Abstract

This article explores the continued use of eighteenth-century metric manipulations by composers of the twentieth and twenty-first centuries. These manipulations, called imbroglio, close imitation, and imitative imbroglio, are motive-driven and involve the perceptual interaction of meter, motivic parallelism, and perceptual streaming. Their defining features and local perceptual effects, which primarily involve metrical dissonance, are demonstrated in short passages by Schoenberg, Penderecki, Britten, Debussy, Webern, Barber, and Adès. Their larger form-functional and text-expressive potential is demonstrated in analyses of longer passages by Schoenberg, Webern, and Barber.

中文翻译：

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后音调音乐中的公制操作

摘要

本文探讨了20世纪和21世纪作曲家对18世纪度量标准操纵的继续使用。这些操作被称为动机（imbroglio），紧密模仿（im模仿）和模仿性模仿（immitative imbroglio），它们是动机驱动的，并且涉及仪表的感知交互，动机并行性和感知流。Schoenberg，Penderecki，Britten，Debussy，Webern，Barber和Adès在短短的段落中证明了它们的定义特征和局部知觉效果（主要涉及度量失调）。Schoenberg，Webern和Barber对较长段落的分析证明了它们更大的形式功能和文本表达潜力。