Rhythm description. See what “Rhythm” is in other dictionaries. General concepts of rhythm

(Greek rytmos, from reo - flow) - the perceived form of the occurrence of any processes over time. The variety of manifestations of R. in various types. types and styles of art (not only temporal, but also spatial), as well as outside the arts. spheres (r. speech, walking, labor processes, etc.) gave rise to many often contradictory definitions of r. (which deprives this word of terminological clarity). Among them, three vaguely demarcated groups can be identified.
In the broadest sense, R. is the temporal structure of any perceived processes, one of the three (along with melody and harmony) basic principles. elements of music, distributing in relation to time (in the words of P. I. Tchaikovsky) melodic. and harmonious combinations. R. form accents, pauses, division into segments (rhythmic units of different levels down to individual sounds), their grouping, relationships in duration, etc.; in a narrower sense, a sequence of durations of sounds, abstracted from their pitch (rhythmic pattern, as opposed to melodic).
This descriptive approach is opposed to the understanding of rhythm as a special quality that distinguishes rhythmic movements from non-rhythmic ones. This quality is given diametrically opposed definitions. Mn. Researchers understand R. as a natural alternation or repetition and proportionality based on them. From this point of view, R. in its pure form is the repeated oscillations of a pendulum or the beats of a metronome. Aesthetic the significance of R. is explained by its ordering effect and “economy of attention,” facilitating perception and promoting the automation of muscular work, for example. when walking. In music, this understanding of rhythm leads to its identification with a uniform tempo or with a beat - music. meter.
But in music (as in poetry), where the role of rhythm is especially great, it is often contrasted with meter and is associated not with correct repetition, but with a difficult to explain “sense of life,” energy, etc. (“Rhythm is the main force , the main energy of the verse. It cannot be explained "- V. V. Mayakovsky). The essence of R., according to E. Kurt, is “the striving forward, the movement and persistent strength inherent in it.” In contrast to the definitions of R., based on commensurability (rationality) and stable repetition (statics), emotional and dynamic are emphasized here. the nature of R., edges can manifest itself without meter and be absent in metrically correct forms.
In favor of dynamic understanding of R. says the very origin of this word from the verb “to flow,” which Heraclitus expressed his main idea. position: “everything flows.” Heraclitus can rightfully be called "the philosopher of the world R." and to oppose the "philosopher of world harmony" Pythagoras. Both philosophers express their worldview using the concepts of two fundamentals. antique parts theory of music, but Pythagoras turns to the doctrine of stable relationships of sound pitches, and Heraclitus - to the theory of the formation of music in time, his philosophy and antiquity. rhythms can mutually explain each other. Basic The difference between R. and timeless structures is uniqueness: “you cannot enter the same flow twice.” At the same time, in the “world R.” Heraclitus alternates between “the way up” and “the way down”, the names of which - “ano” and “kato” - coincide with the terms of the ancient. rhythms, denoting 2 parts of rhythmic. units (more often called “arsis” and “thesis”), the relationships of which in duration form the R. or “logos” of this unit (for Heraclitus, the “world R.” is also equivalent to the “world Logos”). Thus, the philosophy of Heraclitus points the way to the synthesis of dynamic. R.'s understanding of the rational, generally prevailing in antiquity.
Emotional (dynamic) and rational (static) points of view do not actually exclude, but complement each other. “Rhythmic” is usually recognized as those movements that cause a kind of resonance, empathy for the movement, expressed in the desire to reproduce it (the experience of rhythm is directly related to muscle sensations, and from external sensations - with sounds, the perception of which is often accompanied by internal sensations). playback). For this, it is necessary, on the one hand, that the movement is not chaotic, has a certain perceptible structure, which can be repeated, and on the other hand, that the repetition is not mechanical. R. is experienced as a change in emotional tensions and resolutions, which disappear with precise pendulum-like repetitions. In R., therefore, static are combined. and dynamic signs, but since the criterion of rhythm remains emotional and, therefore, in the meaning. To the extent subjective, the boundaries separating rhythmic movements from chaotic and mechanical ones cannot be strictly established, which makes it legal and descriptive. the approach underlying the plural. specific studies of both speech (in poetry and prose) and music. R.
The alternation of tensions and resolutions (ascending and descending phases) gives rhythm. structures of periodicals. character, which should be understood not only as a repetition of the definition. sequence of phases (compare the concept of period in acoustics, etc.), but also as its “roundness,” which gives rise to repetition, and completeness, which allows one to perceive rhythm without repetition. This second sign is of greater importance, the higher the rhythmic level. units. In music (as well as in artistic speech) the period is called. a construction expressing a complete thought. The period may be repeated (in verse form) or be part of a larger form; at the same time, it represents the smallest formation that can be independent. work.
Rhythmic. the impression can be created by the composition as a whole due to the change of tension (ascending phase, arsis, beginning) with resolution (descending phase, thesis, denouement) and division by caesuras or pauses into parts (with their own arses and theses). In contrast to compositional ones, smaller, directly perceived divisions are usually called rhythmic. It is hardly possible to establish the limits of what is directly perceived, but in music we can attribute phrasing and articulation units within music to R. periods and sentences, determined not only by semantic (syntactic), but also physiological. conditions and comparable in magnitude with such physiological. periodicities, such as breathing and pulse, which are prototypes of two types of rhythmic. structures. Compared to the pulse, breathing is less automated, further from mechanical. repetition and closer to the emotional origins of R., its periods have a clearly perceived structure and are clearly demarcated, but their magnitude, normally corresponding to approx. 4 pulse beats, easily deviates from this norm. Breathing is the basis of speech and music. phrasing, determining the size of the main. phrasing unit - column (in music it is often called “phrase”, and also, for example, A. Reich, M. Lussi, A.F. Lvov, “rhythm”), creating pauses and naturals. melodic form cadence (literally “fall” - the descending phase of a rhythmic unit), caused by a lowering of the voice towards the end of exhalation. In the alternation of melodic. increases and decreases - the essence of "free, asymmetrical R." (Lvov) without constant value rhythmic. units characteristic of plural folklore forms (starting with primitive and ending with Russian lingering song), Gregorian chant, znamenny chant, etc. This melodic, or intonation, R. (for which the linear, not the modal side of the melody is important) becomes uniform thanks to the addition of pulsating periodicity, which is especially evident in songs associated with body movements (dance, games, labor). Recurrence prevails in it over the formalization and delimitation of periods, the end of a period is an impulse that begins a new period, a blow, in comparison with the Crimea, the remaining moments as non-stress are secondary and can be replaced by a pause. Pulsation periodicity is characteristic of walking and automated labor movements; in speech and music, it determines the tempo - the size of the intervals between stresses. Division by pulsation of primary rhythmic and intonation. units of the respiratory type into equal shares, generated by the strengthening of the motor principle, in turn, enhances motor reactions during perception and thereby rhythmic. experience. T. o., already on early stages In folklore, songs of a drawn-out type are opposed to “quick” songs, which produce a more rhythmic tone. impression. Hence, already in antiquity, the opposition between rhythm and melody (the “male” and “female” principles) arose, and dance was recognized as the pure expression of rhythm (Aristotle, Poetics, 1), and in music it was associated with percussion and plucked instruments. In modern times, rhythmic. character is also attributed to the preem. marching and dancing music, and the concept of R. is more often associated with the pulse than with breathing. However, one-sided emphasizing pulsation periodicity leads to mechanical repetition and replacement of the alternation of tensions and resolutions with uniform strokes (hence the centuries-old misunderstanding of the terms “arsis” and “thesis”, denoting the main rhythmic moments, and attempts to identify one or the other with stress). A number of blows are perceived as R. only due to the differences between them and their grouping, simplest form cut - combining into pairs, which in turn are grouped in pairs, etc., which creates the widespread "square" R.
The subjective assessment of time is based on pulsation (reaching the greatest accuracy in relation to values ​​close to the time intervals of the normal pulse, 0.5-1 sec) and, therefore, a quantitative (time-measuring) rhythm, built on the ratios of durations, which received the classic. expression in antiquity. However, the decisive role in it is played by physiological functions that are not characteristic of muscle work. trends, and aesthetic. requirements, proportionality here is not a stereotype, but art. canon. The importance of dance for quantitative rhythmics is determined not so much by its motor nature as by its plastic nature, addressed to vision, which for rhythmics. perception due to psychophysiological. reasons requires intermittent movement, changing scenes that last a certain time. This is exactly what the antique was like. dance, which R. (according to Aristide Quintilian) consisted of changing dances. poses ("schemes") separated by "signs" or "dots" (Greek "semeion" has both meanings). Beats in quantitative rhythm are not impulses, but boundaries of segments comparable in size into which time is divided. The perception of time here comes closer to the spatial, and the concept of rhythm - to symmetry (the idea of ​​rhythm as proportionality and harmony is based on ancient rhythm). The equality of temporary quantities becomes a special case of their proportionality, along with which there are other “kinds of R.” (ratios of 2 parts of a rhythmic unit - arsis and thesis) - 1:2, 2:3, etc. Submission to formulas that predetermine the ratios of durations, which distinguishes dance from other bodily movements, is transferred to musical and verse genres, directly with dance not related (for example, to epic). Due to the differences in syllables in length, a poetic text can serve as a “measure” of R. (meter), but only as a sequence of long and short syllables; the actual R. ("flow") of the verse, its division into arsises and theses and the accentuation determined by them (not related to verbal stresses) belong to music-dance. side of the syncretic lawsuit. Inequality of rhythmic phases (in a foot, verse, stanza, etc.) is more common than equality; repetition and squareness give way to very complex structures reminiscent of architectural proportions.
Characteristic of syncretic, but already folklore eras, and prof. art-va quantitative R. exists, in addition to antique, in the music of a number of eastern. countries (Indian, Arab, etc.), in the Middle Ages. mensural music, as well as in the folklore of many others. peoples, in which one can assume the influence of prof. and personal creativity (bards, ashugs, troubadours, etc.). Dance the music of modern times owes to this folklore a number of quantitative formulas, consisting of various. durations in a certain order, repetition (or variation within certain limits) of which characterizes this or that dance. But for the rhythmic rhythm that dominates in modern times, dances such as the waltz, where there is no division into departments, are more typical. "poses" and their corresponding time segments of a certain duration.
Time rhythm, in the 17th century. completely replacing the mensural, belongs to the third (after intonational and quantitative) type of R. - accent, characteristic of the stage when poetry and music separated from each other (and from dance) and each developed its own rhythm. Common to poetry and music. R. is that they are both built not on the measurement of time, but on accent ratios. Specifically music. the clock meter, formed by the alternation of strong (heavy) and weak (light) stresses, differs from all verse meters (both syncretic musical-speech and purely speech meters) by continuity (the absence of division into verses, metrical phrasing); the beat is like a continuous accompaniment. Like metering in accent systems (syllabic, syllabo-tonic and tonic), the bar meter is poorer and more monotonous than the quantitative one and provides much more opportunities for rhythmic. diversity created by changing themes. and syntactic. structure. In the accent rhythm, it is not measuredness (obedience to the meter) that comes to the fore, but the dynamic and emotional sides of R., his freedom and diversity are valued above correctness. In contrast to the meter, R. itself is usually called those components of the temporal structure, which are not regulated by the metric. scheme. In music, this is a grouping of measures (see Beethoven's indications "R. from 3 measures", "R. from 4 measures"; "rythme ternaire" in Duke's The Sorcerer's Apprentice, etc.), phrasing (since the musical meter is not prescribes division into lines, music in this respect is closer to prose than to verse speech), filling the beat decomp. note durations - rhythmic. drawing, to which it is silent. and Russian elementary theory textbooks (under the influence of X. Riemann and G. Konus) reduce the concept of R. Therefore, R. and meter are sometimes contrasted as a set of durations and accentuation, although it is clear that the same sequences of durations with decomp. arrangement of accents cannot be considered rhythmically identical. It is possible to oppose R. to meter only as a really perceived structure of the prescribed scheme, therefore, real accentuation, both coinciding with the clock and contradicting it, refers to R. The ratios of durations in accent rhythm lose their independence. meaning and become one of the means of accentuation - longer sounds stand out compared to short ones. The normal position of larger durations is on the strong beats of the bar; violation of this rule creates the impression of syncopation (which is not characteristic of quantitative rhythm and the dances derived from it. formulas like mazurka). In this case, the musical notations of the quantities that form the rhythmic. drawing, indicate not real durations, but divisions of the bar, which in music. performance are stretched and compressed within the widest limits. The possibility of agogy is due to the fact that real time relationships serve only as one of the means of expressing rhythmicity. drawing, which can be perceived even if the actual durations do not coincide with those indicated in the notes. A metronomically even tempo in a rhythmic rhythm is not only not required, but rather avoided; approaching it usually indicates motor tendencies (march, dance), which are most strongly manifested in classical music. style; for the romantic style, on the contrary, is characterized by extreme freedom of tempo.
Motority is also manifested in square constructions, the “correctness” of which gave Riemann and his followers a reason to see muses in them. meter, which determines, like verse meter, the division of a period into motives and phrases. However, the correctness that arises due to the psychophysiological trends, rather than compliance with certain. rules, cannot be called a meter. There are no rules for dividing into phrases in a rhythmic rhythm, and therefore it (regardless of the presence or absence of squareness) does not apply to metrics. Riemann's terminology is not generally accepted even in him. musicology (for example, F. Weingartner, analyzing Beethoven's symphonies, calls rhythmic structure what the Riemann school defines as metric structure) and is not accepted in Great Britain and France. E. Prout calls R. “the order according to which cadences are placed in a musical work” (“Musical Form”, M., 1900, p. 41). M. Lussi contrasts metric (bar) accents with rhythmic - phrasal ones, and in an elementary phrasing unit ("rhythm", in Lussi's terminology; by "phrase" he calls a complete thought, period) there are usually two of them. It is important that the rhythmic units, unlike metric ones, are not formed by subordination to one ch. stress, but by conjugating accents that are equal but different in function (the meter indicates their normal, although not obligatory, position; therefore, the most typical phrase is two-beat). These functions can be identified with the main. moments inherent in every R. - arsis and thesis.
Muses. R., like verse, is formed by the interaction of semantic (thematic, syntactic) structure and meter, which plays a auxiliary role in clock rhythm, as in accented verse systems.
The dynamizing, articulating, and not dismembering function of the bar meter, which regulates (unlike verse meters) only accentuation, and not punctuation (caesuras), is reflected in the conflicts between rhythmic (real) and metrical. accentuation, between semantic caesuras and continuous alternation of heavy and light metrical. moments.
In the history of clock rhythm 17 - beginning. 20th centuries three main ones can be distinguished. era. Completed by the work of J. S. Bach and G. f. Handel's Baroque era sets the foundation. principles of new rhythms associated with homophonic-harmonic. thinking. The beginning of the era is marked by the invention of the general bass, or continuous bass (basso continuo), which implements a sequence of harmonies not connected by caesuras, the changes of which normally correspond to the metric. accentuation, but may also deviate from it. Melodics, in which “kinetic energy” prevails over “rhythmic” (E. Kurt) or “R. theme” over “time R.” (A. Schweitzer), is characterized by freedom of accentuation (in relation to the beat) and tempo, especially in recitative. Tempo freedom is expressed in emotional deviations from a strict tempo (C. Monteverdi contrasts tempo del "-affetto del animo with mechanical tempo de la mano), and finally slowdowns, about which G. Frescobaldi already writes, in tempo rubato ("concealed tempo "), understood as shifts of the melody relative to the accompaniment. Strict tempo becomes rather an exception, as evidenced by such indications as mesurе by F. Couperin. The violation of the exact correspondence between musical notations and real durations is expressed in the overall understanding of the prolonging point: depending on the context

