Melodic Cues for Metre

Abstract

A method of time-series analysis and a time-beating experiment were used to test the structural and perceptual validity of notated metre. Autocorrelation applied to the flow of melodic intervals between notes from thirty fragments of compositions for solo instruments by J S Bach strongly supported the validity of bar length specifications. Time-beating data, obtained with four stimuli from the same set, played in an expressionless mode, and presented under categorically distinct tempos to different subgroups of musically trained subjects, were rather inconsistent with respect to tapped bar lengths. However, taps were most frequently given to the events in the stimuli that corresponded with the first beats according to the score notations. No significant effects of tempo on tapping patterns were observed. The findings are discussed in comparison with other examinations of metre inference from musical compositions.