Relevant bibliographies by topics / Musical meter and rhythm – Testing

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Musical meter and rhythm – Testing'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Musical meter and rhythm – Testing"

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Wilson, Sarah J., and Roger J. Wales. "An Exploration of Children's Musical Compositions." Journal of Research in Music Education 43, no. 2 (1995): 94–111. http://dx.doi.org/10.2307/3345672.

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In this study, we examined the musical compositions of children aged 7 and 9 years to discover the nature of childrens melodic and rhythmic representations of music. The compositions were performed using a computer program that did not require formal music training. Post hoc analysis revealed that the compositions could be divided into three melodic and rhythmic developmental stages that varied according to melodic contour, tonality, rhythmic grouping, and meter. Older children created more compositions at higher stages of complexity, and the more private musical training children had received, the more rhythmically complex their compositions were. The girls produced a greater percentage of compositions assigned to the highest stages than did the boys. Qualitative features of the subjects' approach to the task were noted during testing and were also found to vary with developmental stage. The number of parts inherent in the compositions was a nonpredictive variable in this analysis.
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Borуsova, Yu, and A. Fedoriaka. "Musical and rhythmic training of gymnasts 6-7 years old." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 8(128) (December 28, 2020): 27–32. http://dx.doi.org/10.31392/npu-nc.series15.2020.8(128).06.

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Competitive composition in rhythmic gymnastics is a small performance that has its own plot. However, the modern system of training in rhythmic gymnastics involves the implementation of a large amount of complex and super-complex elements, which must be mastered by very young athletes, and almost no methods of forming artistry, expressiveness, musicality. Problems related to the study of sports aesthetics are the subject of research by scientists: Viner-Usmanova I.O., M.E. Plekhanova, L.P. Morozova, V.V. Sydorova, L.A. Karpenko, Kabaieva A.M., Biletska I.H. etc..
 Aim: to scientifically substantiate and develop a program of musical and rhythmic training for 6-7 years old gymnasts.
 Research methods: analysis and generalization of literature sources; pedagogical observation and experiment; testing; expert evaluation of performances of 6-7 years old gymnasts; methods of mathematical statistics.
 Organization of the research. The research was conducted on the basis of the sports club "Rhythmics Star" in Dnipro within the period from October, 2018 till December, 2019. The study involved two groups of 6-7 years old gymnasts: control and experimental ones of 15 girls in each. Classes in groups were held 5 times a week for 90 minutes.
 Research results. After conducting the study of the initial level of musical-rhythmic training of gymnasts 6-7 years old, it was determined that the majority (70.6%) of the athletes have an average level of musical-rhythmic training. The largest difference in the results was observed in the test for coordination of movements with the meter, and the smallest one in improvisation to music. As a result of the study, the program of musical and rhythmic training for gymnasts aged 6-7 was developed and experimentally tested.
 Conclusions. Comparison of indicators of musical-rhythmic preparedness of the studied control and experimental groups at the beginning and end of the pedagogical experiment showed that in the control group the indicators have not changed. Whereas in the experimental group there was a significant statistical increase in the main indicators of musical and motor preparedness.
 Prospects for further research: development of the program for different age groups using other methods and means of musical-rhythmic training.
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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 patterns upon the perception of aggregate patterns in which they were embedded. Experiment 2 required metrical and nonmetrical target patterns to be reproduced while memorizing different, concurrently presented metrical patterns that were also subsequently reproduced. Both experiments included conditions in which the different patterns within the multipart structure were matched or mismatched in terms of best-fitting meter. Results indicate that dual-task performance was best in matched-metrical conditions, intermediate in mismatched-metrical conditions, and worst in nonmetrical conditions. This suggests that metric frameworks may facilitate complex musical interactions by enabling efficient allocation of attentional resources.
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Martinec, Radan. "Rhythm in Multimodal Texts." Leonardo 33, no. 4 (2000): 289–97. http://dx.doi.org/10.1162/002409400552676.

