MUNICIPAL BUDGET EDUCATIONAL INSTITUTION OF 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. s. Lokosovo 2017 PLAN Introduction Main part 1) The specifics of rhythm in music 2) The main 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 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 features. 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. expressiveness of the components of the texture, Rhythm belongs not only to music, but also to other types of 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 immediate 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 correlation of harmonies, in the logic of motive-timbres, thematic syntax, in the movement and architectonics of the 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. Quantitativeness (metricity in the old meaning 2. Qualitativeness (accuracy in literary criticism) 3. Syllabicity (complexity). term) sense) The boundary between music and poetry is the system (modal rhythm). 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 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, - 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 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. The 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 unique foot, or monopodia, double - to a doubled foot, dipodia, triple - tripodium, etc.: ethos First mode: Single ordo Double ordo Triple ordo Quarter ordo Modi, 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 of the properties of the two previous ones is 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 feature 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 types of instruments - percussion, string and wind. Therefore, the division combined into 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 Brevis Semibrevis Minima Fuza Semiminima Semifuza Verbal designations (Perfectus, imperfectus, major, minor) and graphic signs (circle, semicircle, with or without a dot inside) were used to distinguish between ternary and binary divisions. . Among the characteristic mensural rhythms are the following variants of the six-beater, which were used in sequence and at the same time: The grouping of six beats by 3 and 2 reflects the two-basic 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, and motive structure, which includes 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. - non-accent. There are three most important principles of rhythm classification: 1) rhythmic proportions, 2) regularity - irregularity, 3) emphasis There is another 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 19th and 20th 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. In the new music after 1950, the following features were revealed. 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 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 Fixed foot Variable beat Fixed beat Simple, complex beat Mixed beat Contradiction of motive with beat Coordination of motive with beat Multifaceted regularity Polymetry of rhythm Non-squareness Squareness of bar groupings of groupings Ancient Greek rhythmics, some types of medieval oriental rhythmics, and most of the rhythmic styles of professional music of the 20th century belong to the type of irregular rhythmics. The modal system, a strict classical clock 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 one hundred percent presence of regular or irregular phenomena alone. 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 time nor tempo arises; the sound seems to hang in the air, without 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, it is necessary to take into account, due to which the accentuation, the intonational nature 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. Ancient Greek feet act as the most stable rhythm formulas in music. In ancient Greek art, metric feet constituted the main fund of rhythm 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. 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 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, they are divided into two types, which can be called: 1) progressions 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: 1. the beat of a higher order changes throughout the musical form, i.e. 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 received a special development in the Dutch school, using mensural signs, in various temporary measures they varied the propost. 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. Contrast-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 of J.S.Bach's choral arrangements. where composers, polytempo - a special effect of polychrony, when in the perception of rhythmically contrasting layers are formed 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 shaping 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 is multi-encompassing in a piece of music. classical meter Complex 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 cycles" 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. the formative function of the meter is carried out in inseparable connection with harmonic development. In classical harmony, an important formative trend is the change of harmony along the strong beats of the measure. 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 (usto) - dominant - 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). irregularity (unsteady) 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 a metric deviation (by analogy with a 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.

The melodic structure in music largely depends on the rhythm, it is to this indicator that we sometimes owe a good mood when we want to nod to the beat or tap out a strong beat in our favorite song with our feet. At the same time, it can be difficult to explain what rhythm is in music; this requires special knowledge, at least an elementary musical education. However, if you set yourself a goal and desire, then you can explain this issue to the general public, using popular concepts and detailed definitions. By itself, the word "rhythm" is used not only in music, it is a vast concept that has become so firmly established in life that it is regarded as something taken for granted.

For successful meditation, you also need to connect to the rhythm, you just have to choose which one is more suitable for entering into resonance with the outside world. Some people like the rhythm of the waves more, others like the beating of the human heart. Rhythm itself is very important for achieving harmony, and music helps to achieve this goal.

