Very often one has to see musicians who simply identify themselves with their instrument with some kind of maniacal devotion. I usually see these people attached to their tool. Guitarists don't listen to vocalists, drummers don't know about brass, pianists don't know about strings, and so on.

Why all this?

Just sometimes forgetting that a musical instrument is just a TOOL for expressing what is inside a person, 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 my questions. However, there are no answers in elementary textbooks.

And largely due to the fact that I am not indifferent to drums, I started looking for drummers who know how to work with rhythm better than any other musician.
Music rests on the two most important elements (although many will find this debatable, but in light of the changes that have taken place in the music of the 20th century, the role is not so important today, since it may not exist at all).

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 into the area of ​​rhythm, then here, one might say, complete anarchy reigns.

What comes to mind is dotted rhythm, swing, syncopation, ups, downs, etc. The number of such cliches is quite large and they are very scattered. This, in turn, hinders a deep understanding of the foundations of rhythm and their application in practice.

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

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

Many drummers use rhythm tables (one of the latest examples Benny Greb»Language of Drumming: A System for Musical Expression»).

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

Each element should become natural. Experiment in 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 bad to compose for a 5-fold division, which gives a large selection of extraordinary options.

Playing it will be a challenge, but after that you will immediately feel the musical growth. The more complex things we master, the more simple things become. Let's talk about how to use all this to master complex sizes.

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION

ADDITIONAL EDUCATION "LOKOSOVSKAYA CHILDREN'S SCHOOL OF ARTS"

(MBOU DO LOKOSOVSKAYA DSHI)

METHODOLOGICAL WORK ON THE THEORY ON THE TOPIC:

"MUSICAL RHYTHM"

Completed by the teacher: Altynshina G.R.

With. Lokosovo 2017

PLAN

1. Introduction 3
2. Main part 4

1. The specificity of rhythm in music
2. The main historical systems of rhythm organization
3. Classification of musical rhythm
4. Means and examples of musical rhythm

1. Conclusion
2. References 19

Introduction

Rhythm is the temporal and accent side of melody, harmony, texture, thematic and all other elements of the musical language. Rhythm, unlike other important elements of the musical language - harmony, melody, belongs not only to music, but also to other types of art - poetry, dance; which music was in syncretic unity. Existing as an independent art form. For poetry and dance, as for music, rhythm is one of their generic characteristics.

Music as a temporary art is inconceivable without rhythm. Through rhythm, she defines her kinship with poetry and dance.

Rhythm is the musical beginning in poetry and choreography. The role of rhythm is not the same in different national cultures, in different periods and individual styles of the centuries-old history of music.

Specificity of rhythm in music.

Rhythm belongs not only to music, but also to other arts - poetry and dance. Music is inconceivable without rhythm. Rhythm is the musical beginning in poetry and choreography. The role of rhythm is not the same in different national cultures. For example, in the cultures of Africa and Latin America, the rhythm is in the first place, and in the Russian lingering song, its direct expressiveness is absorbed by the expressiveness of pure melos.

Rhythm in music has its own specifics, as it is expressed in the conjugation of intonations, in the ratio of harmonies, timbres, texture components, in the logic of motive-thematic syntax, in the movement and architectonics of form. Therefore, it is possible to define musical rhythm as the temporal and accent side of melody, harmony, texture, thematic and all other elements of the musical language.

The correlation between rhythmic and temporal categories was not the same in different historical epochs, both in their practical role in music and in their theoretical interpretation. In ancient Greek metrics, the concept of meter was generalizing, 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 put the meter at the forefront. In the doctrine of the European musical clock system, much attention was also paid to the phenomenon of the meter. Rhythm was understood in its narrow meaning as the ratio of a number 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. Prior to this, indicators of the speed of movement were "proportions", indicating the value of the main duration throughout the section of the work.

In the 20th century, the relationship between rhythm and time categories changed due to a strong modification of the tact system and non-tact forms of musical rhythm. The concept of meter lost its former incomprehensibility, and the category of rhythm came to the fore as a more general and broad phenomenon. Agogic moments were drawn into the sphere of rhythmic organization, and it spread to the architectonics of the musical form. Due 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 20th century.

Given the specifics of music from different eras, one must adhere to the dual definitions of musical rhythm and meter (wide and narrow). The meaning of rhythm in a broad sense has been said 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 - a specific metric system of rhythm. Important metric systems include ancient Greek metrics and the tact system of modern times.

With this understanding of meter, the concepts of meter and tact turn out to be non-identical. In ancient metrics, the cell is not a measure, but a stop. The measure belongs to the metric system of European professional music of the 17th-20th centuries. The measure is able to capture the rhythm of many systems. Since the bar 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 a clock 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 barline, 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 verse systems of rhythm:

1. Quantitativity (metricity in the old sense of the term)
2. Qualitativity (accuracy in the literary sense)
3. Syllabicity (syllabicity).

The boundary between music and poetry is the system of late medieval modes (modal rhythm). 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 made up of this smallest one. In the ancient Greek theory of rhythm, there were five durations:

Chronos protos, brachea monosemos,

Macra disemos,

Macra trisemos,

macro tetrasemos,

Makra 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 accurate in terms of time and weakly subject to agogic deviations.

In subsequent periods of the history of music, the quantitative effect was reflected in the formation of rhythmic modes, in the preservation of the kind of ancient feet as rhythmic patterns. Quantitativeness has become one of the principles of the rhythmization of verse for the music of the New Age. In the 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. From about the middle of the century, ideas about the tonic principle of Russian literature became stronger.

The qualitative system is entirely verse, 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. The Soviet musicologist V. A. Tsukkerman made a systematization of the types of bar patterns, also determining their expressive meaning. However, only an analogy is valid between bar rhythmic figures and foot formulas, since tact and footness belong to different systems of rhythmic organization.

The syllabic system (syllabic) is also a verse system. It is based on the count of syllables, on the equality of the number of syllables. Therefore, its main meaning is to be the rhythmic basis of the verse in vocal works. The syllabic system also received a 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 this rhythmic form that is found among the compositional techniques of the twentieth century, especially after 1950 (an example is the 1st part of the "Serenade" for clarinet, violin, double bass, percussion and piano by A. Schnittke).

