Music Theory

Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet. Unter den 56 Kompositionen befindet sich eine signifikant große Anzahl an Wiederbearbeitungen ursprünglich 3 - stimmiger Chansons (Art - Song - Reworkings). Wiederum unter diesen fallen die 7 Bearbeitungen von “Fors seullement” am Ende der Handschrift auf. Ziel der Arbeit ist ein tiefer gehendes Verständnis der Kompositionsweise dieser Stücke. Dafür werden Techniken für die Entstehung von Art - Song - Reworkings erklärt und anhand von Gioseffo Zarlinos “Institutii Harmoniche” (1558) Kriterien für die Stücke, insbesondere für Komposition mit 5 und mehr Stimmen, erarbeitet. Darauf basieren die folgenden Analysen der Stücke, hauptsächlich nach Kadenzen, Modi, cantus firmus - Behandlung und Imitation. Die 7 Kompositionen sind sehr vielfältig und befinden sich auch nach der Analyse nicht eindeutig zuzuordnen im Spannungsfeld zwischen der im 15. Jahrhundert aufblühenden Praxis Chansons zu bearbeiten und einer moderneren Kompositionsweise, die in Theorie und Praxis ab der Mitte des 16. Jahrhunderts zu finden ist.
 
(incl. Transkriptionen in Partiturform und korrigierten Facsimiles) 

This article discusses the aetiology and evolution of musical structure, specifically the sonata-form exposition, from a memetic perspective. It regards established musical forms as replicated schemata arising from the conglomeration of foreground-level memes, the resultant archetypes (structural memes or Memesätze) being replicated (reinstantiated) by different collections of functionally analogous (allelic) memes. After a discussion of the theoretical background — including the top-down/bottom-up generative dichotomy as it applies to form, and some attributes of memes affecting conglomeration — three sonata expositions, by Haydn, Mozart and Beethoven, are discussed as specific evidence in support of the general hypotheses advanced.

Even if sound and music are deeply intertwined phenomena, it is still fiercely debated whether all music is made up of sound, and vice versa, whether all sound can be deemed as music. Researchers from many different backgrounds have proposed numerous solutions to the conundrum; however, most of them analyse music and sound out of their natural context, ignoring not negligible variables such as listeners and cognitive constraints.

This paper fills this gap, by introducing a theoretical model, called the Circle of Sound, which aims to solve the sound/music dilemma. The Circle of Sound is based on cognition, and has
been developed according to the concepts of musical complexity, musical understanding and musical enjoyment. By combining these concepts, a new operational definition of music is proposed. The theoretical framework provided can also be used as a basis for future experimental investigations, willing to shed some light on how musical is understood by
people.

La Barcarolle op. 60 de Chopin fait partie de la dernière période créatrice du compositeur, également appelée « dernier style ». Cette œuvre a suscité de très nombreuses interprétations dans la littérature musicologique, mais l’objet de cette communication est de proposer notre propre analyse, à la fois formelle et narrative, qui permettra de mettre en lumière certaines nouveautés stylistiques caractéristiques de cette période et d’expliquer les déviances formelles apparentes. Ce double-niveau analytique souhaite en effet investir les aspects techniques du discours musical (forme, tonalités, sections, cadences, harmonies, etc.) mais également son niveau expressif, à travers l’utilisation des topiques musicaux. L’étude de la succession de ces unités expressives permettra notamment d’éclaircir et d’expliquer le parcours de l’œuvre, qui se détache de la forme ternaire si chère au compositeur, avec un retour varié des deux thèmes principaux dans un style héroïque au sein de la dernière section, amenant un sentiment apothéotique. Il s’agit donc d’une stratégie narrative construite selon une concaténation particulière des unités du discours musical, une disposition de type téléologique qui amènera à cette apothéose finale, également retrouvée dans d’autres œuvres du corpus de la dernière période.