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The author presents a hier-archical model of rhythm in lan-guage, music and action and ap-plies it to the integration of these semiotic modes in multimodal texts. The model distinguishes be-tween rhythm and meter; meter is shown to synchronize the rhyth-mic hierarchies of musical instru-ments, as well as of voice, music and action. The author identifies the meanings conveyed by variet-ies of multimodal synchronization.
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Nozaradan, Sylvie. "Exploring how musical rhythm entrains brain activity with electroencephalogram frequency-tagging." Philosophical Transactions of the Royal Society B: Biological Sciences 369, no. 1658 (2014): 20130393. http://dx.doi.org/10.1098/rstb.2013.0393.

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The ability to perceive a regular beat in music and synchronize to this beat is a widespread human skill. Fundamental to musical behaviour, beat and meter refer to the perception of periodicities while listening to musical rhythms and often involve spontaneous entrainment to move on these periodicities. Here, we present a novel experimental approach inspired by the frequency-tagging approach to understand the perception and production of rhythmic inputs. This approach is illustrated here by recording the human electroencephalogram responses at beat and meter frequencies elicited in various contexts: mental imagery of meter, spontaneous induction of a beat from rhythmic patterns, multisensory integration and sensorimotor synchronization. Collectively, our observations support the view that entrainment and resonance phenomena subtend the processing of musical rhythms in the human brain. More generally, they highlight the potential of this approach to help us understand the link between the phenomenology of musical beat and meter and the bias towards periodicities arising under certain circumstances in the nervous system. Entrainment to music provides a highly valuable framework to explore general entrainment mechanisms as embodied in the human brain.
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Hagmann, Carl Erick, and Robert G. Cook. "Testing meter, rhythm, and tempo discriminations in pigeons." Behavioural Processes 85, no. 2 (2010): 99–110. http://dx.doi.org/10.1016/j.beproc.2010.06.015.

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Cox, Arnie. "Disanalogies Between Physical Space and Metaphoric Musical Space: Response to Jonathan Still’s Essay." Empirical Musicology Review 10, no. 1-2 (2015): 135. http://dx.doi.org/10.18061/emr.v10i1-2.4600.

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Jonathan Still’s exploration of differences in how dancers and musicians experience and conceptualize beats, rhythm, and meter raises issues that scholars interested in these temporal components of music ought to consider, particularly with respect to the relationship between embodiment, physical gravity, and the notion of “musical gravity.” This response offers a brief explanation of how the musicians’ concept of <em>downbeat</em> is motivated by a different reasoning than that which motivates a sense of melodic “gravity.” It also extends another issue raised by Still concerning the range in the degree of congruence, across various kinds of dancing, between dancers’ steps and musical rhythm and meter.
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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 Experiment 2, we focused on the influence of the metrical positions of a rhythmic series, and we compared musicians and non-musicians’ responses to deviant sounds inserted on strong versus weak metrical positions. We hypothesized that musicians would show enhanced rhythmic processing as compared to non-musicians. Furthermore, we hypothesized that musicians’ expectancy level would differ more across metrical positions compared to non-musicians. In both experiments, musicians were faster and more sensitive than non-musicians. Although both groups were overall faster and showed a higher sensitivity for the detection of deviants in rhythmic compared to non-rhythmic series (Experiment 1), only musicians were faster in the detection of deviants on strong positions compared to weak ones (Experiment 2). While rhythm modulates deviance processing also in non-musicians, specific effects of long-term musical training arise when a refined comparison of hierarchical metrical positions is considered. This suggests that long-term musical training enhances sensitivity to the metrical structure and improves temporal prediction mechanisms, even during implicit processing of meter.
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London, Justin, Rainer Polak, and Nori Jacoby. "Rhythm histograms and musical meter: A corpus study of Malian percussion music." Psychonomic Bulletin & Review 24, no. 2 (2016): 474–80. http://dx.doi.org/10.3758/s13423-016-1093-7.

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Marshall, Wayne. ":Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music." Music Theory Spectrum 31, no. 1 (2009): 192–99. http://dx.doi.org/10.1525/mts.2009.31.1.192.

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Dissertations / Theses on the topic "Musical meter and rhythm – Testing"

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Thul, Eric. "Measuring the complexity of musical rhythm." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116081.

