Abstract

For centuries, theorists have debated whether musical phrases are normatively beginning-accented or end-accented. The last two decades of the twentieth century gave beginning-accented rhythm the upper hand; yet, recent work on end-accented phrases has reinvigorated the debate. I contribute to this discussion in two ways. First, I aim to rehabilitate a central position of end-accented rhythm by drawing attention to phrase-rhythmic tendencies in classical sentence structure. My analyses show that end-accented sentential schemas are well-established compositional options in various action spaces—including Primary and Secondary Themes—in late eighteenth- and early nineteenth-century instrumental music. Moreover, integral roles of end-accented sentential themes are substantiated by their production—in tandem with their beginning-accented counterparts—of large-scale progressions analogous to tonal and formal ones. Awareness of these sentential themes re-energizes the century-old debate and deepens our understanding of phrase rhythm as a source of musical meaning. Second, in order to achieve the first goal, I develop a theory of phrase-rhythmic progression for categorizing phrase-rhythmic types and mapping their trajectories. This theory fills a gap in current spatial representations of rhythm and meter, which focus on metric dissonances and hierarchies without considerations of phrase–meter interaction.

中文翻译：

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带有重音符号的句子：走向短语节奏节奏的理论

摘要

几个世纪以来，理论家一直在争论音乐短语是规范性地以开始为重音还是以结束为重音。二十世纪的最后二十年使开始强调的节奏占了上风。但是，最近有关重音短语的工作使辩论变得更加活跃。我通过两种方式为这次讨论做出了贡献。首先，我旨在通过提请注意古典句子结构中的短语节奏倾向来恢复以重音结尾的节奏的中心位置。我的分析表明，在18世纪末和19世纪初的乐器音乐中，带有重音符号的句型是各种动作空间（包括主要和次要主题）中公认的构图选择。而且，带有重音符号的主题主题的整体作用由其产生（与带有重音符号的对应主题相结合）来证明，该大规模进展类似于音调和正式音调。对这些句子主题的认识重新激发了百年历史的辩论，并加深了我们对作为音乐意义来源的短语节奏的理解。其次，为了实现第一个目标，我开发了一种短语有节奏的发展理论，用于对短语有节奏的类型进行分类并绘制其轨迹。该理论填补了当前节奏和乐器的空间表示中的空白，后者侧重于度量失调和层次结构，而没有考虑短语与乐器之间的相互作用。对这些句子主题的认识重新激发了百年历史的辩论，并加深了我们对作为音乐意义来源的短语节奏的理解。其次，为了实现第一个目标，我开发了一种短语有节奏的发展理论，用于对短语有节奏的类型进行分类并绘制其轨迹。该理论填补了当前节奏和乐器的空间表示中的空白，后者侧重于度量失调和层次结构，而没有考虑短语与乐器之间的相互作用。对这些句子主题的认识重新激发了百年历史的辩论，并加深了我们对作为音乐意义来源的短语节奏的理解。其次，为了实现第一个目标，我开发了一种短语有节奏的发展理论，用于对短语有节奏的类型进行分类并绘制其轨迹。该理论填补了当前节奏和乐器的空间表示中的空白，后者侧重于度量失调和层次结构，而没有考虑短语与乐器之间的相互作用。