In the article Second-Position Syncopation in European and American Vocal Music , David Temperley presents an empirical, socio-cultural survey of syncopation in 19th-century Western music. He espouses the following novel ideas about operational definitions of syncopation: 1) that syncopations on the second position of a duple hierarchy are musically, and culturally, distinct from fourth-position syncopations; 2) that more detailed operational definitions of syncopation, what Temperley calls "acute" syncopations, are needed to properly understand syncopation. Following up on Temperley's work, I apply his definitions of syncopation to a corpus of more recent Anglo-American popular music (Gauvin, Condit-Schultz, & Arthur 2017). I discuss how Temperley's definitions must be adapted and expanded to fit this different, more diverse, dataset, proposing several new syncopation definitions of my own. I also discuss some statistical assumptions that ought to be better addressed in future work, and speculate on how inconsistencies of music notation might hinder historical studies like Temperley's.

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同义词的扩展和收缩定义：关于Temperley 2019的评论

David Temperley在《欧洲和美国声乐中的第二位置交调》一文中对19世纪西方音乐中的分词进行了实证，社会文化考察。他拥护以下关于分词的操作定义的新颖思想：1）在双重等级的第二位置上的分词在音乐和文化上不同于第四位置的分词；2）需要更详细的操作定义，即Temperley所谓的“急性”定义，以正确理解该定义。在对Temperley的作品进行跟进之后，我将他对分词的定义应用于最近的英美流行音乐的语料库中（Gauvin，Condit-Schultz和Arthur 2017）。我讨论了Temperley的定义必须如何适应和扩展，以适应这种不同的，更加多样化的，数据集，提出我自己的几个新的分类定义。我还讨论了一些统计假设，这些假设应该在以后的工作中得到更好的解决，并推测音乐符号的不一致会如何阻碍像Temperley的历史研究。