplices 42–70." Classical Quarterly 42, no. 1 (1992): 41–45. http://dx.doi.org/10.1017/s0009838800042567.

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In a previous article I discussed some textual and metrical issues in the lyric-iambic stanzas Supplices 71–8/79–86, and the problematic persona and constitution of the Chorus. The preceding maternal ἱκεсα in four ionic stanzas presents fewer textual problems; but here too there is a challenging crux, at 45(–6) in the first strophe; and there is more to be said about the ode's metrical structure. I begin with a metrical reappraisal, which will prove to have a bearing on the textual problem. Unless otherwise stated, the text given is identical with those of both Diggle and Collard, except in li

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Russom, Geoffrey. "Optimality Theory, Language Typology, and Universalist Metrics." Studia Metrica et Poetica 5, no. 1 (2018): 7–27. http://dx.doi.org/10.12697/smp.2018.5.1.01.

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In Russom (2011), I defended a universalist hypothesis that the constituents of poetic form are abstracted from natural linguistic constituents: metrical positions from phonological constituents, usually syllables; metrical feet from morphological constituents, usually words; and metrical lines from syntactic constituents, usually sentences. An important corollary to this hypothesis is that norms for realization of a metrical constituent are based on norms for the corresponding linguistic constituent. Optimality Theory provides a universalist account of relevant linguistic norms and deals effe

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Hitch, Doug. "Contracted Semivowels in Old Khotanese." Indo-Iranian Journal 59, no. 3 (2016): 259–94. http://dx.doi.org/10.1163/15728536-05903001.

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This completes a study begun with ‘Contracted Diphthongs in Old Khotanese’ (2015b) of the contractions seen in the secondary declensions. Here are examined the phenomena of diphthong resolution, semivocalization and glide resolution. Metrical patterns in the great Buddhist poem known as The Book of Zambasta are used to reveal word structure not shown by the orthography. The diphthongs revealed in the earlier study, written CyV or CvV may resolve into CiyV (CäyV) or CuvV but keep the same metrical count. Oblique plural is recognized as a distinct grammatical category and it is shown how the obl

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Winn, Matthew B., and William J. Idsardi. "Musical evidence regarding trochaic inversion." Language and Literature: International Journal of Stylistics 17, no. 4 (2008): 335–49. http://dx.doi.org/10.1177/0963947008092501.

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This study investigates an unresolved issue in poetic metrics — the trochaic inversion — the apparent substitution of a trochaic foot in place of an iambic foot in an otherwise iambic line of verse. Various theories have been proposed to explain this metrical variation, including specific metrical units, groupings of beats and offbeats, and constrained definitions of metrical units via concepts such as stress maxima. By positing a structural comparison between the verse and music of set poetry, the current project attempts to evaluate theories of poetic metrics using a new empirical methodolog

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Meister, Felix J. "The Text and Metre of Sapph. fr. 114 V." Mnemosyne 72, no. 1 (2018): 1–11. http://dx.doi.org/10.1163/1568525x-12342493.

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AbstractThis article aims to address the problems posed by Sappho’s difficult fr. 114 V. It first revises the assumption that both lines need to display the same metrical profile and concludes that this assumption is unreliable. Then it offers a reconstruction of the fragment that is not restricted by the alleged need for metrical homogeneity.

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Atta, Firdos. "Word Stress system of the Saraiki language." Acta Linguistica Asiatica 11, no. 1 (2021): 129–45. http://dx.doi.org/10.4312/ala.11.1.129-145.

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This study presents an Optimality-Theoretic analysis of Saraiki word stress. This study presents a first exploration of word stress in the framework of OT. Words in Saraiki are mostly short; secondary stress plays no role here. Saraiki stress is quantity-sensitive, so a distinction must be made between short and long vowels, and light and heavy syllables. A metrical foot can consist of one heavy syllable, two light syllables, or one light and one heavy syllable. The Foot structure starts from right to left in prosodic words. The foot is trochaic and the last consonant in Saraiki words is extra

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Medvid, О. M., M. M. Symotyuk, and I. R. Tymkiv. "METRICAL ESTIMATIONS OF DETERMINANT OF THE INTEGRAL PROBLEM FOR EQUATION OF VIBRATING OF STRING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Number, no. 2(46) (December 14, 2018): 38–46. http://dx.doi.org/10.31471/2304-7399-2018-2(46)-38-46.

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Metrical theorems are inprocess set about estimations from below small denominators that arose up at investigational existence of periodic at times decision of task with integral conditions as moments after a spatial variable for equalization of small vibrating of string. For leading to of metrical estimations the concept of fractal measure and dimension of Hausdorff is from below applied.

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Buckley, Eugene. "Locality in metrical typology." Phonology 26, no. 3 (2009): 389–435. http://dx.doi.org/10.1017/s0952675709990224.

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Recent work in metrical typology within Optimality Theory has emphasised the rhythmic distribution of stress peaks by reference to clashes and lapses, compared to the more central role of foot constituency characteristic of most previous approaches. One consequence of this emphasis has been the introduction of constraints that require reference to non-adjacent objects in the representation, such as two unstressed syllables plus a word edge or a stress peak. I argue here for a constraint-based approach to metrical typology that permits only strictly local formulations. This approach requires in

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Doucha, Michal. "Metrical universality for groups." Forum Mathematicum 32, no. 6 (2020): 1649–54. http://dx.doi.org/10.1515/forum-2018-0226.

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Jackson, Timothy L. "Bruckner's Metrical Numbers." 19th-Century Music 14, no. 2 (1990): 101–31. http://dx.doi.org/10.2307/746198.

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EDWARDS, A. W. F., and J. H. EDWARDS. "Metrical Venn diagrams." Annals of Human Genetics 56, no. 1 (1992): 71–75. http://dx.doi.org/10.1111/j.1469-1809.1992.tb01130.x.

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Jackson, Timothy L. "Bruckner's Metrical Numbers." 19th-Century Music 14, no. 2 (1990): 101–31. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00010.

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GETTY, MICHAEL. "Differences in the metrical behavior of Old English finite verbs: evidence for grammaticalization." English Language and Linguistics 4, no. 1 (2000): 37–67. http://dx.doi.org/10.1017/s1360674300000137.

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This paper deals with the metrical behavior of a class of verbs in Old English whose descendants became the syntactically distinct auxiliaries of the modern period (have, be, may, will, shall, and associated forms). Contrasting two poems from the Old English period (Beowulf and The Battle of Maldon), I show that while the verbs in question show consistently stressed metrical placement in Beowulf, in Maldon they show a pronounced tendency to be placed in unstressed metrical positions, while verbs outside the eventual class of auxiliaries differ indiscriminately. In this way, the poetry suggests

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Perna, Francesca, Francesco Pavani, Massimiliano Zampini, and Veronica Mazza. "Behavioral Dynamics of Rhythm and Meter Perception: The Effect of Musical Expertise in Deviance Detection." Timing & Time Perception 6, no. 1 (2018): 32–53. http://dx.doi.org/10.1163/22134468-00002100.

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In two behavioral experiments, we explored effects of long-term musical training on the implicit processing of temporal structures (rhythm, non-rhythm and meter), manipulating deviance detection under different conditions. We used a task that did not require an explicit processing of the temporal aspect of stimuli, as this was irrelevant for the task. In Experiment 1, we investigated whether long-term musical training results in a superior processing of auditory rhythm, and thus boosts the detection of auditory deviants inserted within rhythmic compared to non-rhythmic auditory series. In Expe

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