Can mean

Etc., a

Continuity of music. fabric is created (along with basso continuo) polyphonic. means - the discrepancy of cadences in different voices (for example, the continuing movement of accompanying voices at the end of stanzas in Bach's chorale arrangements), the dissolution of individualized rhythmic. drawing in uniform motion (general forms of motion), in one-headed. line or in complementary rhythm, filling the stops of one voice with the movement of other voices

Etc.), the concatenation of motives, see, for example, the combination of the counter-addition cadence with the beginning of the theme in Bach’s 15th Invention:

The era of classicism brings rhythm to the fore. energy, which is expressed in bright accents, in greater evenness of tempo and in an increase in the role of meter, which, however, only emphasizes the dynamic. the essence of tact, which distinguishes it from quantitative meters. The duality of the beat-impulse is also manifested in the fact that a strong beat time is the normal point of completion of the music. semantic unities and at the same time the entry of a new harmony, texture, etc., which makes it the initial moment of bars, bar groups and formations. The dismemberment of the melody (of a dance-song nature) is overcome by the accompaniment, which creates “double connections” and “invading cadences.” Contrary to the structure of phrases and motives, the beat often determines changes in tempo, dynamics (sudden f and p on the bar line), and articulatory grouping (in particular, leagues). Characteristic are sf, emphasizing metric. pulsation, edges in similar passages by Bach, for example, in the fantasy from the cycle “Chromatic Fantasy and Fugue”) is completely obscured

