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Individual composers also show a significantly distinguishable preference toward each type of meter. For instance, use of even-beat-emphasis meter increases over time, although odd-beat-emphasis meter remains most common. Compositional and historical features (e.g., language, premiere date, librettist, etc.) were tracked alongside type to determine whether preferences for certain metric forms were more prevalent in certain contexts. This model produces three metric types which align with Rothstein’s previous work. I present a formalized decision tree that classifies phrases according to anacrusis length and prosodic accent, showing where large-scale metric accents fall within a phrase.

This paper shows this metric trend to be even more prevalent in a corpus of nineteenth-century operatic excerpts (1809–1859). For example, it has been shown that Verdi’s midcentury operas often place emphasis on even-numbered beats (Rothstein 2011).

This, however, is not the case in all repertoires.

Abstract: Current and historical methods of metric analysis often assume that the first of two concurrent and equal-duration pulses is stronger than the second.