Annotation for Schachter, Carl
Aspects of Meter
Annotation (by Jonathan D. Flowers):
- This study concludes "Rhythm and Linear Analysis," a
three-article series that applies the theories of Heinrich Schenker to
the analysis of rhythm and meter in tonal music. The essay has four main
parts. In the first part, Schachter draws upon
the work of Lerdahl and Jackendoff, Maury Yeston, Arthur Komar, and
Oswald Jonas to formulate definitions for the following terms: meter,
strong and weak beats, metrical accent, and structural accent.
Schachter then analyzes hypermetric structure in Beethoven's Piano
Sonata, op. 27/1, II, mm. 1-41. In the next section,
Schachter focuses on the perception of meter at levels beyond the
barline. He develops a theory of "quasi-metric effect" in a detailed
analysis of Schubert's Wanderer's Nachtlied,
D. 768. The section concludes with shorter analyses of syncopation and
rhythmic dissonance at the hypermetric level in excerpts by Mozart.
Schachter devotes the entire third section to an analysis of conflicits
between rhythmic grouping and notated meter in Schumann's
Davidsbündlertänz op. 6, no. 1. Schachter proposes that a
single hypermeter, which he calls the hypermeter, and single
meter, the meter, govern most classic and romantic works. He also
asserts--pace Riemann-- that a composer's notated meter should be
assumed correct unless there is strong
evidence to the contrary. In the final section of the essay, Schachter
summarizes Schenker's theory of Dehnung (metric expansions) and extends
that theory in three detailed analyses. Particularly provocative is
his derivation of hypermetric expansions in Beethoven, op. 27, no.1, II
from rhythmic prototypes that are implied--but not stated-- at the
middleground level. Schachter also discusses expansions in the minuet of
Scarlatti's Sonata in F, Longo 75 and "mid-bar downbeats" in Mendelssohn's
Lied ohne Worte, op. 102, no.4. Schachter's analyses throughout the
essay employ the method of durational
reduction introduced in Schachter (1980).
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