The temporal organization of music is one of the most variable elements of music. The existence of rhythm in music allows us to draw analogies with other types of art, which use expression as an important element.
Poetry played an important role in shaping the 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 motifs is presented in the form of iambic, chorea and amphibrach.
Such an 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 education 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 thing as agogy (from the Greek. withdrawal, deviation) - slowdowns and accelerations that help reveal the meaning.
Each of these tense categories is implemented differently in different styles of music. For example, in early jazz, the 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 one can meet another trend: the strengthening of the role of the meter in
What is rhythm from a musical point of view?
musical rhythm- this is the temporary and accent side of the melody, harmony, texture, thematic and all other elements of the musical language. The word rhythm itself comes from the Greek word for 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 the texture is also there).
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 major systems of rhythm division established in modern music:

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

Binary, ternary, as well as the system of division by 5, I considered.
An interesting fact is that at the dawn of the rhythmic division system, the norm was the system of division into three, and not into two. Then the binary replaced the trinity, and then they became equal.
Division system by 5, 7, 9, etc. was originally regarded 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). Gradually, however, they became the standard way to diversify rhythmic figures.
Important elements that characterize the rhythm are also: commensurability and repetition.
Commensurability of durations- a relative concept, depending on the proximity or remoteness of individual sounds in terms of their temporal significance. So, 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. It is much more difficult to talk about commensurability when listening to sixty-fourth and whole durations. That is, the commensurability must be “correct”, otherwise arrhythmic music will turn out (more on this in a separate article).

Try to imagine alternating whole and thirty-second. Hearing will not be able to order this rhythmic figure, because 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 larger than whole
In modern music, the standard of rhythm is integer duration, since its division gives all the others. However, what is often overlooked is the relativity of any type of duration. A whole can last as long as an eighth at a certain tempo. The convention 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 quickly understand and structure a large number of rhythms without having to delve into the wilds. Durations such as longs and brevises (equal to two and four integers) only complicate the perception and understanding of the rhythm. As a rule, in a work 16 (18) multiple division is the maximum that is technically available for most performers, for this reason the use of large durations is meaningless.
Although mathematically there are an incalculable 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 slam 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 interrelated elements such as: repetition, organization, commensurability, etc.

Human life is a tireless movement in space and time. The harmony of this movement depends on how exactly it matches or complements the movement of the environment.

The nature of things or the origin of rhythm

It so happened that silent movement is extremely rare. The movement of the pendulum, the movement of the clock hand, the beating of the heart, the operation of the motor, the noise of leaves, the murmur of the stream, the change of seasons, day and night - each phenomenon has its own sound and a characteristic, well-recognized rhythmic organization.

A person, quenching his thirst for knowledge, is in a coordinate system, the center of which is himself. Initially, the concept of big-small, fast-slow child classifies in relation to his height and the pace of the heart.

Gradually, comparisons of objects and phenomena with each other in a detached coordinate system become available, however, the foundations do not go into oblivion, but move to the level of subconscious regulation. Thus, it can be argued that the basis of life is a commensurate change of phenomena, actions, forms - the rhythm of life on a macro- and microscale, which plays one of the key roles in the art of music.

Rhythmic organization of life and music

The word "rhythm" is of Greek origin and literally means proportion. Rhythm in music is an ordered alternation of sounds of different duration, one of the main elements of expressiveness in the musical palette, since sounds without rhythmic cut cannot form a melody.

Like poetry, music is an art that spans time, with its own graphic system of notation. The main grapheme for recording sounds is a note - a conventional sign indicating the height and relative duration of the sound. It should be noted that the system of recording sounds that can be seen today was put into circulation only in the sixteenth century. Up to this point, the division of the duration of notes occurred not into two parts, but into three. Over time, a difference appeared in the color of the notes (long sounds are white, and short sounds are black), and then “tails” appeared in the form of calms and flags.

In everyday life, a person often has to divide the whole into two halves or four equal parts, and sometimes into eight parts. This principle also applies to determining the duration of notes:

• whole note - has a white color and is a designation of a long sound;
• half note - is half the whole note in duration, also has a white color, but a calm is attached to it, which distinguishes it from the previous sign;
• quarter note - only the fourth part of the whole note sounds, it is painted black and has a calm;
• eighth note - by analogy, it makes up an eighth of the whole, black with a calm and one flag.

There is also a smaller division of the sounding time and a larger one, but in order to understand the rhythmic organization, the given note durations are more than enough.

If we compare music with the daily rhythms of a person, then we should decide on the reference system. Our life is counted daily by ordinary clock hands. But the rhythmic life of a piece of music depends on meter and tempo.

How to distinguish between rhythm, meter and tempo

On the Internet, the results of psychologists' research on the perception of shapeless blots by a person are often cited. The conclusions of scientists suggest that visual perception of a person (as well as auditory) is based on already familiar images as a “template” and only after “feeling of support” can the “representation” of a variety of other options be switched on. The role of support in music is played by the meter - from the Greek "measure".

Like breathing and heartbeat, the musical fabric consists of tension (strong beat) and discharge (weak beat). Graphically, the musical meter is indicated through the size (depicted as a fraction and indicates the number of beats of a certain duration from one strong beat to the next after it). The role of rhythm in music is the creation of a unique image of the melody.

