[Smt-talk] Structure of intervals

Eve Poudrier eve_poudrier at yahoo.ca
Fri Sep 16 08:12:37 PDT 2011


Can you be more specific as to what you mean by "metric accents that accrue to the shared attack between two cycles of 
differing cardinality" (see paragraph below)? To my knowledge, the question as to whether metrically accented events are actually perceived as being physically stronger is still open. In fact, recent experiments suggest that they are not (see B.H. Repp (2010), "Do metrical accents create illusory phenomenal accents" in Attention, Perception, & Psychophysics, 72, 1390-1403).

Ève Poudrier
Assistant Professor of Music Theory, Yale University

--- En date de : Ven, 16.9.11, Joseph Lubben <jlubben at oberlin.edu> a écrit :
Difference tones are analogous to the metric accents that accrue to the shared attack between two cycles of differing cardinality.  For example,  a 3 vs. 2 rhythm (the combination of "frequencies" 3 and 2) will create a higher-level attack at frequency 3-2=1, much as two high pitches a fifth apart will produce a difference tone an octave below the lower pitch.  Interference operates most simply in Krebs' "displacement dissonance" of the the type Dx + x/2, where a strong-weak duple cycle is shifted over by exactly half a phase, so that downbeats are eliminated in a sort of metric flatlining.  It gets more complicated with phase shifts that are not exactly half the length of the cycle.  I should note that I find these analogues interesting, but I recognize that they haven't yet done much to shape my hearing of actual music.
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