Hierarchy and position usage in ‘mixed’ metrical structures

Abstract

Musical metre is commonly formalised in hierarchical terms, and defined or represented on the basis of regular, interacting pulse streams. These hierarchies are often merely asserted a priori, though systematic studies by Palmer and Krumhansl and Prince and Schmuckler suggest that such hierarchies are also strongly manifest in the relative usage of metrical positions: a strong metrical position is also a frequently used one. If position usage provides an insight into metrical structure, then this may provide a way of engaging with a wider range of metrical structures, including ‘mixed’ metres (5/8, 7/8 ) which are excluded by many systems of well-formedness invoked in the canonical studies of ‘simple’ metres (2/4, 3/4 ). This article assesses whether position usage in mixed metres is similarly indicative of the metrical structures asserted for them by music theory. The complete set of Bartók’s solo piano works in 7/8 (223) provides the primary case study repertoire. This is complemented by a look at the more ambiguous 8/8 (323), as part of considering how position usage might relate to distinctions between syncopation and mixed metre. An introductory discussion of sample size also provides new data and observations for larger corpora of common practice music by Bach. Brief analytical comments keep the study grounded in ‘the music’ throughout.