The Rhythmic Structure of MusicIn 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. |
Contents
Rhythms on Lower Architectonic Levels | 12 |
More Complex Rhythmic Structures | 60 |
Rhythm and Meter | 88 |
Rhythm Mobility and Tension | 117 |
Rhythm Continuity and Form | 144 |
Rhythmic Development | 168 |
Chopin Prelude in Eflat Op 24 | 185 |
| 204 | |
Other editions - View all
The Rhythmic Structure of Music Grosvenor W. Cooper,Grosvenor Cooper,Leonard B. Meyer No preview available - 1963 |
Common terms and phrases
accompaniment afterbeat Allegro ambiguous amphibrach anacrusis analysis analyzed anapest anapestic grouping appoggiatura articulation B-flat bar lines beat of measure Beethoven beginning beginning-accented character Chopin chord clear coda Concerto Concerto Grosso continuity countertenor create cresc crescendo dactylic dactylic grouping dissonance dominant duple meter eighth-notes emphasized end-accented end-accented group end-accented rhythm Example feeling four measures function goal Haydn iamb iambic important incomplete rhythm instance Lower Architectonic Levels Major measure 9 melodic and harmonic melodic motion metric crossing metric level metric organization middle-accented Minuet mobile morphological lengths motive move movement Mozart passage pattern phrase piano piece pivot play Prelude primary level pulse quarter-note relationship rhythmic groups rhythmic level rhythmic organization rhythmic structure second level sense separate sforzando shape String Quartet String Quartet Op subprimary level Symphony syncopation temporal organization tendency tends tension theme tion tone tonic triple meter trochaic group trochee tune unaccented units upbeat violins