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This thesis studies measures of musical rhythm complexity. Informally, rhythm complexity may be thought of as the difficulty humans have performing a rhythm, listening to a rhythm, or recognizing its structure. The problem of understanding rhythm complexity has been studied in musicology and psychology, but there are approaches for its measurement from a variety of domains. This thesis aims to evaluate rhythm complexity measures based on how accurately they reflect human-based measures. Also, it aims to compare their performance using rhythms from Africa, India, and rhythms generated randomly. The results suggest that none of the measures accurately reflect the difficulty humans have performing or listening to rhythm; however, the measures do accurately reflect how humans recognize a rhythm's metrical structure. Additionally, the results suggest a need for normalization of the measures to account for variety among cultural rhythms.
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Taslakian, Perouz. "Musical rhythms in the Euclidean plane." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115875.

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This thesis contains a collection of results in computational geometry that are inspired from music theory literature. The solutions to the problems discussed are based on a representation of musical rhythms where pulses are viewed as points equally spaced around the circumference of a circle and onsets are a subset of the pulses. All our results for rhythms apply equally well to scales, and many of the problems we explore are interesting in their own right as distance geometry problems on the circle.<br>In this thesis, we characterize two families of rhythms called deep and Euclidean. We describe three algorithms that generate the unique Euclidean rhythm for a given number of onsets and pulses, and show that Euclidean rhythms are formed of repeating patterns of a Euclidean rhythm with fewer onsets, followed possibly by a different rhythmic pattern. We then study the conditions under which we can transform one Euclidean rhythm to another through five different operations. In the context of measuring rhythmic similarity, we discuss the necklace alignment problem where the goal is to find rotations of two rhythms and a perfect matching between the onsets that minimizes some norm of the circular distance between the matched points. We provide o (n2)-time algorithms to this problem using each of the &ell;1, &ell;2, and &ell;infinity norms as distance measures. Finally, we give a polynomial-time solution to the labeled beltway problem where we are given the ordering of a set of points around the circumference of a circle and a labeling of all distances defined by pairs of points, and we want to construct a rhythm such that two distances with a common onset as endpoint have the same length if and only if they have the same label.
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Saxton, Ian Arnold. "Musical pulse tracking algorithms and applications." Diss., [La Jolla, Calif.] : University of California, San Diego, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1457390.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Title from 1st page of PDF file (viewed June 15, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 60-61.
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Vincent, Dennis Richard. "Ensemble pitch and rhythm error discrimination : the identification and selection of predictors." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/32443.

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This study investigated relationships between 36 predictor variables and ensemble pitch and rhythm error discrimination ability. Precollege musical background and other demographic data were collected by means of the Musical Background Questionnaire. Musical achievement was measured by the Aliferis-Stecklein Music Achievement Test, College Midpoint Level. Undergraduate musical coursework data were obtained from transcripts. The criterion variables were measured by the Ramsey-Vincent Test of Instrumental Error Detection; a test of aural-visual pitch and rhythm error discrimination for full-score band music of medium difficulty. All three instruments were administered to 82 undergraduate music students. Subjects represented three Canadian universities and two community colleges. Pearson product-moment correlation tests were used to identify variables significantly related to musical ensemble error discrimination at the .10 level of significance. Eighteen variables were found to be significantly related to ensemble pitch error discrimination. Fourteen variables were found to be significantly related to ensemble rhythm error discrimination. Regression procedures were performed for each of the significant variables. These variables were then organized into blocks representing precollege musical background, other demographic variables, musical achievement, and undergraduate coursework. Regressions were performed for each of the blocks. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 5, 15, 35, and 21 percent of the variance in ensemble pitch error discrimination scores respectively. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 21, 16, 19, and 12 percent of the variance in ensemble rhythm error discrimination scores respectively. Combinations of variables from these blocks produced a linear model comprised of five demographic variables plus precollege choral experience that accounted for 42 percent of the variance in ensemble pitch error discrimination scores. Combinations of variables from the four blocks produced a linear model of ensemble rhythm error discrimination comprised of rhythmic discrimination, choice of a band instrument as one's major performance medium, composition as one's program major, and precollege band or orchestral experience. These four variables accounted for 32 percent of the variance in ensemble rhythm error discrimination scores. The variables selected for use in this study accounted for a substantial portion of the variance in error discrimination scores. To improve the predictive power of future studies, other variables need to be identified and included in the model. Ten conclusions were made regarding the prediction of ensemble error prediction ability. Three recommendations were made for improving error discrimination training and seven recommendations were made for future research in ensemble error discrimination.<br>Education, Faculty of<br>Graduate
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Gotham, Mark Robert Haigh. "The metre metrics : characterising (dis)similarity among metrical structures." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709080.