Professor Rahn takes the approach to the analysis of Western art music developed recently by theorists such as Benjamin Boretz and extends it to address non-Westem forms. In the process, he rejects recent ethnomusicological formulations based on mentalism, cultural determinism, and the
psychology of perception as potentially fruitful bases for analysing music in general. Instead he stresses the desirability of formulating a theory to deal with all music, rather than merely Western forms, and emphasizes the need to
evaluate an analysis and compare it with other interpretations, and demonstrates how this may be done.

The theoretical concepts which form the basis of Rahn's approach are discussed and applied: first to individual pieces of non-Westem music which have enjoyed a fairly high profile in ethnomusicological literature, and second to repertoires or groups of pieces. The author also discusses the fields of anthropology and psychology, showing how his approach serves as a starting point for studies of perception
and the concepts, norms, and values found in specific music cultures. In conclusion, he lists what he considers to be musical universals and takes up the more controversial issues implicit in his discussion.

Most of us can recall chuckling, or even laughing out loud, at a humorous musical passage and perhaps recalling how much that experience increased our enjoyment of the music. This study focuses on humour in the instrumental works of Haydn, Mozart, and Beethoven: composers who have been singled out by contemporary and modern scholars for their ingenuity and mastery of the Classical style. In the most general sense, musical humour arises when composers play with established conventions of musical discourse by writing something incongruous according to the stylistic context.
Chapter 1 demonstrates how historical critics understood the role of contrast in examples of musical humour and wit. It then surveys many recent music-theoretical discussions of musical humour, before briefly introducing how elements of contrast, “valence shifts,” and “opposition” are involved in musical humour from the Classical period. This study’s analytical and theoretical approach to musical humour draws on recent studies of musical humour, form, and communication in the Classical style, as well as concepts from recent linguistic theories of humour.   
Chapter 2 introduces the two primary strategies Classical instrumental composers employed to create musical humour: “opposition” and “excess.” Chapters 3 and 4 discuss a wide range of musical examples to explore how composers deployed formal functions and musical topics to produce humour. These discussions provide a sense of the wide range of effects that fall under the umbrellas of opposition and excess.
Chapter 5 concludes by briefly examining some performance applications of this study and suggesting some further potential sources of musical humour.

As a comparative reading informed by recent work in integration theory and metaphor theory shows, Heinrich Schenker's and Arnold Schoenberg's Harmonielehren adumbrate broader theories of composition based in part on a conception of the tone as a partly unconsciously perceived, living idea, which the artist imitates in a piece of music as a manifestation or development of one particular tone by means of the motive and the key. Schenker and Schoenberg further conceive of a piece as a picture of the tone and a statement about the tone. This analysis reveals that Schenker's and Schoenberg's peculiar clashes, such as in their starkly opposed attitudes toward tonality, are the result of a mere difference in emphasis—attributable to temperament—on the absoluteness of the tone as an idea of nature versus the contingency of the artist's response to the tone in the formation of music, a contradiction inherent in both of their remarkably parallel theories. This deep unity in Schenker's and Schoenberg's musical thought invites a reassessment of the opposed historical categories of tonal and post-tonal music, which have informed our perception of a fundamental conflict between their theories and limited our perception of commonality between their theories.

An insurance man, a rocker, a partisan, a deportee, a bandoneonist.... What can such different figures have in common? Very little, you might say, apart from the fact that they are among the main protagonists of "contemporary music", a world from which people generally prefer to keep away because it seems distant, complicated and incomprehensible. But is it really so?
The exciting story proposed in the book intends to bring contemporary music closer to its potential listeners through the stories of people such as Stockhausen, Gershwin, Berio, Xenakis, Takemitsu, Piazzolla or Sofija Gubajdulina who, in their variety, give an idea of the exceptional richness of the musical languages of the 20th and 21st centuries and their closeness to the human condition of our time.

