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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Chopin Prelude in Eflat Op 24
List of Symbols
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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 Grosso continuity countertenor create 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 indicated instance inverted trochee 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 stressed weak beats 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 violins