Since the first use of metric modulation in 1948, this technique has become a staple in Elliott Carter's rhythmic language and compositional process, being found in most of his compositions thereafter. Though most scholars share a general understanding of metric modulation, the different processes that achieve it and its functions are not documented. This thesis will compare and contrast some definitions of metric modulation, formulate a new definition, identify four different types of metric modulation, and explore four ways in which a metric modulation may function in a composition. At the end of said thesis, the usefulness of these types and functions will be demonstrated in an original analysis of Shard for Guitar Alone.
","abstract_html":"<p>Since the first use of metric modulation in 1948, this technique has become a staple in Elliott Carter's rhythmic language and compositional process, being found in most of his compositions thereafter. Though most scholars share a general understanding of metric modulation, the different processes that achieve it and its functions are not documented. This thesis will compare and contrast some definitions of metric modulation, formulate a new definition, identify four different types of metric modulation, and explore four ways in which a metric modulation may function in a composition. At the end of said thesis, the usefulness of these types and functions will be demonstrated in an original analysis of <em>Shard for Guitar Alone</em>.</p>","abstract_has_math":false,"creators":["Hobert, Jason Adam"],"institution":null,"degree_name":"Master of Music (MM)","degree_level":"Masters Thesis","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2010,"date_issued":"2010-05-01T07:00:00Z","date_published":"2010-05-01T07:00:00Z","updated_at":"2026-07-24T05:45:12Z","subjects":["Arts and Humanities","Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://aquila.usm.edu/masters_theses/621","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Hobert, Jason Adam"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2019-04-12T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music (MM)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Arts and Humanities","Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://aquila.usm.edu/masters_theses/621"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Since the first use of metric modulation in 1948, this technique has become a staple in Elliott Carter's rhythmic language and compositional process, being found in most of his compositions thereafter. Though most scholars share a general understanding of metric modulation, the different processes that achieve it and its functions are not documented. This thesis will compare and contrast some definitions of metric modulation, formulate a new definition, identify four different types of metric modulation, and explore four ways in which a metric modulation may function in a composition. At the end of said thesis, the usefulness of these types and functions will be demonstrated in an original analysis of Shard for Guitar Alone.
"]},{"key":"dc:title","label":"Title","values":["Classifications and Designations of Metric Modulation in the Music of Elliott Carter"]}]}],"canonical_facts":{"dc:creator":["Hobert, Jason Adam"],"dc:date.available":["2019-04-12T07:00:00Z"],"dc:description.abstract":["Since the first use of metric modulation in 1948, this technique has become a staple in Elliott Carter's rhythmic language and compositional process, being found in most of his compositions thereafter. Though most scholars share a general understanding of metric modulation, the different processes that achieve it and its functions are not documented. This thesis will compare and contrast some definitions of metric modulation, formulate a new definition, identify four different types of metric modulation, and explore four ways in which a metric modulation may function in a composition. At the end of said thesis, the usefulness of these types and functions will be demonstrated in an original analysis of Shard for Guitar Alone.
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