Sonata form, as Charles Rosen has noted (Sonata Forms, 16-97), developed from a variety of genres and forms during the early 18th century. Consequently, composers have recognized its inherent flexibility and have explored a wide assortment of formal designs in their sonata-form movements. One such design, prevalent around 1750, was the three-part division of the exposition. Jens Peter Larsen and Michelle Fillion have illustrated how this formal arrangement (in which main theme and closing material are mediated by an expansion section), can serve as an alternative to the two-part division (main theme plus transition, followed by subordinate theme group and closing section). The three-part exposition, often used by Domenico Scarlatti and his mid-century contemporaries, never entirely disappears in the Classical and early Romantic periods. This paper seeks to trace the three-part exposition from ca.1757-1828, as sonata form develops from its Baroque origins as an opposition of tonal regions to the Romantic ideal of thematic opposition. There is a large stylistic difference between early Haydn and late Schubert, yet the three-part exposition is still in evidence throughout these years, even though its period of greatest prevalence is long past by the year of Schubert’s death.

In dem hier zu besprechenden (zuerst erschie- nenen) sechsten Band des Handbuchs bekennt Dahlhaus, den „Zeitgeist" (einen überaus wichti- gen Begriff, den das 19. Jahrhundert prägte) eher für eine „Oberflächen-" als für eine „Tiefen- struktur" zu halten.

This thesis focuses on a particular stylistic period of Frederic Chopin. The 1840s show an important evolution of Chopin’s musical language and correspond to an aesthetic turning point, characterized by a difficult historical and biographical context. All along our research, we will try to build a transversal definition of Chopin’s last style by highlighting the recurrent characteristics of this period. In this purpose, a corpus of twenty-two works will be analyzed through several levels (traditional and formal, semiotic, narrative and thymic), to grasp all the issues of the last period of the polish composer.

Cette thèse s’intéresse à une période stylistique particulière du compositeur Frédéric Chopin. Les années 1840 manifestent une évolution importante dans son langage musical et correspondent à un tournant esthétique marqué par un contexte historique et biographique difficile. Tout au long de ce travail, nous allons tenter d’ériger une définition transversale du « dernier style » de Chopin, en recherchant les éléments caractéristiques récurrents de cette période. Dans ce but, un corpus de vingt-deux oeuvres musicales sera analysé selon plusieurs niveaux (traditionnel et formel, sémiotique, narratif et thymique) afin de saisir tous les enjeux de la dernière période du compositeur polonais.

The Ordo Virtutum, Hildegard von Bingen’s twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo’s expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the entire work, Michael C. Gardiner for the first time examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work’s musical design and text. This is achieved primarily through Gardiner’s musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard’s correlative realization through sound, song, and voice.

Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.

Sound Unseen: Acousmatic Sound in Theory and Practice explores the phenomenon of acousmatic sound. An unusual and neglected word, "acousmatic" was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrète Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer's ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives -- historical, cultural, philosophical and musical -- and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases -- from Bayreuth to Kafka's "Burrow," Apollinaire to Zizek, music and metaphysics to architecture and automata, and from Pythagoras to the present -- to offer the definitive account of acousmatic sound in theory and practice.

The first major study in English of Pierre Schaeffer's theory of "acousmatics," Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses.

In this paper, I propose that embodied cognition in music has two distinct levels. The “surface” level relates to the apparent corporeal articulation such as the activated psychomotor program of a music performer, visible gestures in response to music, and rhythmic entrainment. The primary (though concealed) “deep” level of embodied cognition relates to the main coding aspects in music: the tonal relationships arranged in time. Music that we love – for example, a favorite melody – is made of combinations of a small number of basic melodic intervals that differ by their psychophysical characteristics, among which the level of tonal stability and consonant-dissonant dichotomy are the most important for the formation of tonal expectations that guide music perception. Listeners perceive music as a flow of tonal relationships arranged in time; the temporal and tonal dimensions are interwoven and constitute the tonal chronotope. The intuitive navigation in artistic tonal time-space relies on tonal expectations that are at the heart of melodic intentionality and musical motion. Melodic intentionality has its foundations in artfully sequenced tonal tension and release from tension. Significantly, perceived tonal tension is related to real physical tension. In a music listener, the patterns of perceived tonal tension most likely generate corresponding patterns of physical tension that contribute, along with other musical aspects, to forming a musical emotion, or the experience of psychological time in music. The tonal/temporal relationships encode musical content that dictates the motor behavior of music performers.  The proposed two-level model of embodied cognition connects core musicology with the data from studies in music perception and cognition as well as studies in affective neuroscience and musicianship-related brain plasticity. The paper identifies the need for collaboration among various subdisciplines in musicology and cognitive sciences in order to further the development of the nascent field of embodied cognition in music. The presented discourse relies on research in the tonal music of European tradition and it does not address either aleatoric music or the exotic musics of non-Western traditions. To make the proposed model of embodied cognition in music available for nonmusicians, the paper includes the basics of music theory.

