@Article{          ng2021-end-accented,
    author       = {Ng, Samuel},
    year         = {2021},
    title        = {End-Accented Sentences: Towards a Theory of
                   Phrase-Rhythmic Progression},
    abstract     = {For centuries, theorists have debated whether musical
                   phrases are normatively beginning-accented or
                   end-accented. The last two decades of the twentieth
                   century gave beginning-accented rhythm the upper hand;
                   yet, recent work on end-accented phrases has reinvigorated
                   the debate. I contribute to this discussion in two ways.
                   First, I aim to rehabilitate a central position of
                   end-accented rhythm by drawing attention to
                   phrase-rhythmic tendencies in classical sentence
                   structure. My analyses show that end-accented sentential
                   schemas are well-established compositional options in
                   various action spaces—including Primary and Secondary
                   Themes—in late eighteenth- and early nineteenth-century
                   instrumental music. Moreover, integral roles of
                   end-accented sentential themes are substantiated by their
                   production—in tandem with their beginning-accented
                   counterparts—of large-scale progressions analogous to
                   tonal and formal ones. Awareness of these sentential
                   themes re-energizes the century-old debate and deepens our
                   understanding of phrase rhythm as a source of musical
                   meaning. Second, in order to achieve the first goal, I
                   develop a theory of phrase-rhythmic progression for
                   categorizing phrase-rhythmic types and mapping their
                   trajectories. This theory fills a gap in current spatial
                   representations of rhythm and meter, which focus on metric
                   dissonances and hierarchies without considerations of
                   phrase–meter interaction.},
    doi          = {10.1093/mts/mtaa018},
    issn         = {0195-6167},
    journal      = {Music Theory Spectrum},
    keywords     = {beginning-accented phrases,end-accented
                   phrases,narrative,phrase
                   rhythm,representation,schema,sentence,spatial},
    month        = {jan},
    url          = {https://academic.oup.com/mts/advance-article/doi/10.1093/mts/mtaa018/6131575}
}

{"_id":"g5D96ShY6vX3eLDCT","bibbaseid":"ng-endaccentedsentencestowardsatheoryofphraserhythmicprogression-2021","author_short":["Ng, S."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Ng"],"firstnames":["Samuel"],"suffixes":[]}],"year":"2021","title":"End-Accented Sentences: Towards a Theory of Phrase-Rhythmic Progression","abstract":"For centuries, theorists have debated whether musical phrases are normatively beginning-accented or end-accented. The last two decades of the twentieth century gave beginning-accented rhythm the upper hand; yet, recent work on end-accented phrases has reinvigorated the debate. I contribute to this discussion in two ways. First, I aim to rehabilitate a central position of end-accented rhythm by drawing attention to phrase-rhythmic tendencies in classical sentence structure. My analyses show that end-accented sentential schemas are well-established compositional options in various action spaces—including Primary and Secondary Themes—in late eighteenth- and early nineteenth-century instrumental music. Moreover, integral roles of end-accented sentential themes are substantiated by their production—in tandem with their beginning-accented counterparts—of large-scale progressions analogous to tonal and formal ones. Awareness of these sentential themes re-energizes the century-old debate and deepens our understanding of phrase rhythm as a source of musical meaning. Second, in order to achieve the first goal, I develop a theory of phrase-rhythmic progression for categorizing phrase-rhythmic types and mapping their trajectories. This theory fills a gap in current spatial representations of rhythm and meter, which focus on metric dissonances and hierarchies without considerations of phrase–meter interaction.","doi":"10.1093/mts/mtaa018","issn":"0195-6167","journal":"Music Theory Spectrum","keywords":"beginning-accented phrases,end-accented phrases,narrative,phrase rhythm,representation,schema,sentence,spatial","month":"jan","url":"https://academic.oup.com/mts/advance-article/doi/10.1093/mts/mtaa018/6131575","bibtex":"@Article{ ng2021-end-accented,\n author = {Ng, Samuel},\n year = {2021},\n title = {End-Accented Sentences: Towards a Theory of\n Phrase-Rhythmic Progression},\n abstract = {For centuries, theorists have debated whether musical\n phrases are normatively beginning-accented or\n end-accented. The last two decades of the twentieth\n century gave beginning-accented rhythm the upper hand;\n yet, recent work on end-accented phrases has reinvigorated\n the debate. I contribute to this discussion in two ways.\n First, I aim to rehabilitate a central position of\n end-accented rhythm by drawing attention to\n phrase-rhythmic tendencies in classical sentence\n structure. My analyses show that end-accented sentential\n schemas are well-established compositional options in\n various action spaces—including Primary and Secondary\n Themes—in late eighteenth- and early nineteenth-century\n instrumental music. Moreover, integral roles of\n end-accented sentential themes are substantiated by their\n production—in tandem with their beginning-accented\n counterparts—of large-scale progressions analogous to\n tonal and formal ones. Awareness of these sentential\n themes re-energizes the century-old debate and deepens our\n understanding of phrase rhythm as a source of musical\n meaning. Second, in order to achieve the first goal, I\n develop a theory of phrase-rhythmic progression for\n categorizing phrase-rhythmic types and mapping their\n trajectories. This theory fills a gap in current spatial\n representations of rhythm and meter, which focus on metric\n dissonances and hierarchies without considerations of\n phrase–meter interaction.},\n doi = {10.1093/mts/mtaa018},\n issn = {0195-6167},\n journal = {Music Theory Spectrum},\n keywords = {beginning-accented phrases,end-accented\n phrases,narrative,phrase\n rhythm,representation,schema,sentence,spatial},\n month = {jan},\n url = {https://academic.oup.com/mts/advance-article/doi/10.1093/mts/mtaa018/6131575}\n}\n\n","author_short":["Ng, S."],"key":"ng2021-end-accented","id":"ng2021-end-accented","bibbaseid":"ng-endaccentedsentencestowardsatheoryofphraserhythmicprogression-2021","role":"author","urls":{"Paper":"https://academic.oup.com/mts/advance-article/doi/10.1093/mts/mtaa018/6131575"},"keyword":["beginning-accented phrases","end-accented phrases","narrative","phrase rhythm","representation","schema","sentence","spatial"],"metadata":{"authorlinks":{}}},"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","dataSources":["n6MFY2CscQLDpJ7nT","t6ohSowdjC4HvmdRD"],"keywords":["beginning-accented phrases","end-accented phrases","narrative","phrase rhythm","representation","schema","sentence","spatial"],"search_terms":["end","accented","sentences","towards","theory","phrase","rhythmic","progression","ng"],"title":"End-Accented Sentences: Towards a Theory of Phrase-Rhythmic Progression","year":2021}