Mazzola, Guerino / Noll, Thomas / Lluis-Puebla, Emilio: Perspectives in Mathematical and Computational Music Theory

the preceding measure, robbing this attack of a congruent emphasis with the local metrical downbeat of measure 59 itself.«¹³

¹³: Epstein (1987, p. 166)

Figure 14:

Measures 56 ff. of the first movement

The development of this section results in a shifting of the downbeat towards the third beat of the measure. This is reflected by the metric weight of the segment of the measures 44-77, which was not detected within the analysis of the entire exposition. Hence by analyzing segments one may gain new information about the piece. The ambiguity between the structures of $3 4$ and $6 8$ becomes even more evident in the analysis of the isolated instrumental part of cello and bass in figure 15. In this case the inner metric structure corresponds strongly to the time signature of $6 8$ .

Figure 15:

Metric weight of cello and bass (measures 44-77)

The confusion concerning these two time signatures (Epstein, 1987) states as a further example regarding the ambiguities of this movement: »The succeeding passage at measures 63 ff. further confuses the rhythmic structure: the motive combines with itself in diminution. Its first measure, in normal rhythm (measure 63), seems downbeat oriented until heard in the elision at measure 64, where a new