A clearly identified clock meter can dispense with general forms of movement; classical The style is characterized by diversity and rich rhythmic development. drawing, always correlated, however, with metric. supports. The number of sounds between them does not exceed the limits of easily perceived (usually 4), rhythmic changes. divisions (triplets, quintuplets, etc.) strengthen the strongholds. Activation of metric supports are also created by syncopation, even if these supports are absent in the real sound, as at the beginning of one of the sections of the finale of Beethoven's 9th symphony, where there is also no rhythm. inertia, but the perception of music requires internal counting imaginary metric. accents:

Although emphasizing the beat is often associated with an even tempo, it is necessary to distinguish between these two classical tendencies. rhythms. W. A. ​​Mozart strives for metric equality. beats (bringing its rhythm closer to the quantitative) was most clearly manifested in the minuet from Don Juan, where at the same time. the combination of different sizes excludes agogic. highlighting strong times. Beethoven has emphasized metrical. accentuation gives more space to agogics, and gradation is metric. accents often go beyond the bar, forming correct alternations strong and weak beats; In connection with this, in Beethoven the role of square rhythms, as if “beats of a higher order”, increases, in which syncopation is possible. accents on weak bars, but, unlike real bars, the regularity of the alternation can be disrupted, allowing expansion and contraction.
In the era of romanticism (in the broad sense), the features that distinguish accentual rhythms from quantitative ones (including the secondary role of temporal relations and meter) are revealed most fully. Int. the division of beats reaches such small values ​​that not only the duration of the division. sounds, but their number is not directly perceived (which makes it possible to create in music images of the continuous movement of wind, water, etc.). Changes in intralobar division do not emphasize, but soften the metric. beats: combinations of doubles and triplets (

) are perceived almost as quintuplets. Syncopation often plays the same softening role among romantics; Very characteristic are syncopations formed by the lag of the melody (written rubato in the old sense), as in Ch. parts of Chopin's Fantasia. In romantic "large" triplets, quintuplets and other cases of special rhythmic appear in music. divisions corresponding to not one, but several. metric shares Erasing metric boundaries are graphically expressed in strings that freely cross the bar line. In conflicts between motive and beat, motivic accents usually dominate over metric ones (this is very typical for the “talking melody” of I. Brahms). More often than in the classic. style, the beat is reduced to an imaginary pulsation, which is usually less active than in Beethoven (see the beginning of the Faust symphony by Liszt). Weakening the pulsation expands the possibilities of violations of its uniformity; romantic The performance is characterized by maximum tempo freedom; a beat in duration can exceed the sum of the two beats immediately following it. Such discrepancies between actual durations and musical notations are marked in Scriabin's own performance. prod. where the notes do not indicate changes in tempo. Since, according to contemporaries, A. N. Scriabin’s playing was distinguished by “rhythmic clarity,” the accentual nature of rhythmic play is fully revealed here. drawing. Music notation does not indicate duration, but “weightiness,” which, along with duration, can be expressed by other means. Hence the possibility of paradoxical writings (especially frequent in Chopin), when in the fp. in presentation, one sound is indicated by two different notes; for example, when the 1st and 3rd notes of triplets of one voice contain the sounds of another voice, along with the “correct” spelling

Possible spellings

Dr. The type of paradoxical spelling is that with a changing rhythm. division of the composer in order to maintain the same level of weight, contrary to the rules of the muses. spelling, does not change note values ​​(R. Strauss, S. V. Rachmaninov):