The triple meter, for example, in the ideas of modern man is associated with the waltz. In order not to confuse the meter with the rhythm, it is enough to do a simple exercise once: with your feet alternately tap the three-beat meter of the waltz (the first strong beat with your left foot, two weak beats with your right foot), and with your hands reproduce the rhythm of "Bolero" by Maurice Ravel.

This example once again emphasizes the importance of rhythm in music: a triple meter (associated by many listeners with a smooth waltz) ceases to be “white and fluffy” and, thanks to the rhythmic pattern, acquires rigidity and perseverance.

With the definition of the pace, everything is easier, but there are some nuances. In musical notation, everything related to tempo is indicated by Italian terms, and scrupulous composers set the value of the metronome at the beginning of the work.

A metronome is a device that helps to determine the speed of performance using a scale on which you can set a different number of beats per minute. Sometimes, composers indicate the tempo in Russian, English, French, but despite this, the meaning remains the same.

expanses of dotted rhythm

The graphic representation of the sound of music is not limited to the designation of foreign terms, notes, pauses, meter. There are also specific notations, such as a dot. A dot placed to the right of a note indicates nothing more than a dotted rhythm and lengthens the sound of the note by half. As for the characterological features of this rhythm, at a fast pace it carries the energy of impulse, onslaught, perseverance, aspiration. As an example, consider "Montagues and Capulets" from S. S. Prokofiev's ballet "Romeo and Juliet".

The sound of a dotted rhythm at an average tempo expresses other moods: doubt, thoughtfulness, a fleeting impulse. This statement is well illustrated by the waltz "Sweet Dream" from the "Children's Album" by P. Tchaikovsky or Prelude in E Minor by Frederic Chopin. The same composer used a dotted rhythm at a slow tempo to depict despair, hopelessness, depression in the second part of the piano sonata, better known as the Funeral March.

Territorial claims of syncopation

Syncopation is the name for rhythm in music. Its essence lies in the transfer of emphasis from a strong share of a meter to a weak one (in other words, from inhalation to exhalation). There is a feeling of rhythmic interruption, which brings sharpness and tension to the musical palette. The term itself comes from the Greek word and means the omission of something. The colorfulness of this rhythmic organization was used by many composers, and, depending on the meter and tempo of the work, this rhythm is able to broadly enrich the musical language.

For example, “Autumn Song” from the cycle “The Seasons” by P.I. Tchaikovsky. The syncopation in this work is the seed from which the melody sprouts, preserving the rhythm of "doubts". Or P. I. Tchaikovsky's waltz in E-flat major: the tempo of the work is faster than in the previous version, so the syncopation conveys excitement, timid daydreaming. The role of syncopated rhythms in modern music will increase even more.

Such a mysterious swing

What is swing, and how does it differ from other rhythmic matrices? The name is derived from the English word (in literal translation - "swaying"). He became famous thanks to the development of jazz music, in turn, jazz is a harmonious development and transformation of spirituals (the composition “Come back with Jesus” is very illustrative, but not performed by academic choirs).

It is worth noting that the "characteristic swaying" of the rhythmic pattern of Negro chants is steadfastly preserved in modern jazz creativity. To imagine the sound of a swing, it is enough to imagine that the first of each pair of sounds played is longer than the second, which is perceived by the ear as a triplet. Since swing is a rhythmic matrix, the influence of tempo on its characterological features is also great. This is a fast uncompromising version of Michael Buble's Spiderman Theme, and heartfelt, one might say, "confessional" swing by Nina Simone - Feeling Good.

And such well-known swing performers as Ella Fitzgerald and Duke Ellington are able to convince the listener that the well-known composition "Caravan" cannot exist outside of swing.

It should be noted that swing is not something out of the ordinary, and as an example - the unique Louis Armstrong in the composition Go Down Moses. Rhythm in modern music is not limited to the bottom matrix, it is multifaceted, and often the composers' experiments acquire unimaginable reliefs.

Special rhythmic figures, like lace decoration in music

Special rhythmic figures are triplets, quartoles, quintholes, etc. They come from dividing one share into an arbitrary number (3,4,5,6,7) of equal parts. In terms of playing time, these groups do not differ from the divided beat and have only one accent (this is always the first sound in the group).

The musical fabric acquires special brilliance and atmosphere when several rhythmic figures are simultaneously played, which was masterfully used by George Enescu in the work "Romanian Rhapsody" in A major. However, we must not forget what role tempo plays in the perception of rhythm. The rhapsody uses moderate to fast tempos, which colors the work in playful, sparkling, bewitching shades. The pianist and composer Ferens Liszt (Hungarian Rhapsody No. 2, for example) skillfully used various rhythmic delights in his works.

