Abstract
This chapter explores hypermetrical irregularities beyond phrase structure. The discussion focuses on the perception of hypermeter in transition and development sections. It tracks hypermeter in sequences and fugato, then turns to augmented half and full cadences and posits their hypermetrical profiles as preference factors of hypermetric perception. Augmentation of rhythmical values in cadences is related to the augmentation of passing notes. While it was not permitted in strict style, such augmentation is discussed by eighteenth-century music theorists in relation to free style. This discussion provides further proof of eighteenth-century recognition of hypermeter and it supplements the remarks about historical origins of hypermeter in chapter 1.
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