R. Strauss. "Don Juan".
The decline in the role of the meter up to the abandonment of the beat in the instrument. recitatives, cadences, etc. is associated with the increasing importance of musical-semantic structure and with the subordination of R. to other elements of music, characteristic of modern music, especially romantic music. language.
Along with the most striking manifestations of specific. Features of accent rhythm in 19th century music. one can find an interest in earlier types of rhythm, associated with an appeal to folklore (the use of folk song intonation rhythms, characteristic of Russian music, quantitative formulas preserved in the folklore of Spanish, Hungarian, West Slavic, and a number of Eastern peoples) and foreshadowing the renewal of rhythm in 20th century
M. G. Kharlap.
If in the 18-19 centuries. in prof. European music orientation R. occupied a subordinate position, then in the 20th century. in a row means. styles, it has become a defining, paramount element. In the 20th century rhythm as an element of the whole began to resonate in importance with such rhythmic. phenomena in European history. music, like the Middle Ages. modes, isorhythmia 14-15 centuries. In the music of the era of classicism and romanticism, only one rhythm structure is comparable in its active constructive role to the rhythm formations of the 20th century. - “normal 8-cycle period”, logically substantiated by Riemann. However, music 20th century rhythm differs significantly from rhythmic. phenomena of the past: it is specific as a music itself. phenomenon without being dependent on dance music. or poetic-musical. R.; he means. least based on the principle of irregularity and asymmetry. New function of R. in music of the 20th century. was revealed in its formative role, in the appearance of rhythmic. thematic, rhythmic polyphony. In terms of structural complexity, it began to approach harmony and melody. The complication of R. and the increase in its weight as an element gave rise to whole line compositional systems, including stylistically individual ones, partially recorded by the authors in theoretical works.
Music presenter R. 20th century the principle of irregularity manifested itself in the normative variability of time signatures, mixed time signatures, contradictions between the motive and the beat, and the variety of rhythmic patterns. drawings, non-squareness, polyrhythms with rhythmic division. units for any number of small beats, polymetry, polychronicity of motifs and phrases. The initiator of the introduction of irregular rhythm as a system was I. F. Stravinsky, sharpening tendencies of this kind that came from M. P. Mussorgsky, N. A. Rimsky-Korsakov, as well as from Russian. folklore verse and Russian speech itself. Leading in the 20th century. R.'s interpretation is stylistically opposed to the work of S. S. Prokofiev, which consolidated the elements of regularity (invariance of tact, squareness, multifaceted regularity, etc.) characteristic of the styles of the 18th and 19th centuries. Regularity as ostinatism, multifaceted regularity is cultivated by K. Orff, who does not come from the classical. prof. traditions, but from the idea of ​​​​recreating archaic. declamatory dance scenic valid
Stravinsky's system of asymmetrical rhythm (theoretically it was not disclosed by the author) is based on the techniques of temporal and accentual variation and on the motivic polymetry of two or three layers.
O. Messiaen's rhythmic system of a clearly irregular type (declared by him in the book: "Technique of My Musical Language") is based on the fundamental variability of beats and aporiodic formulas of mixed measures.
In A. Schoenberg and A. Berg, as well as in D. D. Shostakovich, rhythmic. irregularity was expressed in the principle of “musical prose”, in the techniques of non-squareness, time variability, “remetering”, polyrhythm (Novovenskaya school). For A. Webern, polychronicity of motives and phrases, mutual neutralization of tact and rhythmicity became characteristic. drawing in relation to emphasis, in later productions. - rhythmic canons.
In a number of the latest styles, the 2nd floor. 20th century among the rhythmic forms. organizations took a prominent place rhythmic. series, usually combined with series of other parameters, primarily pitch (in L. Nono, P. Boulez, K. Stockhausen, A. G. Schnittke, E. V. Denisov, A. A. Pärt, etc.). Deviation from the clock system and free variation of rhythmic divisions. units (by 2, 3, 4, 5, 6, 7, etc.) led to two opposite types of R. notation: notation in seconds and notation without fixed durations. Due to the texture of super-polyphony and aleatoric. in writing (for example, in D. Ligeti, V. Lutoslawski) a static R., devoid of accent pulsation and definite tempo. Rhythmic. features of the latest styles prof. music is fundamentally different from rhythmic. properties of mass songs, household and popular songs. music of the 20th century, where, on the contrary, rhythmic regularity and emphasis, the clock system retains all its significance.
V. N. Kholopova. Literature : Serov A.N., Rhythm as a controversial word, "SPB Vedomosti", 1856, June 15, the same in his book: Critical articles, vol. 1, St. Petersburg, 1892, p. 632-39; Lvov A.F., On free or asymmetrical rhythm, St. Petersburg, 1858; Westphal R., Art and Rhythm. Greeks and Wagner, "Russian Bulletin", 1880, No. 5; Bulich S., New theory of musical rhythm, Warsaw, 1884; Melgunov Yu. N., On the rhythmic performance of Bach's fugues, in the musical edition: Ten fugues for piano by J. S. Bach in the rhythmic edition of R. Westphal, M., 1885; Sokalsky P. P., Russian folk music, Great Russian and Little Russian, in its melodic and rhythmic structure and its differences from the foundations of modern harmonic music, Khar., 1888; Proceedings of the Musical-Ethnographic Commission..., vol. 3, no. 1 - Materials on musical rhythm, M., 1907; Sabaneev L., Rhythm, in: Melos, book. 1, St. Petersburg, 1917; his, Music of Speech. Aesthetic research, M., 1923; Teplov B. M., Psychology of musical abilities, M.-L., 1947; Garbuzov N. A., Zone nature of tempo and rhythm, M., 1950; Mostras K. G., Rhythmic discipline of the violinist, M.-L., 1951; Mazel L., The structure of musical works, M., 1960, ch. 3 - Rhythm and meter; Nazaikinsky E.V., About musical tempo, M., 1965; his, On the psychology of musical perception, M., 1972, essay 3 - Natural prerequisites for musical rhythm; Mazel L. A., Tsukkerman V. A., Analysis of musical works. Elements of music and methods of analysis of small forms, M., 1967, ch. 3 - Meter and rhythm; Kholopova V., Questions of rhythm in the works of composers of the first half of the 20th century, M., 1971; her, On the nature of non-squareness, in the collection: On music. Problems of analysis, M., 1974; Kharlap M. G., Beethoven’s Rhythm, in the book: Beethoven, collection: article, issue. 1, M., 1971; his, The Russian folk musical system and the problem of the origin of music, in the collection: Early forms of art, M., 1972; Kon Yu., Notes on rhythm in the “Great Sacred Dance” from Stravinsky’s “The Rite of Spring,” in the collection: Theoretical problems of musical forms and genres, M., 1971; Elatov V.I., Following the same rhythm, Minsk, 1974; Rhythm, space and time in literature and art, collection: Art., Leningrad, 1974; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1853, 1873; Westphal R., Allgemeine Theorie der musikalischen Rhythmik seit J. S. Bach, Lpz., 1880; Lussy M., Le rythme musical. Son origine, sa fonction et son accentuation, P., 1883; Bücher K., Arbeit und Rhythmus, Lpz., 1897, 1924 (Russian translation - Bücher K., Work and Rhythm, M., 1923); Riemann H., System der musikalischen Rhythmik und Metrik, Lpz. , 1903; Jaques-Dalсroze E., La rythmique, pt. 1-2, Lausanne, 1907, 1916 (Russian translation Jacques-Dalcroze E., Rhythm. Its educational significance for life and art, translation N. Gnessina, P., 1907, M., 1922); Wiemauer Th., Musikalische Rhythmik und Metrik, Magdeburg, (1917); Forel O. L., Le Rythme. Etude psychologique, "Journal für Psychologie und Neurologie", 1921, Bd 26, H. 1-2; Dumesnil R., Le rythme musical, P., 1921, 1949; Tetzel E., Rhythmus und Vortrag, V., 1926; Stoin V., Bulgarian folk music. Metrics and rhythmics, Sofia, 1927; Vorträge und Verhandlungen zum Problemkreise Rhythmus..., "Zeitschrift für Dsthetik und allgemeine Kunstwissenschaft", 1927, Bd 21, H. 3; Klages L., Vom Wesen des Rhythmus, Z.-Lpz., 1944; Messiaen O., Technique de mon langage musical, P., 1944; Sachs C., Rhythm and Tempo. A study in music history, L.-N. Y., 1953; Willems E., Le rythme musical. Etude psychologique, P., 1954; Elston A., Some rhythmic practices in contemporary music, "MQ", 1956, v. 42, No. 3; Dahlhaus S., Zur Entstehung des modernen Taktsystems im 17. Jahrhundert, "AfMw", 1961, Jahrg. 18, No. 3-4; his, Probleme des Rhythmus in der neuen Musik, in the book: Terminologie der neuen Musik, Bd 5, V., 1965; Lissa Z., Integracja rytmiczna w "Suicie scytyjskiej" S. Prokofiewa, in the book: About tуrczosci Sergiusza Prokofiewa. Studia i materialy, Kr., 1962; Stockhausen K., Texte..., Bd 1-2, Ktln, 1963-64; Smither H. E., The rhythmic analysis of 20th century music, "The Journal of Music Theory", 1964, v. 8, No. 1; Stroh W. M., Alban Berg's "Constructive Rhythm", "Perspectives of New Music", 1968, v. 7, No. 1; Giuleanu V., Ritmul muzical, (v. 1-2), Buc., 1968-69; Krastewa I., La langage rythmique d "Olivier Messiaen et la métrique ancienne grecque", "SMz", 1972, No. 2; Somfai L., Rhythmic continuity and articulation in Weberns instrumental works, in the book: Webern-Kongress, Beitrdge 1972/73, Kassel-Basel (u.a.), (1973).