As for slow and moderate tempos in the use of special rhythmic patterns and upbeats in music, in this case I would like to mention Frederic Chopin and his unsurpassed Nocturnes. For the Polish composer, rhythm in music is one of the main means of expression. The famous "Nocturne in A flat major" is a vivid illustration of this statement.

Artistic colors of rhythm

It is quite obvious that rhythm is closely related to tempo, melody, and dynamics. However, it cannot be denied that the rhythm in music is the fundamental principle and the connecting thread between the rest of the expressive components.

A variety of rhythmic matrices, borrowed from previous generations, reigns in modern music. And it does not matter what nationality the composer is, what rhythms and styles he prefers to use in his compositions - what is valuable is that he communicates with the listener in a language he understands, describes familiar experiences and feelings.

Rating 4.41 (58 votes)

What do you need to know in order to clearly feel the rhythm of music?

If you have worked through the previous material, then we can congratulate you: you have already mastered the main part of musical writing! Now we begin to study an equally important topic: rhythm and everything connected with it. So:

Rhythm

You already know that a sound (note) has an important property for music: duration. Also in the previous lessons we considered parts of melodies as examples. Literally 1 - 2 bars, but this is enough to make sure that the notes are played sequentially, as written: from left to right. The sequential construction of the durations of sounds (notes) is called rhythm (read in turn, from left to right, the duration of the melody presented below - this will be the rhythm).

Durations of sounds (notes) can be combined into so-called rhythmic groups, "> figures. In this example, rhythmic groups are highlighted in red brackets:

Figure 1. Rhythmic groups

When listening to a song, a person often taps the rhythm with his foot, shakes his head rhythmically, and dances. A person can move "to the beat" of the music, because the music, as it were, pulsates evenly. The sounds (notes) to which such a pulsation falls (that is, the very moment when a person, for example, makes one movement of his head to the music) are accentuated notes. And such a selection of sounds is called ">accent. The part of a measure that contains accented sounds is called strong"> beat. Parts of the measure that do not have accents are called weak shares

As a rule, the strongest accent falls on the first beat of the measure. The second strongest - in the middle of the bar. The weakest beat falls at the end of the measure. In the figure, we have shown the strong and weak beats of the measure at a time signature of 4/4. Let's review them

Figure 2. Accented notes

Please note: under some notes there are signs that we have not yet studied. The sign "" denotes an accented note. The sign "" denotes a strongly accented note. Tap the rhythm along with the melody. You will be tapping accented and heavily accented notes.

Meter

In Figure 2, strong and weak beats alternate evenly. This alternation is called meter.

The size

In one of the first lessons, we briefly touched on the concept the size works. We remind you: the size is what is indicated in the drawings of this lesson as “4/4” (to the right of the treble clef). Now we can give a completely scientific definition of the term "the size of the work."

Let's return to Figure 2 again. We look at the notes from left to right, starting with the very first one (the note "re"). Below it is the sign "heavily accented note". The duration of the note is a quarter. It turns out that this is a strong beat lasting a quarter. Next comes the weak beat. Duration - also a quarter. Then a strong beat and a weak beat. Each is a quarter long. As a result, we have 4 beats lasting a quarter each in one measure. This is exactly what is written with the key: 4/4 (the first, that is, the top number “4” on the stave indicates the number of beats in a bar, the second number “4” is the duration of each beat, so we read the size like this: “four quarters”) .

Tact

You already know what tact is. Please note that a measure is also a segment of a piece of music from a strong beat to the next strong beat. Now you know the full definition of a measure.

If the music begins with a weak beat, then the very first measure is incomplete. This is a hit. As a rule, the last bar will be incomplete just enough so that the sum of the durations of the first and last bars is exactly a bar. Note that the beat can also occur in the middle of the work. Lead-in example:

Figure 3. Zatakt

To make it easier to hear the upbeat, we added another track to the musical accompaniment of this drawing. It is not shown in the figure. The first beat is incomplete. Its total length is a quarter (the sum of two eighths). This is the hitch. And the last measure (half with a dot) complements the first so that the total duration of both measures is 4/4 (a whole note).

Results

In this article, we have given a lot of material. If something is misunderstood - do not be discouraged. In the future, we will again use the studied concepts and, if necessary, comment on them. So let's find out!

You now know such concepts as rhythm, strong and weak beats,