Unit V. Complexities and Applications


Lester, Joel. “Notated and Heard Meter” in Perspectives of New Music, Vol. 24, No. 2, Spring - Summer, 1986, pp. 116-128

Narmour, Eugene (2000). Music Expectation by Cognitive Rule-Mapping. Music Perception 17/3: 329-398.

Optional: Deleuze, Gilles. “Conclusion” in Difference and Repetition. Translation by P. Patton. London: Athlone Press, 1994. [From Difference et Repetition. Paris: Presses Universitaires de France, 1968.]



Prior to reading the Nauert article, read this brief set of four questions & activities; keep them in mind while reading, and then complete 2-3 of them in preparation for discussion next week.

Nauert, Paul. “Division- and Addition-Based Models of Rhythm in a Computer-Assisted Composition System.”Computer Music Journal Vol 31.4 Microtonal Controllers and Notation (Winter, 2007), pp. 59-70. [UCSC’s “Off-campus Access” system (or on-campus network connection) is required.]

Prior to reading pp 313-320 of my article below, review Gilles Deleuze’s anecdotal thoughts on pulsed and unpulsed rhythm in last week’s reading “Making Audible Forces Audible,” and overview the concepts of “repetition for itself” and “repetition in itself” in Chapter  of the Wikipedia article on those principles.

[The complete text of “Difference and Repetition” [<—55 MB] is here.] 

Carson, Benjamin. “Perceiving and Distinguishing Simple Timespan Ratios without Metric Reinforcement.” In Journal of New Music Research 36/4, December 2007. pp 313-336. For purposes of our conversation, only the first 7 pages of my article are important.

(Related listening: Carson, Benjamin. A is for Azimuth and Arnica [score] and [video, & other excerpts]. Albany Records, 2010.)


Further reading:

Lewin, David. “Some Investigations into Foreground Rhythmic and Metric Patterning”: “Introduction,” and Versions 1 & 2 of the Theory, in Music Theory: Special Topics. New York: Academic Press, 1981. pp. 101-120.

Krebs, Harald. “Some Extensions of the Concepts of Metrical Consonance and Dissonance.” Journal of Music Theory 31, 1987, pp. 99-120.

Totaro, Donato. “Part 1: Cinema 1: The Movement-Image” and “Part 2: Cinema 2: The Time-Image” in Gilles Deleuze’s Bergsonian Film Project. In Off-screen Essays,

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