Modal rhythm, or the system of rhythmic modes, operated in the 12th-13th centuries in the schools of Notre Dame and Montpellier. It was a set of obligatory rhythmic formulas. Every author and poet-composer adhered to this system.

General system of six rhythmic modes:

1st mode

2nd mode

3rd mode

4th mode

5th mode

6th mode

All modes were united in six beats with different rhythmic filling. The cells of the modal rhythm were ordo (row, order). Single ordos were similar to a non-repeating foot, or monopodia, double ordos were similar to a double foot, dipodia, triple tripodia, etc.:

First mode:

single ordo

double ordo

triple ordo

Quarter ordo

Modes, like ancient feet, were endowed with a certain ethos. The first mode expressed liveliness, liveliness, cheerful mood. The second mode is the mood of grief, sadness. The third mode combined the ethos properties of the two previous ones - liveliness with depression. The fourth was a variant of the third. The fifth had a solemn character. The sixth was a "flowery counterpoint" to 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 ratio of voices; played the role of the theory of polyphony before the appearance of the doctrine of counterpoint.

Mensural rhythm to a certain extent was associated with modal principles. The regulating measure was a six-dollar. His bipartite and tripartite groupings, compared simultaneously and sequentially, were typical formulas of the era of the late medieval Renaissance rhythm.

In the 13th - 16th centuries, the mensural system was developed and its peculiarity was the equality of divisions of durations into 2 and 3. Initially, only trinity was the norm. In theological ideas, she answered the trinity of God, the three virtues - faith, hope, love, as well as three kinds of instruments - percussion, string and wind. Therefore, division by three was considered modern (perfect). The division into two was put forward by the musical practice itself and gradually won a large place in music.

Systematics of the main mensural durations:

Maxima (duplex longa)

Longa

Breve

Semibrevis

Minima

Fuza

Semiminima

Semifuza

To distinguish between ternary and binary division, verbal designations (Perfectus, imperfectus, major, minor) and graphic signs (circle, semicircle, with or without a dot inside) were used.

Among the characteristic mensural rhythms are the following variants of the hex, which were used in sequence and at the same time:

The grouping of the six beats into 3 and 2 reflects the duality 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 of the systems of rhythmic organization in music. The name "tactuc" originally denoted a visible or audible blow of the conductor's hand or foot, touching the console and assumed 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 into beats and evenly divided into beats: 2-3 in a simple beat, 4,6,9,12 in a complex one, 5,7,11, etc. d. - mixed.

Meter is the organization of rhythm, based on the uniform alternation of time intervals, the uniform sequence of beats of the measure, and the difference between stressed and unstressed beats.

The difference between strong and weak beats is created by musical means - harmony, melody, texture, etc. Meter, as a uniform system of temporal counting, is in constant conflict with phrasing, articulation, motive structure, including harmonic linear sides, rhythmic and textural 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 a strict meter, the beat is unchanged, while in a free meter it is variable.

Along with two varieties, there was another tact form - a tactometric system without fixed tact lines. It was inherent in the Russian cant and baroque choral concerto. At the same time, the time signature was indicated at the key and the bar line was not set when recording individual vocal parts. The bar line often did not carry its metrically accent function, but was only a dividing sign. 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 beats. In an unequal measure, 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-bar forms of rhythm organization appeared in the 15th century, along with a free clock meter. The newest forms include rhythmic progressions and series.

Classification of musical rhythm.

There are three most important principles of rhythm classification: 1) rhythmic proportions, 2) regularity - irregularity, 3) accent - non-accent. There is an additional principle that is important for specific genre and style conditions - dynamic or static rhythm.

The doctrine of rhythmic proportions developed in the ancient Greek theory of music. There were certain kinds of ratios: a) equal to 1:1, b) double 1:2, c) one and a half 2:3, d) ratio of epirite 3:4, e) ratio of dochmium 3:5. The names were given according to the name of the feet, according to the relationships within them between arsis and thesis, between the components of the foot.

The mensural system proceeded from the concepts of perfection (dividing by three) and imperfection (dividing by two). The result of their interaction was one and a half proportion. The mensural system was essentially a doctrine of the proportions of durations. From the very beginning of its formation, the principles of binarity were established in the clock system, which extended to the ratio of durations: a whole is equal to two halves, a half is equal to two quarters, etc. The binarity of the proportions of durations did not extend to the structure of measures. The triplets, quintoli, novemoli that developed as a counterbalance to the dominant binarity, as contrary to 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 dividing by three turned out to be so widespread that pure binarity began to lose its strength. In the music of A. Scriabin, S. Rakhmaninov, N. Medtner, the triplets took such a prominent place that, in relation to the styles of these composers, it became possible to speak of a two-basic proportion of durations. A similar development of rhythm took place in Western European music.

The following features emerged in the new music after 1950. Firstly, any duration began to be divided into an arbitrary number of parts into 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 the rhythmic series of sounds. Thirdly, the omnidivisibility of the temporal unit turned into its opposite - into a rhythm with non-fixed durations, with the absence of precise designations of temporal quantities.

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
Equal and double ratio	One and a half ratio, ratio 3:4, 4:5
Ostinata and even rhythmic patterns	Variable rhythmic patterns
Fixed foot	Variable foot
Unchanging beat	Variable beat
Simple, complex beat	Mixed beat
Coordination of the motive with the measure	The contradiction of motive with tact
Multifaceted regularity of rhythm	Polymetry
Squareness of clock groupings	Non-square clock groupings

Ancient Greek rhythms, mensural rhythms, some types of medieval oriental rhythms, most of the rhythmic styles of professional music of the 20th century belong to the type of irregular rhythms. The modal system, a strict classical clock meter, belongs to the type of regular rhythm.

"Regularity" or "irregularity" as a definition of the stylistic type of rhythm does not mean one hundred percent presence of only the phenomena of regularity or irregularity. In any music there are rhythmic formations of a regular and irregular nature, between which there is an active interaction.

The concepts of "accent" - "non-accent" are the criteria for genre and style differences. In music, "accent" and "non-accent" expose the genre roots of rhythm - vocal-voice and dance-motor. Hence the rhythm of Gregorian singing, the rhythm of znamenny chant, znamenny fit melodies, some types of Russian drawn-out song - "accentless", and the rhythm of folk dances and their refraction in professional music, the rhythm of the Viennese classical style - "accent".