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Hamaoui, Kamil. "The perceptual grouping of musical sequences : pitch and timing as competing cues /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC IP addresses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236630.

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Van, der Walt Salomé. "Rhythmic techniques in a selection of Olivier Messiaen's piano works." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-06022008-075450/.

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Celma, Miralles Alexandre 1991. "Neural and evolutionary correlates of rhythm processing through beat and meter." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/668448.

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El temps és un component estructural de la música. A cada cultura, els sons de la música es produeixen i es perceben com patrons rítmics que posseeixen una pulsació isocrònica subjacent. Aquesta pulsació isocrònica s'organitza mitjançant el compàs en patrons que jerarquitzen posicions fortes i febles. Ambdós, la pulsació isocrònica i el compàs, són constructes cognitius que funcionen com a punts de referència temporal per categoritzar i predir esdeveniments, fet que permet sincronitzar moviments (entre altres coses). Aquesta tesi pretén explorar les bases biològiques de la pulsació isocrònica i del compàs jeràrquic des d'un enfocament neurofisiològic i comparatiu. Els estudis electrofisiològics amb humans han revelat que les poblacions neuronals poden sincronitzar-se amb estímuls periòdics visuals i auditius; i amb el compàs ternari, sigui imaginat en la modalitat visual o marcada per característiques auditives espacials. A més, la formació musical i l'atenció interaccionen amb el processament del ritme i reforcen la sincronia neural amb les periodicitats de la pulsació i el compàs. Els estudis conductuals amb rates han revelat que altres animals són capaços de reconèixer l'estructura rítmica subjacent a una cançó familiar i que poden detectar isocronia en seqüències auditives presentades a diversos tempos, independentment de la durada absoluta dels tons. A diferència dels humans, les rates no tenen habilitats d'aprenentatge vocal, les quals semblen no ser necessàries per processar aquests dos components temporals del ritme. En conjunt, aquestes troballes assenyalen que alguns aspectes rítmics de la música van més enllà de la modalitat auditiva en els humans i que els seus orígens es poden trobar en altres espècies.
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Rose, Bernard N. (Bernard Norman). "The Effect of Rhythm on Melodic Expectancy." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc332020/.

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The present study sought to confirm melodic expectancy patterns discovered in a previous investigation and to determine whether data would be affected by altering the rhythmic condition of the stimuli. The three problems of this investigation were to study expectancies generated by two-note stimulus intervals of equal duration; the expectancies generated by stimulus intervals presented with a long-short rhythm; and the expectancies generated by stimulus intervals presented with a short-long rhythm. Fifty subjects were asked to sing what they believed would be the natural continuation of the melody begun by a two-note stimulus interval. The stimulus intervals were grouped in rhythmic sets, one set of neutral-rhythm stimuli, one set of long-short stimuli, and one set of short-long stimuli. The interval from the second note of the stimulus interval to the first sung note was transcribed as the generated expectancy response interval. The data were examined in two basic ways, using response data as a whole and examining data for each stimulus interval separately. A third method of data evaluation concerned harmonic triads occurring in the response data. Both when considering response frequency as a whole, and when considering response data separately for each melodic beginning, no significant difference associated with rhythmic condition could be found. Smaller response intervals were generated much more often than large intervals. Some stimulus intervals, notably the major second ascending, were observed to be much more powerful generators than others. It was concluded from these results that in response to two-note stimulus intervals melodic expectancy can clearly be shown to operate, confirming the results of an earlier study, but that no effect of rhythm on melodic expectancy can be shown to operate.
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Abravaya, Ido. "On Bach's rhythm and tempo /." Kassel [u.a.] : Bärenreiter, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014918243&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Books on the topic "Musical meter and rhythm – Testing"

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Meter as rhythm. Oxford University Press, 1997.

