The Rhythmic Conception Of Music

THE writer of this book presents a view of music, which is as novel as it is interesting, and which throws a strong light on the fundamental principles underlying the art. She takes the rhythmic element in music as the formative principle of unity, and works out her conception both from the historical and psychological point of view. Rhythm is defined as "the periodic quality, undulating, circling or putative, of all movement"; and as, according to Herbert Spencer, rhythm is a necessary characteristic of all motion, it is obvious that here we can obtain a unifying principle. A study of history shows us that rhythmic feeling was the common origin of poetry, dancing and music; and that the basis of all folk-music, as far back as we can trace it, was rhythm pure and simple. The general law of musical evolution is laid down, and proved to exist in the actual development of art; and so modern music is shown to have had its origin in folk-song, and not in the Church art of the middle ages. The progress of all art is shown to be from the Strict to the Free (which is equivalent to passage from the homogeneous to the heterogeneous), and thus from the somewhat strict outline of ancient music we pass to the endless variety of modern music. A strict standard is necessary. But when once this standard is grasped, monotony must be avoided by the free utterance. Coming to the psychological part of the work, the authoress shows that what she terms the Rhythmitonal Idea is the result of the synthetic intuitive action of the imagination, and not the analytic reasoned processes of the intellect; it must be intelligible not to the intellect, but to the emotions, of the hearer. In her opinion the emotional element in music has actually assisted to develop a considerable part of musical technique, by creating the movement of absolute free form. She discusses the association of the poetic idea with music, coming to the conclusion that the evolution of music is not advanced by the influence of another art, but proceeds in its own natural and inevitable path of development. The book is one that merits deep and careful consideration. From all points of view it is a notable addition to works on musical aesthetics, and, whatever views may be taken of the questions at issue, it conveys a theory that cannot be overlooked or ignored. -Zeitschrift, Volume 9

In this book, the authors develop a theoretical framework based on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm.

An exploration of rhythm and the richness of musical time from the perspective of performers, composers, analysts, and listeners.

Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.

A brilliant investigation into musical structure through a systematic exploration of tonality, melody, harmony, texture, and rhythm. Discusses early madrigals and Gregorian chants through Bach, Beethoven, and Brahms to Ravel, Bartok, and Berg."

Rhythm Made Easy takes rhythm and turns it into simple, digestible clapping exercises that can be executed by anyone looking to learn how to count rhythm. Each exercise builds on the last, and Ross the Music Teacher has a video example for each and every exercise, totaling 100! Isolate rhythm and master it, so that you can count flawlessly on your instrument.

This book provides a handy study, practice and resource guide for all musicians who are seeking to improve their music-making abilities. Though written by a drummer, the text exercises and etudes in this book are not for drummers only! And while a good number of the exercises can be sung or played on any instrument, the reader is encouraged to tap these rhythms out: playing" your thighs with your hands, for example, will work just fine. The examples can be performed solo or in a small group. Includes: -Training for all musicians -Specific exercises for jazz phrasing, pop/funk and classical music -Solo and duet exercises, playable on any instrument -Rhythm etudes with 1 - 4 parts for solo and ensemble practice -A recording with 19 tracks of listening and reference materials"

This book has become a classic in all musicians' libraries for rhythmic analysis and study. Designed to teach syncopation within 4/4 time, the exercises also develop speed and accuracy in sight-reading with uncommon rhythmic figures. A must for all musicians, especially percussionists interested in syncopation.

This 208-page book is the first systematic, comprehensive approach to learning about rhythm. It's for any drummer or other musician playing any style of music. It organizes and analyzes hundreds of African and Afro-Cuban patterns to give you a deeper understanding of rhythmic structure. It also teaches rhythmic concepts and variation techniques you can use to create patterns of your own. Learn to groove and solo with greater rhythmic freedom and express yourself with a richer rhythmic vocabulary. Winner of the DRUM Magazine Readers' Poll for Best Instructional Book. Please note: audio files of the CD that comes with the print version of this book are not included in this ebook version (but are available separately).