Recent archival discoveries have begun to alter longstanding assumptions about the methods and materials of J. S. Bach’s pedagogy. Contrary to the widespread belief, it was not the ornate, four-part, vocal Choralgesang style that played the central role in Bach’s teaching. Rather, it was the Choralbuch style, where relatively simple thoroughbass chorale harmonizations were improvised at the keyboard. This two-volume series makes these findings accessible to scholars, teachers, and students by providing translations and modern editions of relevant sources from Bach’s circle.

Volume one provides a modern pedagogical edition of the thoroughbass chorales in C. P. E. Bach’s New Melodies for Some Chorales in the New Hamburg Chorale Book (1787), thoroughbass exercises from the anonymous “Precepts and Principles” (1738; attributed to Bach’s circle), the first English translation of David Kellner’s enormously popular treatise, True Instruction in Thoroughbass (2nd ed. 1737), a list of thoroughbass rules by J. S. Bach, and a newly created Thoroughbass Primer for Beginners. Volume two is a modern edition of the anonymous Sibley Chorale Book, which has been recently attributed to J. S. Bach’s circle of pupils in Dresden, c.1735.

Exploration of issues related to music composed for diffusion over loudspeakers, beginning with a historical overview. Subsequent chapters discuss terminology for the classification of such music, theories of listening, approaches to ear-training, the aesthetics of mimesis in music, and methods of analysis.

This article surveys the reception of Arnold Schoenberg's theoretical ideas in English-language music theory, with a primary (though not exclusive) focus on their reception in the United States. William Rothstein has chronicled how Heinrich Schenker's ideas were modified to conform to the American music-theoretical discourse ("Americanization"). The question then arises: Were Schoenberg's theoretical ideas also similarly modified? After a preliminary overview of the availability of Schoenberg's theoretical writing in English translation, four topics in Schoenberg's thought are traced, with a focus on the postwar era: 1) harmony; 2) form; 3) thematic and motivic transformation ; and 4) aesthetics. The American reception of Schoenberg's theoretical ideas has tended to focus on the music-technical dimension of his theoretical texts and has, to a significant extent, ignored the more philosophical and aesthetic aspects of his thought. It has tended to place emphasis on how music is structured and how that structure is unified; there has been less concern with why such unity is important in a broader sense. Dieser Aufsatz gibt einen Überblick über die Rezeption von Arnold Schönbergs theoretischem Denken in der englischsprachigen Musiktheorie, wobei der Fokus, wenn auch nicht ausschließ-lich, auf der Rezeption in den Vereinigten Staaten liegt. William Rothstein hat dargestellt wie Heinrich Schenkers Theorie im Zuge einer Anpassung an den amerikanischen musiktheoretischen Diskurs modifiziert wurde (»Americanization«). Dies legt die Frage nahe, ob auch Schönbergs theoretisches Denken in ähnlicher Weise modifiziert worden ist. Nach einer einführenden Über-sicht über die Verfügbarkeit von Schönbergs Schriften in englischen Übersetzungen werden vier Themenbereiche von Schönbergs Denken in der anglophonen Musiktheorie verfolgt, wobei der Schwerpunkt auf der Nachkriegszeit liegt: 1) Harmonik; 2) Form; 3) thematische und motivische Transformation; 4) Ästhetik. Die amerikanische Rezeption von Schönbergs Theorien tendierte dazu, die technischen Aspekte in seinen Schriften herauszuheben, und vernachlässigte dabei in einem signifikanten Ausmaß die stärker philosophischen und ästhetischen Aspekte seines Den-kens. Die Schönberg-Rezeption in den USA hat also ein starkes Gewicht auf Fragen musikalischer Struktur und struktureller Einheit gelegt; weniger wurde hingegen danach gefragt, warum eine solche Einheit in einem umfassenderen Sinn erstrebenswert ist. In his 1986 article entitled "The Americanization of Heinrich Schenker," William Roth-stein explores the development of Schenkerian theory and analysis in North America in the decades following the Second World War. Reflecting on how Schenker's ideas had been absorbed, disseminated, and, to a certain extent, adapted by the English-speaking academic community in the United States, Rothstein remarks: 1 I would like to thank Severine Neff and Jonathan Dunsby for reading an earlier version of this article and offering useful comments. I would also like to thank the editors of the journal and the anonymous readers for their valuable feedback and suggestions.