Musical encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION "LOKOSOVSKAYA CHILDREN'S SCHOOL OF ARTS" (MBOU DO LOKOSOVSKAYA DSHI) METHODOLOGICAL WORK ON THEORY ON THE TOPIC: "MUSICAL RHYTHM" Completed by teacher: Altynshina G.R. s. p. Lokosovo 2017 PLAN Introduction Main part 1) Specifics of rhythm in music 2) Basic historical systems of rhythm organization 3) Classification of musical rhythm 4) Means and examples of musical rhythm in literature I. 3 II. 4 Conclusion III. IV. List 19 Introduction Rhythm is the time and accent aspect of melody, harmony, texture, thematic and all other elements of musical language. Rhythm, unlike other important elements of musical language - harmony, melody, belongs not only to music, but also to other types of art - poetry, dance; in which music was in syncretic unity. Existing as independent genus art. For poetry and dance, as for music, rhythm is one of their generic characteristics. Music as a temporary art is unthinkable without rhythm. Through rhythm she defines her kinship with poetry and dance. Rhythm is the musical principle in poetry and choreography. The role of rhythm is different in different national cultures, in different periods and individual styles of the centuries-old history of music. Specifics of rhythm in music. the expressiveness of the components of texture, rhythm belongs not only to music, but also to other forms of art - poetry and dance. Music is unthinkable without rhythm. Rhythm is the musical principle in poetry and choreography. The role of rhythm is different in different national cultures. For example, in the cultures of Africa and Latin America, rhythm comes first, but in a Russian drawn-out song its immediate nature is absorbed by the expressiveness of pure melodies. Rhythm in music has specificity, since it receives its expression in the combination of intonations, in the relationship of harmonies, in the logic of motive-timbres, thematic syntax, in movement and architectonics of form. Therefore, we can define musical rhythm as the temporal and accentuated side of melody, harmony, texture, thematicity and all other elements of musical language. The relationship between rhythm and time categories was different in different historical eras, both in their practical role in music and in their theoretical interpretation. In ancient Greek metrics, the general concept of meter was general, and rhythm was understood as a particular moment - the ratio of arsis (“raising the leg”) and thesis (“lowering the leg”). Many ancient Eastern teachings also placed meter at the forefront. In the study of the European musical clock system, the phenomenon of meter was also given much attention. Rhythm was understood in its narrow meaning as the relationship of a series of sounds, that is, as a rhythmic pattern. The tempo scale acquired its current form during the formation of a mature clock system in the 17th century. Previously, indicators of movement speed were “proportions”, indicating the amount of main duration throughout a section of the work. In the twentieth century, the relationship between rhythm and time categories changed due to a strong modification of the clock system and non-bar forms of musical rhythm. The concept of meter has lost its former inclusiveness, and the category of rhythm has come to the fore as a more general and broader phenomenon. Agogic moments were drawn into the sphere of rhythmic organization, and it spread to the architectonics of musical form. Thanks to this, the problem of organizing the entire time parameter as a new aspect of the theory of musical rhythm turned out to be relevant for the creative practice of the twentieth century. Taking into account the specifics of music from different eras, it is necessary to adhere to two definitions of musical rhythm and meter (wide and narrow). The meaning of rhythm in a broad sense has been discussed above. Rhythm in the narrow sense is a rhythmic pattern. Meter in the broad sense of the word is a form of organization of musical rhythm based on some kind of commensurate measure, and in the narrow sense it is a specific metric system of rhythm. Important metric systems include the ancient Greek metric and the modern clock system. With this understanding of meter, the concepts of meter and beat turn out to be non-identical. In ancient metrics, the cell is not a beat, but a foot. The beat belongs to the metric system of European professional music of the 17th-20th centuries. A beat is capable of capturing the rhythm of many systems. Since the time structure is associated with the currently generally accepted notation, for the convenience of reading notes it is customary to translate music of any historical era into time notation. At the same time, it is important to distinguish between non-original types of rhythmic organization and to correctly understand the function of the bar line, distinguishing its real metrical role from the conditionally separating one. Basic historical systems of rhythm organization. In European rhythm, several systems of organization have developed that are of unequal importance for the history and theory of rhythm in music. These are the three main poetic systems of rhythm: 1. Quantitativeness (metricity in the old sense 2. Qualitativeness (accuracy in the literary criticism 3. Syllabicity (syllable number). term) sense) The system (modal rhythmics) is the boundary between music and poetry. late medieval modes Actually, the musical systems are mensural and tactometric, and among the newest forms of rhythm organization, progressions and series can be distinguished. The quantitative system (quantitative, metric) was important for the music of antiquity, during the period of syncretic unity of music - words - dance. Rhythm had the smallest measuring unit - chronos protos (primary time) or mora (gap). Larger durations were composed of this smallest one. In the ancient Greek theory of rhythm, there were five durations: - Chronos Protos, Brachea Monosemos, - Macra Disemos, - Macra Trisemos, - Macra Tetrasemos, - Macra Pentasemos. The system-forming property of quantitativeness was that rhythmic differences in it were created by the ratio of long and short, regardless of stress. The main ratio of syllables in longitude was double. Formed from long and short syllables, the feet were precise in timing and weakly susceptible to agogic deviations. In subsequent periods of the history of music, quantity was reflected in the formation of rhythmic modes, in the preservation of the type of ancient feet as rhythmic patterns. For modern music, quantification has become one of the principles of rhythmization of verse. In Russian musical culture of the early nineteenth century, the subject of attention was the idea of ​​the presence of long-short syllables in the Russian language. Around the middle of the century, ideas about the tonic principle of Russian literature became stronger. The qualitative system is entirely verse and verbal. It contains rhythmic differences according to the principle of not long - short, but strong - weak. Qualitative type feet have become a convenient model for comparisons with them and for determining various kinds of musical rhythm formations with their help. Soviet musicologist V.A. Tsukkerman made a systematization of the types of bar patterns, also defining their expressive meaning. However, only an analogy is valid between timed rhythmic figures and foot formulas, since timeliness and feet belong to different systems of rhythmic organization. The syllabic system (syllabic) is also a verse system. It is based on the counting of syllables, on the equality of the number of syllables. Therefore, its main meaning is to be the rhythmic basis of verse in vocal works. The syllabic system also received musical refraction. After all, the equality of the number of sounds, like the number of syllables, forms a temporary organization, which can become the basis of a rhythmic structure. It is precisely this rhythmic form that is found among the compositional techniques of the twentieth century, especially after 1950 (an example is the 1st part of “Serenade” for clarinet, violin, double bass, drums and piano by A. Schnittke). Modal rhythmics, or a system of rhythmic modes, operated in the 12th-13th centuries in the schools of Notre Dame and Montpellier. It was a set of mandatory rhythmic formulas. Every author and poet-composer adhered to this system. The general system of six rhythmic modes: 1st mode 2nd mode 3rd mode 4th mode 5th mode 6th mode All modes were united by a six-beat size with different rhythmic filling. The cells of the modal rhythm were ordo (row, order). Single ordos were similar to a unique foot, or monopodia, double ordos were similar to a double foot, dipodia, triple-tripodia, etc.: ethos First mode: Single ordo Double ordo Triple ordo Quadruple ordo Modes, like ancient feet, were endowed with a certain ethos. The first mode expressed liveliness, liveliness, and a cheerful mood. The second mode is the mood of grief, sadness. The third mode of the properties of the previous two is liveliness with depression. The fourth was a variation of the third. The fifth had a solemn character. The sixth was a “flowery counterpoint” to the rhythmically more independent voices. The mensural system is a system of musical note durations. It was caused by the development of polyphony, the need to coordinate the rhythmic relationships of voices; served as a theory of polyphony until the advent of the doctrine of counterpoint. Mensural rhythm to a certain extent was associated with modal principles. The regulating measure was the hexadeleton. His bipartite and tripartite groupings, juxtaposed simultaneously and sequentially, were typical formulas of the era of the late medieval Renaissance rhythm. In the XIII - XVI centuries, the mensural system developed and its feature was the equality of divisions of durations into 2 and 3. Initially, only triplicity was the norm. In theological concepts, it corresponded to the trinity of God, three virtues - faith, hope, love, as well as three types of instruments - percussion, strings and wind. Therefore, the division into three was considered modern (perfect). Division into two was put forward by musical practice itself and gradually gained a large place in music. Taxonomy of the main mensural durations: Maxima (duplex longa) Longa Brevis Semibrevis Minima Fusa Semiminima Semifusa To distinguish between ternary and binary divisions, verbal designations (Perfectus, imperfectus, major, minor) and graphic signs (circle, semicircle, with or without a dot inside) were used. . The characteristic mensural rhythms include the following variants of the hexapartite, which were used in sequence and in simultaneity: The grouping of six beats in 3 and 2 reflects the two-basicity of the rhythmic proportions of the mensural system and the characteristic proportion of the hemiola or sesquialtera. The tactometric or clock system is the most important system of rhythmic organization in music. The name “tactuc” originally denoted a visible or audible blow of the conductor’s hand or foot, a touch on the console, and implied a double movement: up - down or down - up. A beat is a segment of musical time from one beat to another, limited by beat lines and evenly divided into beats: 2-3 in a simple beat, 4,6,9,12 in a complex beat, 5,7,11, etc. d. - mixed. Meter is an organization of rhythm based on the uniform alternation of time segments, the uniform sequence of beats of a bar, and the difference between stressed and unstressed