2007/10/01 by Jonathan Pieslak · 1 citation
Neuroscience · Computer Science · Engineering · #Neuroscience and Music Perception #Music Technology and Sound Studies #Music and Audio Processing #Rhythm #Superimposition #Metre #Metric (unit) #Scale (ratio) #Casting #Computer science #Acoustics #Art #Visual arts #Engineering #Physics #Artificial intelligence #Geography #Cartography
paper · doi:10.1525/mts.2007.29.2.219
openalex publication_date 2007/10/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/07/30
The music of the Swedish metal band, Meshuggah, reveals a distinct rhythmic and metric structure based on large-scale odd time signatures, mixed meter, and metric superimposition. Their 2004 EP “I,” however, pushes the boundaries of surface-level meter through the absence of small-scale recurring units of pitch and rhythm. This article uses models for rhythmic analysis developed by Harald Krebs, Fred Lerdahl and Ray Jackendoff, William Rothstein, and Maury Yeston in pursuing an architectonic examination of hierarchical layers in this music. Additionally, I introduce the important relationship that exists between fans and structural analysis based on a socio-cultural profile of the subgenre.