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

phrase apparently begins. This new phrase is also unclear ... Is it to be heard as $6 8$ or $3 4$ ? ... The phrase is one of the most ambiguous moments in the movement.«¹⁴

¹⁴: Epstein (1987, p. 166)

Figure 16:

Measures 64 ff.

The rhythmic and melodic motives of the measures 64 ff. (see figure 16) confirm a $6 8$ -structure latent in the preceding passages as well, since the observed correspondences in the mentioned metric weights can be stated in other parts of the compositions. Another example is shown in figure 17 concerning the analysis of the string instruments of this segment. In many measures the greatest metric weights are located on the second and fifth eighths, hence we can state a hidden $6 8$ -structure with a shift of an eighth as well.

On the other hand, metric coherence can be stated within the metric weight of the wind instruments in figure 18. The highest layer is built upon the three >strong< beats, the first beats get the greatest weights.

A very distinct inner metric structure can be observed within the analysis of the first violins in figure 19. Great metric weights are located on the second, fourth and sixth eighths of the measures producing a kind of offbeat. Syncopations (see figure 20) are responsible for this process.

Figure 17:

Metric weight of string instruments (measures 44-77)

Figure 18:

Metric weight of wind instruments (measures 44-77)

Figure 19:

Metric weight of the first violins (measures 44-77)

Figure 20:

Measures 54 ff. in the first violins

Summing up the results of the analyses of different instrumental parts within the second part of the exposition one can state the competing role of $3 4$ and $6 8$ , as well as very diverse periodicities of the weights depending on the chosen segment or instrumental part, e.g. depending on the chosen context. As we have shown in Fleischer (2003), segmenting and voicing do not in any case produce