Aspects of meter and accent in selected string quartet movements by Beethoven and Bartok

Abstract

Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.