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Lerdahl and Jackendoff employ a separate metric grid that allow them to describe the complex ways in which grouping and meter sometimes align and sometimes do not. Schachterâs work goes one step further by introducing a new distinction between tonal and durational rhythm. He claims that understanding the rhythm of a piece means understanding how tonal and durational rhythm âcombine into a single continuum, sometimes supporting, sometimes diverging from, sometimes even contradicting one anotherâ (p. 37). Schachter is, in fact, quite explicit about what he means by tonal rhythm: he believes that âthe tonal system itself has rhythmic propertiesâ (p. 36). These arise because some members of the tonal system are more stable than others: âThe contrast between the stable referential tones and the transitional ones produces an impression of patterned movement, in other words an impression of rhythmâ (p. 37). Schachter offers a couple of simple examples. First, he suggests that when a major scale is played against the tonic triad, the members of the triad sound stable, whereas the other notes sound unstable (pp. 37â38; ex. 1.12). Second, he observes that, within an Ursatz, the tonic Stufen at the beginning and end sound stable, while the
Journal of Music Theory – Duke University Press
Published: Jan 1, 2001
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