Techniques of Hypermetric Manipulation in Canadian Blues
, Articles

Techniques of Hypermetric Manipulation in Canadian Blues

Articles
Published 2001-06-01
Glen Ethier
University of British Columbia
PDF

How to Cite

Ethier, G. (2001). Techniques of Hypermetric Manipulation in Canadian Blues. MUSICultures, 28. Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/21632
ACM ACS APA ABNT Chicago Harvard IEEE MLA Turabian Vancouver

Download Citation

Endnote/Zotero/Mendeley (RIS) BibTeX

Abstract

This paper investigates techniques used by some Canadian blues artists to alter phrasing in the twelve-bar blues paradigm. Drawing on recent theories of meter and hypermeter, it presents an analytic methodology that allows us to describe and illustrate such alterations in terms commonly employed for those theories. The paper shows that various techniques resulting in compression and expansion of the paradigm at different metric levels are effective tools for the modem Canadian blues artist.
PDF
  • The author retains copyright over the work.
  • The author grants the journal owner (The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales) an exclusive license to publish the work.
  • The author may post a pre-print or post-print version of the work (see definitions below) on a personal website for up to twelve months after the work is published in MUSICultures. After twelve months, the pre-print version must be replaced with the published version.
  • The author may deposit the published PDF of the work in a non-commercial online repository twelve months after the work is published in MUSICultures, or any time thereafter.
  • Any such deposit must include a link to the work on the MUSICultures website, e.g., https://journals.lib.unb.ca/index.php/MC/article/view/19996

A pre-print is a work-in-progress—a contribution not yet accepted, or perhaps even submitted, to MUSICultures.

A post-print is the version of a contribution after peer review and acceptance by MUSICultures, with revisions completed.

The published version is the PDF file of a contribution as it appears in MUSICultures.

Please note that academia.edu and ResearchGate.com are both for-profit repositories; authors may not deposit the published PDF of the work in these repositories until after the journal’s embargo period.

For permission to reprint or translate material from MUSICultures, please contact Heather Sparling, General Editor of MUSICultures (heather_sparling@cbu.ca).