An example of an accent rhythm is the theme from the third part of Scheherazade by N. Rimsky-Korsakov.

An additional principle of classification is the opposition of 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. The texture is super-polyphony, simultaneously numbering several dozen orchestral parts, and the dramaturgy is subtle changes in the process of movement of the form (“static dramaturgy”).

The static rhythm arises due to the fact that time milestones are not distinguished in any way in the textural mass. Due to the absence of such milestones, neither tact nor tempo arises, the sound seems to hang in the air, not revealing any dynamic movement. The disappearance of the pulsation by any metric and tempo units means the statics of the 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 endowed with each syllable of the text, depending on the duration of its sound in the melody. Folklorists call this "syllable".

Accent is a necessary element of musical rhythm. Its essence lies in the fact that it is created by all the elements and means of the musical language - intonation, melody, rhythmic pattern, texture, timbre, agogics, verbal text, loud dynamics. The word "accent" comes from "ad cantus" - "to singing." The original nature of the accent as singing and sustaining emerges 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 successive series of sounds, behind which the meaning of rhythm in the narrow sense of the word was affirmed. It is always taken into account when analyzing the structure of a motive, a theme, the structure of polyphony, and the development of a musical form as a whole. Some rhythmic patterns were given names according to the national characteristics of music. The dotted rhythm with its acute syncopation received special attention. Because of its prevalence in Italian music of the 17th and 18th centuries, it was called the Lombard rhythm. It was also characteristic of Scottish music - it was designated as Scotch snap, and due to the characteristic of the same rhythmic pattern for Hungarian folklore, it was sometimes called the Hungarian rhythm.

The rhythm formula is a holistic rhythm formation, in which, along with the ratio of durations, accentuation is necessarily taken into account, due to which the intonation character of the rhythm structure is more fully revealed. The rhythmic formula is a relatively short and delimited from the surrounding formation. Rhythm formulas are especially important for various non-bar rhythm systems - ancient metrics, medieval modes, Russian Znamenny rhythm, Eastern usul, new, non-bar rhythmic forms of the twentieth century. In the clock system, rhythmic formulas are active and constant in dance genres, but as separate figures they are formed in music of a different kind - for symbolic-pictorial, national-characteristic, etc.

As the most stable rhythmic formulas in music, there are feet - ancient Greek, modal. In ancient Greek art, metric feet constituted the main fund of rhythmic formulas. Rhythmic patterns were variant, 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. Rhythmic formulas of drums that play a thematic role in a work are called usuls, and often the name of the usul and the whole work turns out to be the same.

The leading rhythmic formulas of European dances are well known - the mazurka, polonaise, waltz, bolero, gavotte, polka, tarantella, etc., although the variance of their rhythmic patterns is very high.

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 a group of pauses has: suspiratio - a sigh, abruptio - an interruption, ellipsis - a skip, and others. The type of rhythmic formula from fast uniform sixteenths in conjunction with a gamma-like line has a figure of tirat (extension, blow, shot).

Examples of national-characteristic rhythmic formulas in European professional music can be called turns that developed in Russian music of the 19th century - five-beaters and various other formulas with dactylic endings. Their nature is not dance, but verbal and speech.

The importance of individual rhythmic formulas increased again in the 20th century, and precisely in connection with the development of non-bar forms of musical rhythm. Rhythm progressions also became non-bar formula formations, especially widespread in the 50s-70s of the 20th century. Structurally, it is divided into two types, which can be called:

1) progression of the number of sounds.

2) progressions of durations.

The first type is simpler, since it is organized by an invariably repeating unit. The second type is rhythmically much more complicated due to the absence of a real-sounding commensurate beat and any periodicity of durations. The most strict progression of durations, with a consistent 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 - complete identity, "rhythmic unison" of voices, polyrhythm - a simultaneous combination of two or more different rhythmic patterns. Polyrhythm in a broad sense means the union of any rhythmic patterns that do not coincide with each other, in a narrow sense - such a combination of rhythmic patterns along the vertical, when in real sounding there is no smallest time unit commensurate with all voices.

The agreement and contradiction of the motive with the beat are the concepts necessary for the beat rhythm.

Coordination of the motive with the measure is the coincidence of all elements of the motive with the internal "arrangement" of the measure. It is characterized by the evenness of rhythmic intonation, the dimensionality of the temporal flow.

The contradiction of a motive with a measure is a mismatch of any elements, sides of the motive with the structure of the measure.

The shift in emphasis from a metrically reference to a metrically non-referenced moment of a measure is called syncopation. The contradiction between the rhythmic pattern and the measure leads to syncopation of one kind or another. In musical works, the contradictions between motive and tact receive the most diverse refractions.

Higher measure is a grouping of two, three, four, five or more simple measures, metrically functioning like a single measure with the corresponding number of beats. The higher-order beat is not a complete analogy to the usual one. It is distinguished by the following features: there are expansions or contractions of the measure, insertions and skipping of beats;

Accentuation of the first beat of a measure is not a universal norm, therefore the first beat is not as “strong”, “heavy” as in a simple measure. The metric "account" in "big measures" starts from the strong beat of the first measure, and the initial measure acquires the function of the first beat of a higher order. The most common meters of the highest order are two and four lobes, less often three lobes, and even more rarely five lobes. Sometimes higher-order metric ripple occurs at two levels and then complex higher-order measures are added. For example, in "Waltz Fantasy" M.I. Glinka's main theme is a complex "great measure".

Higher-order measures lose their metrical 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 the contradiction of metric accents of voices. The components of polymetry can be voices with fixed and variable meters. The most striking expression of polymetry is the polyphony of different constant meters, maintained throughout the form or section. An example is the counterpoint of three dances in 3/4, 2/4, 3/8 meters from Mozart's opera Don Giovanni.

Polychrony - a combination of voices with different units of time, for example, a quarter in one voice and a half in another. In polyphony there is polychronic imitation, polychronic canon, polychronic counterpoint. Polychronic imitation, or imitation in magnification or reduction, is one of the most widespread methods of polyphony, essential for different stages in the history of this type of writing. The polychronic canon was especially developed in the Dutch school, where composers, using mensural marks, varied the proposta in various time measures. Under the condition of the same unequal ratios of rhythmic units, polychronic counterpoint also arises. It is inherent in polyphony on the cantus firmus, where the latter is held in longer durations than the rest of the voices, and forms a contrasting time plan in relation to them. Contrasting-temporal 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.Machot and F.Vitry, and the choral arrangements of J.S.Bach.