We have been lied to about what real Pythagorean harmonics alchemy is. The lie started with Philolaus who wrote a book, even though he was not a real practitioner of the Pythagorean training, requiring five years of silence meditation as incubation. The lies in this book were then spread by Plato and Archytas and powerful lies they were! They created Western civilization which has enabled very fancy materialistic technology, at great expense to ecology and social justice around the world. Aristotle critiqued the lies spread by Plato but Aristotle did not know the real truth of Pythagorean philosophy. By then, as Dr. Peter Kingsley has pointed out, it was too late.

In fact the secret of Pythagorean alchemy was known in ancient Egypt since 2/3 was the sacred fraction there, as well as in ancient Sumeria and ancient Dravidian culture and ancient Chinese culture – going back to the original human culture, the San Bushmen from at least 70,000 years ago! Just as Pythagoras means "snake-master" so too did the San Bushmen teach that N/om as snake energy is sacred and the ancient Greeks knew this was the reproductive life force energy that is ionized into the cerebrospinal fluid. For example ejaculation is mainly lecithin and lecithin is what myelinates the neurons so that more electromagnetic charge can be stored up in the body.

And so the One was also known as the Counter-Fire that exists in the Underworld and as the pan pipes blow this creates the One as the Fire and light of the Universe. So the Pan Pipes were the original Harmonia "breathing" that feeds the spirit light energy. Or in other words the secret, as Empedocles taught, is to visualize the fire underneath the water in the body – to reverse the Tetraktys based on the complementary opposites of the Perfect Fifth and Perfect Fourth – so that more Air or Aion energy (ionized Snake kundalini) energy is created, called Qi or Prana by the ancients in China and India.

This article follows on the heels of one by Holly Watkins, who argues that music, “a subsystem of the social system of communication,” can evoke the organic (the bodily and the psychic) not by forming a self-contained unity of parts and whole but through the “internal recursiveness” of musical works, their external “recursiveness vis-à-vis other music,” and – crucially – “the knowingness that music displays toward its own operations.” I adopt the premise that music evokes the organic most vividly not through recursive processes in individual systems but through the as-if intentional integration of such processes in multiple systems, of which I concern myself particularly with the harmonic, contrapuntal, and formal domains (or, more precisely, the motivic). I offer correctives to the organicist theories of Arnold Schoenberg and Heinrich Schenker, which similarly concern these domains, and especially to their reception. And I explore this direction through an analysis of Bach’s Prelude No. 7 in E-flat major from book 1 of The Well-Tempered Clavier, BWV 852, a singular piece that billows forth like an unfathomable blossom.