beats. The difference between strong and weak beats is created by musical means - harmony, melody, texture, etc. The meter, as a uniform system of time counting, is in constant contradiction with phrasing, articulation, motivic structure, including harmonic linear sides, rhythmic and textured patterns, and this contradiction is the norm in the music of the 17th - 20th centuries. The tactometric system has two main varieties: the strict classical meter of the 17th - 19th centuries and the free meter of the 20th century. In strict meter, the beat is constant, but in free meter it is variable. Along with the two varieties, there was another clock form - the tactometric system without fixed bar lines. It was inherent in Russian cant and baroque choral concert. In this case, the time signature was indicated at the key and the barline was not set when recording individual vocal parts. The bar line often did not have its metrical accent function, but was only a dividing mark. This was the peculiarity of this system as an early clock form. The theory of tact in the twentieth century was filled with an unconventional variety - the concept of “unequal tact”. It came from Bulgaria, where samples of folk songs and dances began to be recorded in bars. In an uneven beat, one beat is one and a half times longer than the other and is written as a note with a dot (limping rhythm). New non-beat forms of rhythm organization appeared in the 15th century, along with free time meter. Newer forms include rhythmic progressions and series. Classifications of musical rhythm. – lack of emphasis. There are three most important principles for classifying rhythm: 1) rhythmic proportions, 2) regularity - irregularity, 3) emphasis. There is also an additional principle that is important for specific genre and style conditions - dynamic or static rhythm. The doctrine of rhythmic proportions developed in ancient Greek music theory. There were certain kinds of ratios: a) equal to 1:1, b) double 1:2, c) one and a half 2:3, d) epithrite ratio 3:4, e) dochmium ratio 3:5. The names were given according to the name of the feet, according to the relationships within them between the arsis and thesis, between the component parts of the foot. The mensural system was based on the concept of perfection (division by three) and imperfection (division by two). The result of their interaction was one and a half proportions. The mensural system was essentially a study of the proportions of durations. In the clock system, from the very beginning of its formation, the principles of binarity were established, which extended to the ratios of durations: a whole is equal to two halves, a half is equal to two quarters, etc. The binary nature of duration proportions did not extend to the structure of measures. Triplets, quintuplets, novemoles, which developed in opposition to the prevailing binary system, as contradicting the universal principle, were called “special types of rhythmic division.” At the turn of the nineteenth and twentieth centuries, the replacement of durations by two by division by three turned out to be so widespread that pure binary began to lose its power. In the music of A. Scriabin, S. Rachmaninov, N. Medtner, triplets occupied such a prominent place that in relation to the styles of these composers it became possible to talk about the two-basicity of the proportion of durations. A similar development of rhythm took place in Western European music. In the new music after 1950, the following features emerged. Firstly, any duration began to be divided into an arbitrary number of parts by 2,3,4,5,6,7,8,9, etc. Secondly, sliding indefinite divisions appear due to the use of the accelerando or rallentando technique in following a rhythmic series of sounds. Thirdly, the omnidivisibility of the time unit has turned into its opposite into a rhythm with unfixed durations, with the absence of precise designations of time values. Regularity - irregularity allows all kinds of rhythmic means to be divided according to the quality of symmetry - asymmetry, “consonance” - “dissonance”. - Elements of regularity Elements of irregularity ratio, rhythmic Equal and double ratio One-and-a-half ratio 3:4, 4:5 Ostinata and uniform Variable patterns rhythmic patterns Variable foot Constant foot Variable beat Constant beat Simple, complex beat Mixed beat Contradiction of motive with beat Coordination of motive with beat Multifaceted regularity Rhythm polymetry Non-squareness Squareness of beat groupings of groupings Ancient Greek rhythmics, some types of medieval eastern rhythmics, and most rhythmic styles of professional music of the twentieth century belong to the type of irregular rhythmics. The modal system, a strict classical tact meter, belongs to the type of regular rhythm. mensural rhythm, “Regularity” or “irregularity” as a definition of the stylistic type of rhythm does not mean the absolute presence of the phenomena of regularity or irregularity alone. In any music there are rhythm formations of a regular and irregular nature, between which active interaction occurs. The concepts of “accent” and “non-accent” are criteria for genre and style differences. In music, “accent” and “non-accent” reveal the genre roots of rhythm - vocal-voice and dance-motor. Hence the rhythm of Gregorian chant, the rhythm of znamenny chant, znamenny fit melodies, some types of Russian lingering songs are “accentless”, and the rhythm of folk dances and their refraction in professional music, the rhythm of the Viennese classical style is “accented”. An example of an accent rhythm is the theme from the third part of “Scheherazade” by N. Rimsky-Korsakov. An additional classification principle is the contrast between dynamic and static rhythm. The concept of static rhythm arises in connection with the work of European composers in the 1960s. Static rhythm appears in conditions of a special specific texture and dramaturgy. Texture is a superpolyphony, simultaneously numbering several dozen orchestral parts, and dramaturgy represents subtle changes in the process of movement of form (“static dramaturgy”). Static rhythm arises due to the fact that time milestones are not distinguished in any way in the textured mass. Due to the absence of such milestones, neither beat nor tempo arises; the sound seems to hang in the air, not revealing any dynamic movement. The disappearance of pulsation by any metric and tempo units means static rhythm. Means and examples of musical rhythm. The most elementary means of rhythm are durations and accents. In vocal music, another type of duration arises, which is assigned to each syllable of the text depending on the duration of its sound in the melody. Folklorists call this “slogonota”. Accent - necessary element musical rhythm. Its essence lies in the fact that it is created by all the elements and means of musical language - intonation, melody, rhythmic pattern, texture, timbre, agogics, verbal text, loudness dynamics. The word "accent" comes from "ad cantus" - "to singing". The original nature of accent as singing and duration appears at the end of the 18th century in such a dynamic style of music as Beethoven's. A rhythmic pattern is the ratio of the durations of a sequential series of sounds, behind which the meaning of rhythm in the narrow sense of the word was established. It is always taken into account when analyzing the structure of the motive, theme, structure of polyphony, and the development of the musical form as a whole. Some rhythmic patterns were given names based on national characteristics of music. Particular attention was paid to the dotted rhythm with its acute syncopation. Because of its prevalence in Italian music of the 17th and 18th centuries, it was called Lombard rhythm. It was also characteristic of Scottish music - it was designated as Scotch snap, and due to the characteristic nature of the same rhythmic pattern for Hungarian folklore, it was sometimes called Hungarian rhythm. A rhythm formula is a holistic rhythm formation, in which, along with the ratio of durations, it is necessary to take into account which makes the accentuation and intonation character of the rhythm structure more fully revealed. A rhythm formula is a relatively short formation separated from its surroundings. Rhythm formulas are especially important for various non-beat rhythm systems - ancient metrics, medieval modes, Russian Znamenny rhythm, eastern usuls, new, non-beat rhythm forms of the twentieth century. In the clock system, rhythmic formulas are active and constant in dance genres, but as separate figures they develop in music of a different kind - for symbolic-figurative, national-characteristic, etc. The most stable rhythmic formulas in music are the ancient Greek feet. In ancient Greek art, metrical feet constituted the main stock of rhythmic formulas. Rhythmic patterns were variable, and long syllables could be split into short ones, and short ones could be combined into larger durations. Rhythm formulas are of particular importance in Eastern music with its cultivation of percussion. The rhythmic formulas of percussion, which play a thematic role in the work, are called usuls, and often the name of the usul and the entire work turns out to be the same. The leading rhythmic formulas of European dances are well known - mazurka, polonaise, waltz, bolero, gavotte, polka, tarantella, etc. , although the variability of their rhythmic patterns is very large. modal. Among the rhythmic formulas of a symbolic and inventive nature that have developed in European professional music are some of the musical and rhetorical figures. It is the rhythmic expression that the group of pauses has: suspiratio - sigh, abruptio - interruption, ellipsis - omission and others. A form of rhythmic formula consisting of fast, even sixteenth notes combined with a scale-like line is the figure of a tirata (stretch, strike, shot). Examples of nationally characteristic rhythmic formulas in European professional music include the revolutions that developed in Russian music of the 19th century - pentads and various other formulas with dactylic endings. Their nature is not dance, but verbal and speech. The importance of individual rhythm formulas increased again in the twentieth century, precisely in connection with the development of non-beat forms of musical rhythm. Rhythm progressions also became non-beat formulaic formations, especially widespread in the 50s - 70s of the twentieth century. Structurally, it is divided into two types, which can be called: 1) progression of the quantities of sounds. 