Polytempo is a special effect of polychrony, when rhythmically contrasting layers are perceived as going at different tempos. The effect of tempo contrast exists in Bach's choral arrangements, and authors of modern music also resort to it.

Rhythmic shaping

The participation of rhythm in musical formation is not the same in European and Eastern cultures, in other non-European cultures, in "pure" music and in music synthesized with the word, 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 shaping, and in percussion music - by absolute dominance. For example, usul as an ostinato-repeated or embracing rhythmic formula completely takes on the function of shaping in the Central Asian, ancient Turkish classics. In European music, rhythm is the key to form in those medieval and renaissance genres in which music is in synthesis with the word. As the musical language proper develops and becomes more complex, the rhythmic influence on the form weakens, yielding primacy to other elements.

In the general complex of the musical language, the rhythmic means themselves undergo a metamorphosis. In the music of the “harmonic era”, only the smallest form, the period, turns out to be subordinate to the primacy of rhythm. In the large classical form, the fundamental principles of organization are harmony and thematism.

The simplest method of rhythmic organization of the form is ostinato. She forges a form from ancient Greek feet and columns, eastern usuls, Indian tals, medieval modal stops and ordos, she strengthens the form from the same or the same type of motifs in some cases in the clock system. In polyphony, a remarkable form of ostinato is polyostinato. A well-known genre of oriental polyostinato is music for the Indonesian gamelan, an orchestra consisting almost exclusively of percussion instruments.

An interesting experience of the refraction of the gamelan principle in the conditions of a European symphony orchestra can be seen in A. Berg (in the introduction to five songs to the words of P. Altenberg).

A peculiar kind of ostinato organization of rhythm is isorhythm (Greek - equal) - the structure of a musical work based on the repetition of the core formula of rhythm, updated melodically. The isorhythmic technique is inherent in French motets of the 14th-15th centuries, in particular Machaut and Vitry. The repeating rhythmic core is denoted by the term "talea", the repeating pitch-melodic section - "color". Talea is placed in tenor and during the work passes from two or more times.

The shaping action of classical meter is multi-encompassing in a piece of music. The complex formative function of the meter is carried out in close connection with the harmonic development. In classical harmony, an important formative trend is the change of harmony along the strong beats of the measure.

The most important consequence of the relationship between classical meter and classical harmony is the organization of the eight-bar metrical period - the fundamental cell of the classical form. "Metric period" is also the theme itself in its optimal classical version. The theme consists of motives and phrases. "Metric period-eight-tact" can also coincide with a developed sentence.

The "metric period" has the following organization. Each of the eight measures acquires a formative function, with more functional weight falling on the even measures. The function of uncountable measures can be defined in the same way for everyone as the beginning of a motive-phrase construction. The function of the second measure is a relative phrasal completion, the function of the fourth measure is the completion of a sentence, the function of the sixth measure is an inclination towards the final cadence, the function of the eighth is the achievement of completeness, the final cadence. The "metric period" can include not only strict eight measures. First, due to the existence of higher order cycles, one "metric cycle" can be realized in a group of two, three, four cycles. Secondly, an ordinary period or sentence may contain a structural complication - an extension, addition, repetition of a sentence or half-sentence. The structure becomes non-square. In these cases, the metric functions are duplicated.

In the music of classical types of form, one can speak of general models of rhythmic shaping. 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 means of regular rhythm turn out to be the center of attraction and in shaping. They occupy the main place in the form: they prevail in expositions, iqts of form, dominate in cadences, the results of development. Means of irregular rhythm are activated in subordinate sections: in the middle moments, in transitions, connectives, predicates, in pre-cadence constructions. Typical means of regularity are the invariance of the beat, the coordination of the motive with the beat, squareness; by means of irregularity - the expositional variability of the measure, the contradiction of the motive with the measure, non-squareness. As a result, under the conditions of the type of regular rhythm, two main models of rhythmic shaping are formed: 1. prevailing regularity (sustain) - dominant irregularity (unstable) - again dominating regularity. The first model corresponds to the principle of a dynamic rise-fall wave. Both models can be seen in both small and large forms (from period to cycle). The second model is seen in the organization of a number of small forms (especially in classical scherzos).

In the type of irregular rhythm, models of rhythmic development are differentiated depending on the scale of the form. At the level of small forms, a more ordinary model operates, similar to the first scheme of a regular rhythm. At the level of large forms - a part of a cycle, a cycle, a ballet performance - sometimes a model arises with the opposite result: from less irregularity to the greatest.

In the tact system, in conditions of an irregular type of rhythm, obligatory metric shifts arise. The original, main type of meter (size), usually set at the key, can be called the "title" meter or size. The temporary transition to new time signatures that occurs within the construction can be called metric deviation (by analogy with deviation in harmony). The final transition to a new meter or size, coinciding with the end of the form or part of it, is called metric modulation.

Music, starting from the 50s of the XX century, together with new artistic ideas, new forms of creativity, created new means of rhythmic organization of the work. The most typified among them were progressions and rhythm series. 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 the duration or number of sounds. It may appear sporadically.

Rhythmic series - a sequence of non-repeating durations, repeatedly carried out in a work and serving as one of its compositional foundations.

In European music of the 1950s, 1960s, and early 1970s, the rhythmic plan of a piece is sometimes as individual as the thematic. 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 theory of music. 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.

Form various rhythmic figures, which make up the total rhythmic pattern musical work. This rhythmic pattern is rhythm.

Rhythm is not tied to any absolute units of time measurement, only the relative durations of the notes are set in it (this note sounds 2 times longer than that one, and this one is 4 times shorter, etc.).

Rhythm, meter and tempo: differences

Graph paper

Rhythm, meter and pace- concepts are different.

The meter defines a coordinate grid of strong and weak beats with equal distances between beats. It can be imagined as graph paper, on which the smallest cell of the thinnest lines is the minimum duration in the work, thicker lines indicate beats, even thicker lines are relatively strong beats, and the thickest are strong beats.

