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of the entire exposition. Only in some cases metric coherence was found, whereas very often a divergence between inner and outer metric structure appeared, describing precisely the metric ambiguities observed in Epstein (1987), Epstein (1994) or Frisch (1990). 3.2 Second movement The second movement Adagio non troppo is segmented into sections of differing time signatures associated with different themes. Measures 1-32 are notated as Since measures 57-61 are transcribed as At first we want to discuss the results for the three segments notated as All metric weights in figures 24, 25, and 26 are characterized by great metric weights on the second and fourth beats of the measures. On the one hand this phase shift within the highest layer of the metric weight corresponds to the upbeat of the theme (see figure 27), on the other we can observe a similar phenomenon which was mentioned by Frisch regarding the piano quintet (see page 588) in the accompanying voices. Rests are located on the first and third beats whereas notes are placed on the weak second and fourth beats (see an example in figure 28), which according to Frisch results in a metric displacement. The very similarity |
)
, measures 33-56 as 
. The following passage (measures 57-61) is notated as 
in the string instruments, bassoon and trombone and as 
in the wind instruments (despite bassoon and trombone). Measures 62-91 are notated as 
for all instrumental parts, 92-96 as 
and measures 96-103 again as 
. 
in the used midi-file, e.g. a quarter note of this segment corresponds to three eighth notes and is hence different from a quarter note of the following segment notated as 
, we have chosen for the analysis the segments of measures 33-61 (
) and 62-91 (
). 
.