Non-isochronous (NI) metres (cf. additive metres) have an importance to metrical theory that belies their relative rarity in the Western art music tradition, and need always to be considered in general theoretical discussions. This paper focuses on a particular form of NI metre, the North Indian rupak tal. Rupak tal is described as comprising 7 matras (‘beats’), divided 322. It has a distinctive drum pattern (theka) and clapping pattern, and its own distinctive ‘feel’ (however difficult it might be to characterise such a thing verbally). In classical performances, and particularly in khyal, which is the focus of this paper, rupak tal is played rather slowly: the matra extends up to about 2 secs in duration, creating a very long metrical cycle and necessitating subdivision of the nominal beat. The resulting structure therefore displays a level of complexity over and above that of 7-cycles played at faster tempi. This paper addresses some of the theoretical issues that this throws up, but also looks empirically at some recorded examples from concert performances, asking whether such an empirical investigation can shed further light on the theoretical issues.

中文翻译：

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长式非等时表的理论与实践：以北印度 rūpak tāl 为例

非等时 (NI) 米（参见加法米）对度量理论很重要，这掩盖了它们在西方艺术音乐传统中的相对稀有性，并且在一般理论讨论中总是需要考虑的。本文重点介绍一种特殊形式的 NI 米，即北印度 rupak tal。Rupak tal 被描述为由 7 个 matras（“节拍”）组成，分为 322 个。它具有独特的鼓模式（theka）和拍手模式，以及它自己独特的“感觉”（无论用语言描述这样的东西可能有多困难） . 在古典表演中，尤其是在本文重点介绍的 khyal 中，rupak tal 的演奏相当缓慢：matra 的持续时间长达约 2 秒，从而产生了一个非常长的节拍周期，并且需要对标称节拍进行细分。因此，由此产生的结构显示出超过以更快速度演奏的 7 个循环的复杂程度。本文解决了由此引发的一些理论问题，但也对音乐会表演中的一些录制示例进行了实证研究，询问这样的实证调查是否可以进一步阐明理论问题。