Along the lines of this grid, you can draw rhythmic figures from segments of different lengths (notes of different durations). The figures can be completely different, but they will all be based on the lines of this grid.

The duration of notes can be set in relative units (the smallest cells): this sound is a segment 4 cells long, and this one is 2. These ratios will not change with a change in the scale of the grid. The sequence of alternation of such segments is rhythm.

You can scale this grid using the tempo, making the distances between the lines longer or shorter. On the scale "1 cell = 1 second", the time of sounding of a note with a length of 2 cells will be equal to 2 seconds. With a decrease in scale (increase in tempo) by 2 times, the duration of a note in the same 2 segments will already equal 1 second.

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Books

• Music. 1 class. in 2 parts Part 1. Textbook. RHYTHM. GEF, Aleev Vitaly Vladimirovich, Kichak Tatyana Nikolaevna. The textbook is intended for students of the 1st grade of educational institutions. He begins the Music course for a four-year elementary school. The main theme of the year is "Music, music is everywhere for us ...

(Greek rytmos, from reo - current) - the perceived form of the flow of any processes in time. The variety of manifestations of R. in decomp. types and styles of art (not only temporal, but also spatial), as well as outside the arts. spheres (R. of speech, walking, labor processes, etc.) gave rise to many often contradictory definitions of R. (which deprives this word of terminological clarity). Among them, three loosely demarcated groups can be identified.
In the broadest sense, R. is the temporal structure of any perceived processes, one of three (along with melody and harmony) basic. elements of music, distributing in relation to time (according to P. I. Tchaikovsky) melodic. and harmonic. combinations. R. form accents, pauses, division into segments (rhythmic units of different levels up to individual sounds), their grouping, ratios in duration, etc.; in a narrower sense - a sequence of durations of sounds, abstracted from their height (rhythmic pattern, in contrast to melodic).
This descriptive approach is opposed by the understanding of rhythm as a special quality that distinguishes rhythmic movements from non-rhythmic ones. This quality is given diametrically opposite definitions. Mn. researchers understand R. as a regular alternation or repetition and proportionality based on them. From this point of view, R. in its purest form is the repetitive oscillations of a pendulum or the beats of a metronome. Aesthetic R.'s value is explained by its ordering action and "economy of attention", facilitating perception and contributing to the automation of muscular work, for example. when walking. In music, such an understanding of R. leads to its identification with a uniform tempo or with a beat - muses. meter.
But in music (as in poetry), where the role of R. is especially great, it is often opposed to meter and 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 inherent in it and persistent strength." 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., which can manifest itself without a 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 "flow", to which Heraclitus expressed his main. 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. parts of antique theory of music, but Pythagoras turns to the doctrine of stable ratios of sound pitches, and Heraclitus - to the theory of the formation of music in time, his philosophy and antich. rhythms can mutually explain each other. Main R.'s difference from timeless structures is uniqueness: "you cannot step into the same stream twice." However, in the "world R." Heraclitus alternate "way up" and "way down", the names of which - "ano" and "kato" - coincide with the terms of antich. rhythms, denoting 2 parts of rhythmic. units (more often called "arsis" and "thesis"), the ratios of which in duration form R. or the "logos" of this unit (in Heraclitus, "world R." is also equivalent to "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 really exclude, but complement each other. "Rhythmic" usually recognize those movements that cause a kind of resonance, empathy for the movement, expressed in the desire to reproduce it (rhythm experiences are directly related to muscle sensations, and from external sensations - with sounds, the perception of which is often accompanied by internal. playback). For this, it is necessary, on the one hand, that the movement is not chaotic, that it has a certain perceived structure, which can be repeated, on the other hand, that the repetition is not mechanical. R. is experienced as a change of emotional tensions and resolutions, which disappear with exact pendulum-like repetitions. In R., thus, static are combined. and dynamic. signs, but, since the criterion of rhythm remains emotional and, therefore, in meaning. In a subjective way, the boundaries separating rhythmic movements from chaotic and mechanical ones cannot be strictly established, which makes it legal and descriptive. the underlying approach. specific studies of both speech (in verse and prose) and music. R.
The alternation of tensions and resolutions (ascending and descending phases) gives rhythmic. structures of periodicals. character, which should be understood not only as a repetition of certain. sequence of phases (compare the concept of a period in acoustics, etc.), but also as its “roundness,” which gives rise to repetition, and completeness, which makes it possible to perceive rhythm without repetition. This second feature is all the more important, the higher the rhythmic level. units. In music (as well as in artistic speech), the period is called. construction expressing a complete thought. The period may be repeated (in couplet form) or be an integral part of a larger form; at the same time it represents the smallest education, a cut can be independent. work.
Rhythmich. the impression can be created by the composition as a whole due to the change in tension (ascending phase, arsis, tie) resolution (descending phase, thesis, denouement) and division by caesuras or pauses into parts (with their own arsis and theses). In contrast to compositional ones, smaller, directly perceived articulations are usually called rhythmic proper. It is hardly possible to establish the limits of what is directly perceived, but in music we can attribute phrasing and articulatory units within muses to R. periods and sentences, determined not only by semantic (syntactic), but also physiological. conditions and comparable in magnitude with such physiological. periodicities, like breathing and pulse, to-rye are prototypes of two types of rhythmic. structures. Compared to the pulse, breathing is less automated, farther from the mechanical. repetition and closer to the emotional origins of R., its periods have a clearly perceived structure and are clearly delineated, but their size, normally corresponding to approx. 