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

signatures of this movement: the $12 8-$ corresponds to $4 4$ with quarter notes being divided into three eighth notes and does obviously not correspond to $3 2$ (which requires great metric weights on the first, fifth and ninth eighths).

Figure 31:

Detail of figure 29 for measures 59 ff.

The isolated analysis of the wind instruments of this section in figure 32 reveals great metric weights on the first, fourth, seventh and tenth beats as well as in the segment following measure 53 (see also figure 33). Furthermore, within the repetition of the first theme starting at measure 58 the greatest metric weights are located on the fourth and tenth beats, which corresponds to the metric characteristic of the first theme already detected within the segments of time signature $4 4$ (since the fourth and tenth beats in $12 -8$ correspond to the second and fourth beats of $4 4$ ). Hence this result confirms again the hypothesis that the accentuation of the second and fourth beats is a characteristic of the first theme.

The analysis of the second segment notated as $12 8-$ in figure 34 shows (in contrast to the first $12 -8$ -segment) a differentiation within the layer of the twelve beats. The greatest metric weights are located on the first, fourth, seventh and tenth beats, supporting the correspondence of $12 -8$ and $4 4$ as previously mentioned.

Figure 32:

Metric weight of the wind instruments (measures 33-61)

Figure 33:

Detail from figure 32 for measures 53 ff.

Figure 34:

Metric weight of measures 92-96 (time signature $12 8$ )

The isolated analysis for the wind instruments in figure 35 reveals the greatest metric weights on the fourth and tenth beats, which originally was detected as the