Where's that vocal entry? Metric and Hypermetric play in Benjamin Britten, 1943-1945 Society for Music Theory 2015, St. Louis Stuart Paul Duncan, Yale University EXAMPLE 1: Grimes's hypermetric disruption of the Borough's interlocking four-measure four-tune hypermeter in the scene "Old Joe has gone fishing." Grimes: Tune 1: Tune 2: Tune 3: Tune 4: 1 2 G 0 0 0 81 When f B Peter's entry upsets the course of the round. I B 5 had 5 gone 5 fish B ing B - 5 4 4 When B He B 5 had 5 gone 5 fish B ing B - 5 ? G Old ff 5 Joe 5 : has gone 5 ! 5 fish 5 ing 5 - and 5 Young 5 Joe 5 : has gone 5 5 fish 5 ing 5 - and 5 You 5 Know 5 : has gone 5 ! 5 fish 5 ing 5 - and 5 found 5 them 5 a 5 shoal. p 5 ? 4 0 0 0 G Pull ff B them B in B in 5 han' B fuls B - and B in 5 can B fuls B - and B in 5 pan B fuls. B - p 4 ? 0 0 0 G sweet ff 5 ly, 5 ? Gut 5 them 5 com 5 plete 5 - ly, 5 - ? Pack 5 them 5 up 5 neat 5 ly, 5 - ? Sell 5 them 5 dis 5 creet 5 - ly. 5 - p 4 0 0 0 0 G O ff B haul B a 5 5 5 5 way! 5 5 ' - B : 5 4 O B haul B I : B : p ? ? Old pp 5 Joe 5 : has gone 5 5 fish 5 ing 5 - and 5 B : 0 Old 5 ! Joe 5 : has gone 5 5 fish 5 ing 5 - and 5
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Where's that vocal entry? Metric and Hypermetric play in Benjamin Britten, 1943-1945
Society for Music Theory 2015, St. Louis Stuart Paul Duncan, Yale University
EXAMPLE 1: Grimes's hypermetric disruption of the Borough's interlocking four-measure four-tune hypermeter in the scene "Old Joe has gone fishing."
EXAMPLE 7: Peter Grimes, Act III (following Interlude V), Grimes's final rendition of "Old Joe."
Select Bibliography
Brett, Philip. "Britten and Grimes" in Music and Sexuality in Britten, Selected Essays, ed. George E. Haggerty (California: University of California Press, 2006): 16. Cohn, Richard. “Complex Hemiolas, Ski-Hill Graphs and Metric Spaces.” Music Analysis 20, no. 3 (2001): 295-326. ________.“Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven’s Ninth Symphony.” Nineteenth Century Music vol. 15, no. 3 (1992): 22-40. Forrest, David. "Prolongation in the Choral Music of Benjamin Britten." Music Theory Spectrum 32, no. 1 (2010): 1-25. Krebs, Harold. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann. New York: Oxford University Press, 1999. Lerdahl, Fred and Ray Jackendoff. A Generative Theory of Tonal Music. Cambridge: MIT Press, 1983. London, Justin. Hearing in Time: Psychological aspects of Musical Meter. Oxford: Oxford University Press, 2012. Malin, Yonatan. Songs in Motion: Rhythm and Meter in the German Lied. Oxford: Oxford University Press, 2010. Mark, Christopher. Early Benjamin Britten: A Study of Stylistic and Technical Evolution. New York: Garland, 1995. Mirka, Danuta. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1791. Oxford University Press, 2009. Rupprecht, Philip et al. Rethinking Britten. Edited by Philip Rupprecht. Oxford: Oxford University Press, 2012. Rupprecht, Philip. Britten's Musical Language. Cambridge: Cambridge University Press, 2001.