4 beats of the pulse, easily deviates from this norm. Breathing is the basis of speech and music. phrasing, determining the value of the main. phrasing unit - a column (in music it is often called a "phrase", as well as, for example, A. Reich, M. Lussy, A.F. Lvov, "rhythm"), creating pauses and natures. melodic form. cadence (literally "falling" - the descending phase of the rhythmic unit), due to the lowering of the voice towards the end of the exhalation. In the alternation of melodic promotions and demotions are the essence of "free, asymmetric R." (Lvov) without a constant value rhythmic. units, characteristic of many. folklore forms (starting with the primitive and ending with the Russian drawling song), Gregorian chant, znamenny chant, etc. This melodic, or intonation, rhythm (for which the linear, and not the modal side of the melody matters) becomes uniform thanks to the addition of pulsating periodicity, which is especially evident in songs associated with body movements (dance, play, labor). Repeatability prevails in it over the formality and demarcation of periods, the end of a period is an impulse that starts a new period, a blow, in comparison with the Crimea, the rest of the moments, as non-shock ones, are secondary and can be replaced by a pause. Pulsating periodicity is characteristic of walking, automated labor movements, in speech and music it determines the tempo - the size of the intervals between stresses. Division by pulsation of primary rhythmic intonations. units of the respiratory type into equal shares, generated by an increase in the motor principle, in turn, enhances motor reactions during perception and thereby rhythmic. experience. Thus, already in the early stages of folklore, songs of a lingering type are opposed by "quick" songs, which produce more rhythmic ones. impression. From here, already in antiquity, the opposition of rhythm and melody (the “male” and “female” principles) arises, and dance is recognized as the pure expression of rhythm (Aristotle, Poetics, 1), and in music it is associated with percussion and plucked instruments. Rhythmic in modern times. character is also attributed to preim. marching and dancing music, and the concept of R. is more often associated with the pulse than with breathing. However, one-sided emphasis on pulsation periodicity leads to a mechanical repetition and replacement of the alternation of tensions and resolutions with uniform beats (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, the simplest form of which is pairing, which in turn are grouped in pairs, etc., which creates widespread "square" R.
The subjective assessment of time is based on the pulsation (which achieves the greatest accuracy in relation to values ​​close to the time intervals of a normal pulse, 0.5-1 sec) and, therefore, the 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 significance of dance for quantitative rhythm is due not so much to its motor, but to its plastic nature, directed to vision, which is for rhythmic. perception due to psychophysiological. reasons requires discontinuity of movement, change of pictures, lasting a certain time. This is exactly what the antique was like. dance, R. to-rogo (according to the testimony of Aristides Quintilian) consisted in a change of dances. poses ("diagrams") separated by "signs" or "dots" (Greek "semeyon" has both meanings). Beats in quantitative rhythm are not impulses, but the boundaries of segments comparable in size, into which time is divided. The perception of time here approaches the spatial, and the concept of R. - with symmetry (the idea of ​​R. as proportionality and harmony is based on ancient rhythms). The equality of temporary values ​​becomes a special case of their proportionality, along with the Crimea, there are other "kinds of R." (ratios of 2 parts of the rhythmic unit - arsis and thesis) - 1:2, 2:3, etc. Subordination to formulas that predetermine the ratio of durations, which distinguishes dance from other bodily movements, is also transferred to musical-verse genres, directly with dance not related (for example, to the epic). Due to the differences in syllables in longitude, a verse text can serve as a "measure" of R. (meter), but only as a sequence of long and short syllables; actually R. ("flow") of the verse, its division into arses and theses and the accentuation determined by them (not associated with verbal stresses) belong to the musical and dance. side of the syncretic lawsuit. The inequality of rhythmic phases (in a foot, verse, stanza, etc.) occurs more often than equality, repetition and squareness give way to very complex constructions, reminiscent of architectural proportions.
Characteristic for the epochs of the syncretic, but already folklore, 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 this folklore a number of quantitative formulas, consisting of dec. durations in a certain order, repetition (or variation within certain limits) to-rykh characterizes a particular dance. But for the tact rhythm prevailing in modern times, such dances as the waltz are more characteristic, where there is no division into parts. "poses" and their corresponding time segments of a certain duration.
Clock rhythm, in the 17th century. completely replacing the mensural, belongs to the third (after the 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. Music specifically. 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 measure 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 the changing thematic. and syntax. 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 Krom it. 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 strong beats of the measure, violation of this rule creates the impression of syncopation (which is not characteristic of quantitative rhythm and dances derived from it. mazurka-type formulas). At the same time, the musical designations of the quantities that form the rhythmic. drawing, indicate not real durations, but divisions of the measure, to-rye in music. performance are stretched and compressed in the widest range. The possibility of agogics is due to the fact that real time relationships are only one of the means of expressing rhythmic. drawing, which can be perceived even if the actual durations do not match those indicated in the notes. A metronomically even tempo in time rhythms is not only not mandatory, but rather avoided; approaching it usually indicates motor tendencies (march, dance), which are most pronounced in the classical. 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, like a verse meter, determines the division of the period into motifs 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 division into phrases in bar rhythm, and therefore it (regardless of the presence or absence of squareness) does not apply to the metric. Riemann's terminology is not generally accepted even in him. musicology (for example, F. Weingartner, analyzing Beethoven's symphonies, calls the rhythmic structure what the Riemann school defines as a metric structure) and is not accepted in Great Britain and France. E. Prout calls R. "the order according to which cadenzas are placed in a piece of music" ("Musical Form", Moscow, 1900, p. 41). M. Lussy contrasts metrical (clock) accents with rhythmic - phrasal ones, and in an elementary phrasing unit ("rhythm", in Lussy's terminology; he called a complete thought, period a "phrase") 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 conjugation of equal, but different in function, accents (the meter indicates their normal, although not mandatory position; therefore, the most typical phrase is a two-beat). These functions can be identified with the main. moments inherent in any R. - arsis and thesis.
Muses. R., like verse, is formed by the interaction of the semantic (thematic, syntactic) structure and meter, which plays an auxiliary role in clock rhythm, as well as in accent verse systems.
The dynamizing, articulating, and not dissecting function of the clock meter, which regulates (unlike verse meters) only accentuation, and not punctuation (caesuras), is reflected in conflicts between rhythmic (real) and metric. accentuation, between semantic caesuras and the continuous alternation of heavy and light metric. moments.
In the history of clock rhythm 17 - early. 20th century three main points can be distinguished. era. Completed by the work of J. S. Bach and G. f. Handel's Baroque era establishes DOS. the principles of the new rhythm 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, changes to which normally correspond to metric. accentuation, but may deviate from it. Melodica, in which "kinetic energy" prevails over "rhythmic" (E. Kurt) or "R. themes" over "clock R." (A. Schweitzer), is characterized by freedom of accentuation (in relation to tact) 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), in final slowdowns, about which J. Frescobaldi already writes, in tempo rubato ("stealed tempo "), understood as shifts of the melody relative to the accompaniment. Strict tempo becomes more of an exception, as evidenced by such indications as mesurй by F. Couperin. Violation of the exact correspondence between musical notations and real durations is expressed in the total understanding of the prolonging point: depending on the context

