Subliminal Dissonance or “Consonance”? Two Views of Jazz Meter

Abstract

In many styles of jazz, performances follow a pre-determined metrical scheme, with very little room for spontaneous alteration. Compared to common-practice music, the metrical hierarchy in jazz is extremely deep and rigid. This top-down convention affects the metrical perception of the experienced listener, but cannot completely overcome limitations to the bottom-up mechanism of metrical perception. I illustrate the interaction of metrical convention and perception with several examples of metrical shift in the solo recordings of Bill Evans, in which an apparently irregular surface conceals underlying fidelity to the metrical scheme.

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