2) progression of durations. The first type is simpler, as it is organized by an invariably repeating unit. The second type is rhythmically much more complex due to the absence of a really sounding proportional beat and any periodicity of durations. The most strict progression of durations, with a sequential increase or decrease by the same unit of time (arithmetic progression in mathematics), is called “chromatic”. Monorhythm and polyrhythm are elementary concepts that arise in connection with polyphony. Monorhythm is complete identity, “rhythmic unison” of voices, polyrhythm is the simultaneous combination of two or more different rhythmic patterns. Polyrhythm in a broad sense means the unification of any rhythmic patterns that do not coincide with each other, in a narrow sense - such a combination of vertical rhythmic patterns when in the real sound there is no smallest time unit that measures all the voices. Coordination and contradiction of the motive with the beat are concepts necessary for the beat rhythm. Coordination of the motive with the beat is the coincidence of all elements of the motive with the internal “device” of the beat. It is characterized by evenness of rhythmic intonation and regularity of time flow. A contradiction between a motive and a beat is a discrepancy between any elements or aspects of the motive and the structure of the beat. The shift of emphasis from a metrically referenced moment to a metrically non-referenced moment of a beat is called syncopation. The contradiction between the rhythmic pattern and the beat leads to syncopation of one kind or another. In musical works, the contradictions between motive and beat receive a wide variety of refractions. A higher-order measure is a grouping of two, three, four, five or more simple measures, metrically functioning like one measure with the corresponding number of beats. A higher order tact is not a complete analogy to an ordinary one. It is distinguished by the following features: 1. the higher order beat is variable throughout the musical form, i.e. there are expansions or shortenings of the bar, insertions and omissions of beats; Accentuation of the first beat of a bar is not a universal norm, therefore the first beat is not as “strong” or “heavy” as in a simple bar. The metrical "count" in the "big measures" begins from the downbeat of the first measure, and the initial measure takes on the function of the first beat of a higher order. The most common meters of higher order are two and four beats, less often - three beats, and even less often - five beats. Sometimes metrical pulsation of a higher order occurs on two levels and then complex beats of a higher order are added up. For example, in “Waltz Fantasy” by M.I. Glinka's main theme represents a complex “big beat”. Higher-order measures lose their metric function with the systematic variability of the size of an ordinary measure (Stravinsky, Messiaen), turning into syntactic groups. Polymetry is a combination of two or three meters at the same time. It is characterized by a contradiction in the metrical accents of the voices. The components of polymetry can be voices with constant and variable meters. The most striking expression of polymetry is the polyphony of different unchanging meters, maintained throughout the form or section. An example is the counterpoint of three dances in 3/4, 2/4, 3/8 from Mozart's Don Giovanni. Polychronicity is a combination of voices with different units of time, for example, a quarter note in one voice and a half note in another. In polyphony there is polychronic imitation, polychronic canon, polychronic counterpoint. Polychronic imitation, or imitation in increase or decrease, is one of the most common techniques of polyphony, essential for different stages history of this type of writing. The polychronic canon received special development in the Dutch school, using mensural signs, and varied proposto in various temporary measures. Under the condition of the same unequal relationships of rhythmic units, polychronic counterpoint arises. It is inherent in polyphony on the cantus firmus, where the latter lasts for longer durations than the other voices and forms a contrasting time plan in relation to them. Contrasting time polyphony was widespread in music from early polyphony to the end of the Baroque, in particular it was characteristic of the organums of the Notre Dame school, the isorhythmic motets of G. Machaut and F. Vitry, and the chorale arrangements of J. S. Bach. where composers, Polytempo is a special effect of polychronicity, when in perception rhythmically contrasting layers are formed as moving at different tempos. The effect of tempo contrast exists in Bach’s chorale arrangements, and authors of modern music also resort to it. Rhythmic formation The participation of rhythm in musical formation varies in European and Eastern cultures, in other non-European cultures, in “pure” music and in music synthesized with words, in small and large forms. Folk African and Latin American cultures, in which rhythm comes to the fore, are distinguished by the priority of rhythm in formation, and in percussion music by absolute dominance. For example, usul, as an ostinato-repeated or rhythmic formula covering the entire work, completely takes on the function of form-building in Central Asian and ancient Turkish classics. In European music, rhythm serves as the key to form in those medieval and Renaissance genres in which music is in synthesis with words. As the musical language itself develops and becomes more complex, the rhythmic influence on the form weakens, giving way to other elements. In the general complex of musical language, the rhythmic means themselves undergo metamorphosis. In the music of the “harmonic era,” only the smallest form, the period, is subordinate to the primacy of rhythm. In the large classical form, the fundamental principles of organization are harmony and thematicism. The simplest method of rhythmic organization of form is ostinatation. It forges a form from ancient Greek feet and columns, eastern usuls, Indian talas, medieval modal feet and ordos, and it strengthens the form from the same or similar motifs, in some cases in a tact system. In polyphony, a notable form of ostinacy is polyostinacy. A well-known genre of eastern polyostinacy is music for the Indonesian gamelan - an orchestra consisting almost exclusively of percussion instruments . An interesting experience of refracting the principle of gamelan in the conditions of a European symphony orchestra can be seen in A. Berg (in the introduction to five songs with words by P. Altenberg). A peculiar type of ostinato rhythm organization is isorhythmia (Greek - equal) - the structure of a musical work based on the repetition of the core rhythm formula, updated melodically. The isorhythmic technique is inherent in French motets of the 14th – 15th centuries, in particular Machaut and Vitry. The repeated rhythmic core is designated by the term “talea”, the repeated pitch-melodic section is designated by the term “color”. Talea is placed in the tenor and passes two or more times throughout the piece. The formative action is multi-faceted in a musical work. classical meter Complex The most important consequence of the relationship of classical meter with classical harmony is the organization of the eight-bar metrical period - the fundamental cell of the classical form. “The Metric Period” also represents the topic itself in its optimal classical version. The theme is made up of motifs and phrases. “Metrical period-octact” can also coincide with a developed sentence. The "Metric Period" has the following organization. Each of the eight beats acquires a formative function, with greater functional weight falling on the even-numbered beats. The function of uncountable measures can be defined equally for everyone as the beginning of a motive-phrase construction. The function of the second bar is relative phrasal completion, the function of the fourth bar is the completion of a sentence, the function of the sixth bar is gravitating towards the final cadence, the function of the eighth is achieving completeness, the final cadence. The “metric period” can consist of more than just the strict eight measures. Firstly, due to the existence of higher order beats, one “metric beat” can be realized in a group of two, three, or four beats. Secondly, an ordinary period or sentence may contain a structural complication - expansion, addition, repetition of a sentence or half-sentence. The structure becomes non-square. In these cases, the metric functions are duplicated. the formative function of the meter is carried out in inextricable connection with harmonic development. In classical harmony, an important formative tendency is the change of harmony along the strong beats of a measure. In music of classical types of form, we can talk about general models of rhythmic formation. They differ depending on whether the rhythmic style belongs to the type of regular or irregular rhythm and on the scale of the form - small or large. In the type of regular rhythm, where the elements of regularity dominate and the elements of irregularity are subordinated, the center of attraction and in the formation are the means of regular rhythm. They occupy the main place in the form: they predominate in expositions, icons of form, and dominate in cadences and results of development. Means of irregular rhythm are activated in subordinate sections: in the middle moments, in transitions, connectives, prefixes, in pre-cadence structures. Typical means of regularity are the invariance of tact, the coordination of the motive with the tact, and squareness; by means of irregularity - expositional variability of tact, contradiction of motive with tact, non-squareness. As a result, under conditions such as regular rhythm, two main models of rhythmic formation develop: 1. predominant regularity (establishment) - dominant - again dominant regularity. The first model corresponds to the principle of a dynamic wave of rise and fall. Both models can be seen in both small and large forms (from period to cycle). The second model can be seen in the organization of a number of small forms (especially in classical scherzos). irregularity (unstable) In the type of irregular rhythm, patterns of rhythmic development are differentiated depending on the scale of the form. At the level of small forms, a more common pattern operates, similar to the first pattern of regular rhythm. At the level of large forms - part of a cycle, a cycle, a ballet performance - sometimes a pattern appears with the opposite result: from the least irregularity to the greatest. In a clock system, under conditions of an irregular type of rhythm, obligatory metric shifts arise. The original, basic type of meter (size), usually set at the key, can be called the “title” meter or size. A temporary transition to new time signatures that occurs within a structure can be called a metric deviation (by analogy with a deviation in harmony). The final transition to a new meter or measure, coinciding with the end of the form or part of it, is called metric modulation. Music, starting from the 50s of the 20th century, together with new artistic ideas, new forms of creativity, created new means of rhythmic organization of work. The most typical among them were progressions and series of rhythm. They were actively used mainly in European music of the 50-60s of the XX century. Rhythm progression is a rhythm formula based on the principle of a regular increase or decrease in durations or numbers of sounds. It may appear sporadically. A rhythmic series is a sequence of non-repeating durations that is repeated many times in a work and serves as one of its compositional foundations. In European music of the 50s, 60s and early 70s of the 20th century, the rhythmic plan of a work is sometimes composed as individual as the thematism. The situation becomes significant when rhythm is the main formative factor of a musical work. From the standpoint of the musical creativity of the 20th century, the entire historically established theory of musical rhythm is of significant interest. List of used literature. 1) Alekseev B., Myasoedov A. Elementary music theory. M., 1986. 2) Vinogradov G. Krasovskaya E. Entertaining theory of music. M., 1991. 3) Krasinskaya L. Utkin V. Elementary theory of music. M., 1983. 4) Sposobin I. Elementary theory of music. M., 1979. 5) Kholopova V. Russian musical rhythm. M., 1980 6) Kholopova V. Musical rhythm. M., 1980.