Can mean

etc., a

Music continuity. fabric is created (along with basso continuo) polyphonic. means - the mismatch of cadences in different voices (for example, the continued movement of accompanying voices at the endings of stanzas in Bach's choral 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.), by linking motives, see, for example, the combination of the cadence of opposition with the beginning of the theme in Bach's 15th invention:

The era of classicism highlights the rhythmic. energy, which is expressed in bright accents, in a greater evenness of tempo and in an increase in the role of the meter, which, however, only emphasizes the dynamic. the essence of the measure, which distinguishes it from quantitative meters. The duality of the impact-impulse is also manifested in the fact that the strong time of the beat is the normal end point of the muses. 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 constructions. The dismemberment of the melody (b. parts of a dance-song character) is overcome by the accompaniment, which creates "double bonds" and "invading cadenzas". Contrary to the structure of phrases and motifs, the measure often determines the change of tempo, dynamics (sudden f and p on the bar line), articulation grouping (in particular, leagues). Characteristic sf, emphasizing the metric. pulsation, which in similar passages of Bach, for example, in a fantasy from the Chromatic Fantasy and Fugue cycle) is completely obscured

A well-defined time meter can dispense with general forms of movement; classical style is characterized by diversity and rich development of rhythmic. figure, always correlated, however, with the metric. supports. The number of sounds between them does not exceed the limits of easily perceived (usually 4), rhythmic changes. divisions (triplets, quintuplets, etc.) reinforce the strong points. Metric activation. supports are also created by syncopations, even if these supports are absent in real sound, as at the beginning of one of the sections of the finale of Beethoven's 9th symphony, where rhythmic is also absent. inertia, but the perception of music requires ext. counting imaginary metric. accents:

Although bar emphasis is often associated with even tempo, it is important to distinguish between these two tendencies in classical music. rhythms. In W. A. ​​Mozart, the desire for equality is metric. share (bringing its rhythm to the quantitative one) was most clearly manifested in the minuet from Don Juan, where at the same time. the combination of different sizes excludes agogych. highlighting strong times. Beethoven has an underlined metric. accentuation gives more scope to agogics, and metric gradation. the stresses often go beyond the measure, forming regular alternations of strong and weak measures; In connection with this, the role of square rhythms in Beethoven increases, as it were, "bars of a higher order", in which syncope is possible. accents on weak measures, but, unlike real measures, the correct alternation can be violated, allowing expansion and contraction.
In the era of romanticism (in the broadest sense), the features that distinguish accentual rhythm from quantitative rhythm (including the secondary role of temporal relationships and meter) are revealed with the greatest completeness. Int. the division of beats reaches such small values ​​that not only the duration of the ind. 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 the intralobar division do not emphasize, but soften the metric. beats: combinations of duols with triplets (

) are perceived almost as quintuplets. Syncopation often plays the same mitigating role among romantics; syncopations formed by the delay of the melody (written out rubato in the old sense) are very characteristic, as in ch. parts of Chopin's Fantasy. In the romantic music appears "big" triplets, quintuplets, and other cases of special rhythmic. divisions corresponding to not one, but several. metric shares. Erase metric borders is graphically expressed in bindings that freely pass through the bar line. In conflicts of motive and measure, motive accents usually dominate over metric ones (this is very typical for I. Brahms' "talking melody"). More often than in the classic style, the beat is reduced to an imaginary pulsation, which is usually less active than in Beethoven's (see the beginning of Liszt's Faust symphony). The weakening of the pulsation expands the possibilities of violations of its uniformity; romantic the performance is characterized by maximum tempo freedom, the bar beat in duration can exceed the sum of two immediately following beats. Such discrepancies between the actual durations and musical notations are marked in Scriabin's performance of own. prod. where there are no indications of tempo changes in the notes. Since, according to contemporaries, A. N. Scriabin's playing was distinguished by "rhythmic clarity", here the accentual nature of rhythmic music is fully revealed. drawing. Note notation does not indicate duration, but "weight", which, along with duration, can be expressed by other means. Hence the possibility of paradoxical spellings (especially frequent in Chopin), when in fn. the presentation of one sound is indicated by two different notes; e.g., when the sounds of another voice fall on the 1st and 3rd notes of a triplets of one voice, along with the "correct" spelling

Possible spellings

Dr. kind of paradoxical spellings lies in the fact that with a changing rhythmic. dividing the composer in order to maintain the same level of weightiness, contrary to the rules of the muses. spelling, does not change musical values ​​(R. Strauss, S. V. Rachmaninov):

