The Rhythmic Structure of Music
University of Chicago Press, Apr 15, 1963 - Music - 212 pages
In this influential book on the subject of rhythm, the authors develop a theoretical framework based essentially on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm, with exercises for the student's own work.
"This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."—New York Times Book Review
"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."—Notes
". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."—Journal of Music Theory
The late GROSVENOR W. COOPER, author of Learning to Listen, was professor of music at the University of California at Santa Cruz.
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accent accompaniment afterbeat Allegro alter ambiguous amphibrach anacrusis analysis anapest appears appoggiatura architectonic level arise articulation become Beethoven beginning character chord clear clearly complete composer consequent continuity create dactylic discussion dominant duple meter effect emphasized end-accented established Example expected fact feeling final forced function further given goal harmonic heard higher iamb iambic important indicated initial instance interpretation inverted lower Major marked means measure melodic meter metric Minor mobile morphological lengths motion motive move movement normal Notice occurs opening organization particular passage pattern performer phrase piano piece pivot play possible preceding present pulse reader relationship result rhythm rhythmic groups seems sense separate shape similar stress String Quartet structure Symphony syncopation temporal tends tension theme third tion tone tonic triple meter trochaic trochee tune turn units upbeat voices weak beats whole