Auditory display has a long history as a tool to provide people with events and the needed actions by means of sound. The use of audio as media has its advantage of being non-directional and the ability to cover a large area. The field of auditory display design had a continuous improvement in the past years. As a major factor in developing a design is is to be easy to be recognized by the most of the listeners , as well as and simple in terms of understand the semantics and implications behind it. This area of study has been the interest of the industry and the scholars. Where all employed new and experimental methods that can be accepted as a social standard and an appropriate for the environment. In the awareness of the salient of the phenomena of using music as a method in creating an auditory display , raised the questions about how the music can transmit the information as alarm, what are the music and sound elements that have major role on the effectiveness and sensitivity on the listeners, and what are the concerns that can affect learnability aspect. The cultural respect of the music learnability and preferences can be an example of musical training and personality in different countries such as the Japanese train station alarms or the Japanese ambulance sirens . Considering these aspects this project will be an attempt to discuss the music in the auditory alarms design. As well as continuation to my previous project which spot the light on the contrast between icons and melodic alarms in regard of aspects of learnability and the sonic environment consideration . This project will include the process of designing melodic auditory display. As well as it will investigate the possible feature for improvement . It is a multidisciplinary progression that includes psychoacoustics, musicology and engineering. the project could be an interest for music composers , researchers , and industrial designers.

This paper focuses on the entrance exam to first-year professional-grade music education taught in the conservatories and authorized centres of Catalonia (Spain). Passing this test, which is structured in Music Theory and Instrument, is an essential requirement for conducting musical studies at this stage. It is prepared and given annually by the Educative Administration in collaboration with the Associació de Conservatoris de Catalunya.
The educational evaluation is considered to be ‘the motor of learning’ (Sanmartí, 2007, p. 19). It is also a crucial instrument inherent in the area of learning which reveals educational changes and provides important information that allows to enrich, renew and promote training processes (Castro, 2010); and it is essential in making decisions and implementing improvement in teachers’ actions (Navarro, 2013).
This research has two areas of study:
1. Validation of the Music Theory section (Godall, Godoy, Ponsatí, Miranda, & Amador, 2015; Godall, Andreu, Ponsatí, Miranda, Amador, Godoy, & Morcillo, 2016).
2. Analysis of the scores obtained by students (Ponsatí, Andreu, Godall, Miranda, Amador, & Morcillo, 2018a; Ponsatí, Godall, Andreu, Amador, Miranda, & Morcillo, 2018b; Ponsatí, Godall, Andreu, Amador, Morcillo, Miranda, & Godoy, 2017).
In one part, questionnaires were sent to the Music Theory teachers and later a discussion group was made. In the other part, through the elaboration of a template, the scores obtained by the students in each of the exercises were collected. The results allowed us to conclude that the test was suitable to meet the proposed goal since a high percentage of teachers considered all the exercises adequate. Modification proposals were suggested in only musical content, scoring criteria and psychopedagogical aspects.
This review leads us to consider improvement proposals which incorporate new categories related to various psychopedagogical aspects that allow us to define different student profiles. Among others, variables such as the instrumental specialty of the student or certain observable abilities related to the different modalities of hearing are considered (Laucirica, 2005). We consider it important that the evaluation exercises contemplate the diversity of the students.

This is a descriptive study within the scope of qualitative research methods based on strong theoretical
foundations. The data of the research was obtained through literature review. In the study while interaction of Turkish-European musical culture was studied, Mozart’s Rondo Alla Turca work was subjected to in-depth content analysis in terms of its melody-rhythm and tonality-form. Melodic structure was examined with the thematic coding, and an inductive approach was followed. In the literature review it was found out that 88 Western composers composed 128 works in the form of march in different names and tons about Turks from the second half of the 18th century until the first quarter of the 20th century. However; 11 Turkish composers composed Western-style varios work during the 20th century. In this study the researcher aims to gain a different perspective to the tonal music and modal music approaches in this field. The research is important for the approaches of the researcher that the best examples of the march and works composed by the Turkish composers during the westernization process were the ones which the Westerns composed through the effect of the Turkish music.

This Part 2 describes the various structures of melodies as more complex versions of the metrical structures discussed in Part 1. In this way, the metrical structure and the grouping structure will be integrated into one theoretical entity.

In Chapter 5, the various structure of phrases will be understood as roughly being metrical unit. By returning to the metrical structure for analysis, the various irregular structures are clearly understood as the result of a kind of compositional technique.

In Chapter 6, the details of various phrases will be understood as a combination of metrical structures, as a complication of metrical structures. The way to create such combinations is through syncopation.