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Modal rhythm. Institute of Mediaeval Music, 1986.

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Kazez, Daniel. The rhythm book. Accura Music, 1994.

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Demska-Trębaczowa, Mieczysława. Czas - przestrzeń - rytm: Wykłady lubelskie. Wydawn. POLIHYMNIA, 2005.

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Filz, Richard. Rhythm coach, level one: Rhythm workouts for instrumentalists, singers, dancers. Universal Edition, 2005.

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1940-, Nettheim Nigel, ed. How musical rhythm reveals human attitudes. Peter Lang, 2011.

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Williams, Charles Francis Abdy. The Aristoxenian theory of musical rhythm. Cambridge University Press, 2009.

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Fleischer, Anja. Die analytische Interpretation: Schritte zur Erschliessung eines Forschungsfeldes am Beispiel der Metrik. Dissertation.de, 2003.

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Brambach, Wilhelm. Rhythmische und metrische untersuchungen. B. G. Teubner, 1991.

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Majcen, Igor. O ritmu. Filozofska fakulteta, 1997.

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Book chapters on the topic "Musical meter and rhythm – Testing"

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Boenn, Georg. "Partitions and Musical Sentences." In Computational Models of Rhythm and Meter. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_4.

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Boenn, Georg. "A Shorthand Notation for Musical Rhythm." In Computational Models of Rhythm and Meter. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_3.

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Boenn, Georg. "Models of Musical Meter, Temporal Perception and Onset Quantization." In Computational Models of Rhythm and Meter. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_8.

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Boenn, Georg. "The Farey Sequence as a Model for Musical Rhythm and Meter." In Computational Models of Rhythm and Meter. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_7.

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Palfy, Cora S. "Social cues through rhythm and meter in Johannes Brahms's Sieben Fantasien Op. 116, No. 7: Capriccio." In Musical Agency and the Social Listener. Routledge, 2021. http://dx.doi.org/10.4324/9781003169710-6.

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Naveda, Luiz, Isabel C. Martínez, Javier Damesón, Alejandro Pereira Ghiena, Romina Herrera, and Manuel Alejandro Ordás. "Musical Meter, Rhythm and the Moving Body: Designing Methods for the Analysis of Unconstrained Body Movements." In Music, Mind, and Embodiment. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_3.

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Hasty, Christopher. "Distinctions of Rhythm and Meter in Three Influential American Studies." In Meter as Rhythm. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886912.003.0004.

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This chapter looks at the three most widely read books from postwar American studies. A year after the publication of Friedrich Neumann's Die Zeitgestalt (1959), the appearance of Grosvenor Cooper and Leonard B. Meyer's The Rhythmic Structure of Music initiated in the United States an interest in problems of musical rhythm that has resulted in numerous studies. It was followed in 1968 by Edward T. Cone's Musical Form and Musical Performance, a parallel but less systematic interpretation of musical form as rhythm. Both studies are indebted to Hugo Reimann's work, but they go much further in detaching rhythm from counting. Meanwhile, in A Generative Theory of Tonal Music (1983), Fred Lerdahl and Ray Jackendoff argue that meter is exclusively measurement and equality, and metrical accent is without duration.
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Toussaint, Godfried T. "Meter and Metric Complexity." In The Geometry of Musical Rhythm. Chapman and Hall/CRC, 2019. http://dx.doi.org/10.1201/9781351247771-18.

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Toussaint, Godfried T. "Timelines, Ostinatos, and Meter." In The Geometry of Musical Rhythm. Chapman and Hall/CRC, 2019. http://dx.doi.org/10.1201/9781351247771-3.

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"■ Timelines, Ostinatos, and Meter." In The Geometry of Musical Rhythm. Chapman and Hall/CRC, 2016. http://dx.doi.org/10.1201/b13751-6.

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