R. Strauss. "Don Juan".
The fall of the role of the meter up to the failure of the measure in the instr. recitatives, cadences, etc., is associated with the increasing importance of the 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 the music of the 19th century. one can detect interest in earlier types of rhythm associated with an appeal to folklore (the use of folk-song intonational rhythm, characteristic of Russian music, quantitative formulas preserved in the folklore of Spanish, Hungarian, West Slavic, a number of Eastern peoples) and foreshadowing the renewal of rhythm in 20th century
M. G. Harlap.
If in the 18-19 centuries. in prof. European music. orientation R. occupied a subordinate position, then in the 20th century. in a number means. styles, it has become a defining element, paramount. In the 20th century rhythm as an element of the whole in importance began to echo with such rhythmic. phenomena in European history. music, as the Middle Ages. modes, isorhythm 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-stroke period", logically substantiated by Riemann. However, the music 20th century rhythm significantly different from rhythmic. phenomena of the past: it is specific as the actual muses. phenomenon, not being dependent on dance and music. or poetic music. R.; he means. measure is based on the principle of irregularity, asymmetry. A new function of rhythm in the music of the 20th century. revealed in its formative role, in the appearance of rhythmic. thematic, rhythmic polyphony. In terms of structural complexity, he began to approach harmony, melody. The complication of R. and the increase in its weight as an element gave rise to a number of compositional systems, including stylistically individual ones, partially fixed by the authors in the theoretical. writings.
Musical leader. R. 20th century the principle of irregularity manifested itself in the normative variability of the time signature, mixed time signatures, the contradictions of the motive with the beat, and the variety of rhythmic. drawings, non-squareness, polyrhythms with rhythmic division. units for any number of small parts, polymetry, polychrony of motives and phrases. The initiator of the introduction of irregular rhythm as a system was I.F. Stravinsky, sharpening the tendencies of this kind that came from M.P. Mussorgsky, N.A. Rimsky-Korsakov, as well as from Russian. folk verse and Russian speech itself. Leading in the 20th century Stylistically, the interpretation of rhythm is opposed by the work of S. S. Prokofiev, who consolidated the elements of regularity (the invariance of tact, squareness, multifaceted regularity, etc.) characteristic of the styles of the 18th and 19th centuries. Regularity as ostinato, multifaceted regularity is cultivated by K. Orff, who does not proceed from the classical. prof. traditions, but from the idea of ​​​​recreating the archaic. declamatory dance. scenic action
Stravinsky's asymmetric rhythm system (theoretically, it was not disclosed by the author) is based on the methods of temporal and accent variation and on the motivic polymetry of two or three layers.
The rhythmic system of O. Messiaen of a brightly irregular type (declared by him in the book: "The Technique of My Musical Language") is based on the fundamental variability of the measure and the aperiodic formulas of mixed measures.
A. Schoenberg and A. Berg, as well as D. D. Shostakovich, have rhythmic. irregularity was expressed in the principle of "musical prose", in the methods of non-squareness, clock variability, "remetrization", polyrhythm (novovenskaya school). For A. Webern, the polychronicity of motives and phrases, the mutual neutralization of tact and rhythmic 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 rhythmic forms. organizations a prominent place was occupied by rhythmic. series usually combined with series of other parameters, primarily pitch parameters (for L. Nono, P. Boulez, K. Stockhausen, A. G. Schnittke, E. V. Denisov, A. A. Pyart, and others). Departure 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. In connection with the texture of super-polyphony and aleatoric. a letter (for example, in D. Ligeti, V. Lutoslavsky) appears static. R., devoid of accent pulsation and certainty of tempo. Rhythmich. features of the latest styles prof. music is fundamentally different from rhythmic. properties of mass song, household and estr. 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 Messenger", 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 R. Westphal's rhythmic edition, M., 1885; Sokalsky P. P., Russian folk music, Great Russian and Little Russian, in its melodic and rhythmic structure and its difference from the foundations of modern harmonic music, Har., 1888; Proceedings of the Musical and Ethnographic Commission ..., vol. 3, no. 1 - Materials on musical rhythm, M., 1907; Sabaneev L., Rhythm, in collection: Melos, book. 1, St. Petersburg, 1917; his own, 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 a violinist, M.-L., 1951; Mazel L., The structure of musical works, M., 1960, ch. 3 - Rhythm and meter; Nazaikinsky E. V., On the musical tempo, M., 1965; his own, On the psychology of musical perception, M., 1972, essay 3 - Natural prerequisites for musical rhythm; Mazel L. A., Zukkerman 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 work of composers of the first half of the 20th century, M., 1971; her own, On the nature of non-squareness, in Sat: On music. Problems of analysis, M., 1974; Harlap M. G., Beethoven's Rhythm, in the book: Beethoven, Sat: Art., Issue. 1, M., 1971; his, Folk-Russian musical system and the problem of the origin of music, in 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: Theoretical problems of musical forms and genres, M., 1971; Elatov V.I., In the wake of one rhythm, Minsk, 1974; Rhythm, space and time in literature and art, collection: st., L., 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, safonction 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-Dalcroze E., La rythmique, pt. 1-2, Lausanne, 1907, 1916; Wiemayer Th., Musikalische Rhythmik und Metrik, Magdeburg, (1917); Forel O. L., Le Rythme. Tude psychologique, "Journal für Psychologie und Neurologie", 1921, Bd 26, H. 1-2; R. Dumesnil, Le rythme musical, P., 1921, 1949; Tetzel E., Rhythmus und Vortrag, B., 1926; Stoin V., Bulgarian folk music. Metrics and Rhythm, 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. Tude psychologique, P., 1954; Elston A., Some rhythmic practices in contemporary music, "MQ", 1956, v. 42, No 3; Dahlhaus C., Zur Entstehung des modernen Taktsystems im 17. Jahrhundert, "AfMw", 1961, Jahrg. 18, No 3-4; his own, 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: About twürczosci Sergiusza Prokofiewa. Studia i materialy, Kr., 1962; Stockhausen K., Texte..., Bd 1-2, Köln, 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 mitrique ancienne grecque," SMz ", 1972, No 2; Somfai L., Rhythmic continuity and articulation in Weberns instrumental works, in: Webern-Kongress, Beiträge 1972/73, Kassel-Basel (u. a.), (1973).

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

Instruction

Rhythm, rhytmos - consistency, regularity. Rhythm as a whole means a regular and measured alternation of any elements: sounds, movements, etc. Examples: breathing, heartbeat, pendulum swings, change of seasons, day and night. The concept of rhythm is closely related to the concept of a cycle, cyclicity, i.e. repetitions.

Usually the word "rhythm" is primarily associated with music and dance. Musical rhythm is the alternation in a certain order of short and long sounds. In other words, it is the alternation of note durations in their sequence (or rhythmic). Musicians often use a metronome (a special device) to keep track of the rhythm while learning pieces. Different musical traditions have their own rhythms. In the sound of drums, rhythm comes to the fore. There are rhythm sections, an ensemble that includes drums, rhythm guitar and bass guitar, setting the main rhythm.

The concept of rhythm is also important in poetry, it is the basis of versification. It is in its presence that the difference between poetry and prose is found. In poetry, rhythmic units are distinguished: a syllable, a foot (based on the alternation of stressed and unstressed syllables) and a line (phrase). In rhyming lines, the number of syllables must be the same, and the stresses must be consistent, otherwise the rhythm fails. There are different poetic sizes, which are characterized by an individual rhythm: trochee, iambic, dactyl, amphibrach and anapaest.

Another common expression is "natural rhythms". In nature, everything has a cycle: day follows night, and spring - summer. In nature, there are pulsations of the geomagnetic field, the frequency of ionospheric radiation, and cycles of solar activity. Human biorhythms are closely related to natural rhythms. So, for example, most people show a peak of activity in the daytime, and inactivity at night. Everyone has individual biorhythms, but for everyone they are associated with physiological processes in the body and affect endurance, activity, etc.