Is musical analysis meant to guide performance—or to be based on it? Is it possible to test the reliability of a particular Schenkerian analysis in light of an esteemed musical performance of the analyzed work? These questions are addressed through a well-known test case—Bach’s first prelude of the Well-Tempered Clavier I, as analyzed by Schenker in Five Graphic Analyses. Focusing on the hypermetric aspect of the Prelude, I compare Schenker’s hypermetric interpretation with a more intuitive approach. In order to decide who is right, Schenker the scholar or our “natural instinct”, I turned to arbiters from four categories. First, because the hypermeter has immediate implications for performance practice and forces performers to make real decisions, I begin with performance artists. Rather than analyzing recordings I examined 37 instructive editions of WTC, published between 1837 and 1953, edited by well-known composers, pianists, and musicologists such as Carl Czerny, Frédéric Chopin, Carl Reinicke, Karl Klindworth, Ferruccio Busoni‏, Hugo Riemann, Engelbert Humperdinck, Béla Bartók, Albert Schweitzer, and Gabriel Fauré. My analysis of the hypermeter focused on the dynamic markings and articulations added by the editors. Second, I turn to composers who used the first Prelude as raw material for a new work in order to see how they express the hypermeter. I compared Charles Gounod’s well-known Ave Maria with a similar setting by Shlomo Gronich and an instrumental setting by Ignaz Moscheles. I also looked at Arvo Pärt’s Credo and a jazz improvisation by the Jacques Loussier trio. Third, I queried the analysis of the Prelude’s hypermetric structure by Fred Lerdahl and Ray Jackendoff, Wallace Berry, and other music theorists, who knew Schenker’s interpretation and reacted to it explicitly or implicitly. Finally, I go back to Bach himself and compare the Prelude with its preliminary versions and with its accompanying fugue. Almost all the evidence goes against Schenker’s hypermetric conception, but one category provides surprising arguments in support of his unique approach. In conclusion, I discuss the gap between conception and perception in relation to phrase rhythm in particular and musical analysis in general.

This paper argues that the music of Americana artist Tyler Childers continues a tradition of “crookedness” in Old-Time Country and Bluegrass music in novel ways, affectively playing with the interaction of phrase rhythm and prosody to convey emotion and authenticity. This work builds on and synthesizes prior research by Neal (2002), Rockwell (2011), and Mitchell (2021) on crookedness (the dropping/adding of beats, or even measures), phrase rhythm (Rothstein 1989, Attas 2011), and prosody (BaileyShea 2021), demonstrating how Childers’ use of poetic techniques in a crooked context can impart meaning to listeners.

This study explores the hypermetrical accents and structure within the introductory sequences of CBS's Survivor, focusing on the first twenty-six seasons. By employing hypermetrical analytical frameworks from Cone and Lerdahl and Jackendoff, combined with the cognitive approaches of London and Mirka, this research deciphers cultural and geographical musical motifs embedded within each season's setting. The distinctive musical introduction of Survivor, characterized by Russ Landau's "Ancient Voices," has been a staple since its inception, with each season's theme adapted to the filming location's cultural context through local musicians and styles, enhancing the show's authenticity.

The paper demonstrates how perceived metric cultural signifiers, crucial in media music analysis due to the aural nature of rhythmic phenomena, play a pivotal role in establishing thematic and geographical authenticity. The analysis focuses on themes that meet specific criteria: composed by Landau, featured at each episode's start, and from the era when filming locations varied. The core of "Ancient Voices" remains consistent across seasons, but its hypermetrical structure and orchestrational elements undergo significant variations to reflect each season's unique cultural backdrop.

Through examples that highlight the adaptability and complexity of "Ancient Voices," the study showcases how orchestrational changes—from rhythmic ostinatos to countermelodic figures and background events—can alter hypermetrical perception and enhance the composition's ability to convey the thematic and cultural essence of each season. These modifications not only shift the hypermetrical framework but also underscore the theme's role in conveying an authentic cultural narrative to the audience.

Ultimately, this paper argues that "Ancient Voices" serves as more than mere entertainment; it is a musically sophisticated element that significantly contributes to the thematic experience of Survivor. Through detailed hypermetrical and orchestrational analysis, the study reveals how each arrangement of "Ancient Voices" encapsulates the cultural essence of its respective season, offering audiences a musically authentic glimpse into the show's diverse geographical settings.