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

enlightens a complementary shape of the inner metric structure between different instrumental parts causing mutual annihilation. Furthermore the phenomenon of great metric weights on second and fourth beats occurs (figure 52) as was already observed in the second movement.

4 Third Symphony

4.1 First movement

Figure 58:

Metric weight of the entire exposition of the 1. movement of the Third Symphony, interpreted as $64$

Figure 59:

Detail from figure 58 for measures 36-72

Frisch (1990) characterizes the first movement of the Third Symphony regarding metric displacements as »perhaps the most impressive - indeed, encyclopedic - work in this respect«²²

²²: Frisch (1990, p. 155)

. In comparison to the first movement of the Second Symphony we can observe the opposite tendency regarding segmentation processes and inner metric structure. Measures 1-35 are notated as $64$ , measures 36-72 as $94$ and measures 49-72 as $64$ . But surprisingly the metric weight of the entire exposition in figure 58 allows an interpretation regarding $64$ of the entire exposition despite the different time signatures (see also the detailed versions in figures 2 and 59). Hence whereas the inner metric analysis of the entire exposition of the Second Symphony enlightened a three-partition of the inner metric weight, the exposition of the Third Symphony is segmented regarding outer but not regarding inner metric structure.

Figure 60:

Metric weight of the measures 1-35

Nevertheless we will now discuss analyses of the isolated segments associated with the different time signatures.

The metric weight of the isolated first segment in figure 60 shows a correspondence to the outer metric structure of $6 4$ as already observed within the analysis of the entire exposition. Within the first seventeen measures the greatest metric