While professional musicians are able to memorize music by ear, most beginners need to learn to read music. Understanding the principles of reading music is also important for dancers and can captivate the heart of the casual listener. First you need to learn how to count the musical rhythm or know how long to hold or play each note. It is also important to know what a time signature is. This article describes standard principles for reading music using a 4/4 time signature.

Steps

Part 1

The concept of tact. Music is divided into measures, indicated by vertical bars. Notes in music are named according to how much time they occupy in a bar. Think of the beat as a pie that can be cut into quarters, halves, eighths, or a combination of different notes.

Learn basic musical notation. The names of the notes contain information about what part of the measure they occupy. To fully understand, you must know the basic meaning of “shares.” A whole note will take up an entire bar, half notes will take up half a bar.

• Quarter notes take up 1/4 of a bar.
• Eighth notes take up 1/8 of a bar.
• Sixteenth notes take up 1/16 of a bar.
• Notes can be combined to create one whole note, for example, one half note and two quarter notes last one full measure.

1. Try to keep the rhythm. If the rhythm is monotonous, try beating it with your heel and counting to four several times: 1-2-3-4, 1-2-3-4. Speed ​​is not as important here as maintaining the same amount of space between each strike. A metronome can be helpful in maintaining a steady rhythm.

   • Every full cycle the count 1-2-3-4 equals one measure.

2. Try counting the length of the base notes. Say or sing “la” while continuing to count the rhythm to yourself. A whole note will take up the entire measure, so start singing the note "A" on the first beat and hold it until you reach the fourth. You just sang a whole note.

   • Two half notes make up a full measure. Sing an "A" note for beats 1-2, then a new "A" note for beats 3-4.
   • Four quarter notes make up a full measure. Sing an "A" note for each beat you beat.

3. For smaller notes, add syllables. For eighth notes, you need to divide the bar into eight equal sections, although you will still only be hitting four beats per bar. Add the conjunction “and” between each beat: “1 and 2 and 3 and 4 and.” Practice until you get it right. Each word represents 1/8 of a note.

4. Point value. Sometimes in music there is a small dot right after the notes. This means that the length of the note should be increased by 50%.

   • A half note usually takes up two beats, but with a dot it increases to three beats.
   • A quarter note without a dot takes up one beat, while a quarter note with a dot takes up 1 1/2 beats.

5. Practice playing triplets. Triplet refers to a group of three notes that lasts one beat. It is quite problematic to perform them, since all the notes studied before had equal shares. Pronounce the syllables - this will help you master triplets.

   • Try hitting triplets, saying “1st, 2nd, 3rd, 4th.”
   • Remember to keep the number beats consistent by using a metronome or foot taps.

6. Do it your way. Fermata is a musical notation that looks like a dot with an arc above the note. According to this symbol, you have the right to stretch the note as much as you like, regardless of musical rules.

   • If you are in an ensemble, then the duration of the note is determined by the conductor.
   • If you are performing solo, determine the most appropriate length in advance.
   • Listen to a recording of yourself playing if you're not sure how long to hold a note. This will give you insight into other artists' solutions, which will help you choose the best sound.

   Part 2

   Learn the time signature

   1. Determine the time signature. In the top left corner of the sheet music you will see some musical notation. The first character is called the "clef", which usually depends on the instrument on which the piece is played. Then there may be sharps or flats. But after them you should see two numbers arranged in a column. This is the time signature.

      • In the first part of this article we used 4/4 time signature, which is indicated by two fours standing friend on a friend.

The temporal organization of music is one of the most changeable elements of music. The existence of rhythm in music allows us to draw analogies with other forms of art that use expressiveness as an important element.
Poetry played a major role in the formation of concepts and definitions of the rhythmic organization of music. The classical theory of meter is characterized by the use of definitions borrowed from the theory of versification. For example, the rhythmic organization of motives is represented in the form of iambic, trochee and amphibrach.
This interweaving of concepts is not accidental and arises from the need to somehow organize the most mysterious thing in the universe - time.
Unlike other elements (, etc.), the temporal organization of music has been studied very little and the knowledge that we can use to develop our musical abilities is conditional. This knowledge can only be used at the initial stage of training as an aid in mastering real, live music.
Usually time in music is represented by 4 main categories

You can also add to this list such a concept as agogics (from the Greek withdrawal, deviation) - slowdowns and accelerations that help reveal the meaning.
Each of these time categories is implemented differently in different styles of music. For example, in early jazz, meter did not play a big role, and the main importance was attached to a variety of rhythms and accents. In progressive rock and avant-garde, another trend can be found: the strengthening of the role of meter with
What is rhythm from a musical point of view?
Musical rhythm- this is the temporal and accentuated side of melody, harmony, texture, thematicity and all other elements of musical language. The word rhythm itself comes from the Greek word flow.

An important condition for understanding rhythm is the fact that the existence of rhythm is impossible separately from other elements of the musical fabric, such as harmony, etc. (except for percussion instruments, although there is texture there too).
Rhythm in music manifests itself both at the level of small units (durations) and at the level of large ones (parts of a form or a multi-part work).
There are two large systems of rhythm division that have become established in modern music:

1. Binary (binary)
2. Trinity
3. Special types of rhythmic division

I considered the binary, ternary, and division by 5 systems.
An interesting fact is that in the early days of the rhythmic division system, the norm was a division system of three, not two. Then binary supplanted trinity, and then they became equal.
Dividing system by 5, 7, 9, etc. was initially viewed as exotic and was used more intuitively than consciously (another confirmation of this is the formation of “non-transcribed” rhythms in the improvisations of modern masters). However, they gradually became a standard way to add variety to rhythmic figures.
Important elements characterizing rhythm are also: proportionality and repetition.
Commensurability of durations- a relative concept, depending on the proximity or distance of individual sounds in terms of their temporal significance. Thus, we can talk about the proximity or commensurability of a quarter and an eighth, a quarter and a half, a half and an eighth, all of them together with each other. It is much more difficult to talk about commensurability in the auditory perception of sixty-fourth and whole durations. That is, the commensurability must be “correct,” otherwise the result will be arrhythmic music (more on this in a separate article).

Try to imagine alternating a whole and a thirty-second. Hearing will not be able to organize a given rhythmic figure, since when perceiving rhythm it relies on repetition.
Of course, meter also plays a big role, since repetition may or may not coincide with it.

Durations longer than whole
In modern music, the standard of rhythm is whole duration, since its division gives all the others. However, what is often overlooked is the relativity of any type of duration. A whole note can last as long as an eighth note at a certain tempo. Conventionality in the designation of durations and reliance on the whole is a system that was formed not so long ago, but is very popular because it allows you to very quickly understand and structure a large number of rhythms without having to delve into the jungle. Durations such as longs and brevises (equal to two and four wholes) only complicate the perception and understanding of rhythm. As a rule, in a work 16 (18) multiple division is the maximum that is technically accessible to most performers, for this reason the use of large durations makes no sense.
Although mathematically there are an innumerable number of rhythmic figures, in practice they are usually formed in accordance with certain laws of internal organization.
What is rhythm organization?
Let's take two examples:

If you clap the first and second, you can easily notice that the first is much easier to perceive, since it has a certain periodicity in the alternation of long and short durations.
Thus, musical rhythm is made up of interconnected elements such as: repetition, organization, commensurability, etc.

Very often you see musicians who simply identify themselves with their instrument with some kind of manic devotion. I usually see these people as an app to their tool. Guitarists don't listen to vocalists, drummers don't know about horns, pianists don't know about strings, etc.

What is all this for?

Simply sometimes forgetting that a musical instrument is just a TOOL for expressing what is inside the individual, we deprive ourselves of the opportunity to develop as a musician and as a person.

Once I became interested in the problem of rhythm, I began to look for answers to the questions that interested me. However, there are no answers in elementary textbooks.

And largely due to the fact that I am very partial to drums, I started looking for drummers who know how to work with rhythm better than any other musician.
Music rests on two of the most important elements (although many will consider this controversial, but in light of the changes that have occurred in the music of the 20th century, the role today is not so important, since it may be absent altogether).

The first element is (and all components, including as a result of the linear movement of voices) and rhythm.

Everything related to melodic elements has a very clear structure and classification, which makes it easier to understand this element of music. However, if you look at the area of ​​rhythm, you can say that complete anarchy reigns here.

What comes to mind is dotted rhythm, swing, syncopation, increases, decreases, etc. The number of such clichés is quite large and they are very scattered. This, in turn, prevents a deep understanding of the basics of rhythm and their application in practice.

The educational process is built mainly on mastering the sizes 2/4, 3/4, 4/4 and the like.

Unfortunately, this leads to the fact that any compound and complex time signatures become a stumbling block for musicians. One way to get comfortable with rhythm very quickly is to give up thinking in terms of dimensions and use the smallest unit of measurement for counting.

Many drummers use rhythm tables (one recent example is Benny Greb"Language of Drumming: A System for Musical Expression").

They are based on the simple division of one duration by four or three. In fact, 90% of the rhythm used in music is covered by these tables. These are a kind of magic squares that help a novice musician not to get lost.
I present two main tables for 4 and 3 (the main thing is not to fall into the thinking pattern that 4 is 16 or 8 in time 4, and 3 is triplets. Any letter from the table can be applied to any size and pulsation). This is the basis from which it is best to begin mastering rhythm.

Each element should become natural. Experiment with mixing them with each other and from different tables.
Since Benny Greb only has two tables, the third one will be mine.

Reflecting on the non-standard and complex rhythm, I thought that it would not be a bad idea to compose it for 5-fold division, which gives a large selection of extraordinary options.

It will be a challenge to play, but you will immediately feel musical growth after doing so. The more complex things we master, the more simple things become. Let’s talk about how to use all this to master complex dimensions