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at level sometimes simply called the beat this consists of a repeating series of identical yet distinct periodic short duration stimuli perceived as points in time 21 the beat pulse is not necessarily the fastest or the slowest component of the rhythm but the one that is perceived as fundamental it has a tempo to which listeners entrain as they tap their foot or dance to a piece of music 22 it is currently most often designated as a crotchet or quarter note in western notation see time signature faster levels are division levels and slower levels are multiple levels 21 maury yeston clarified rhythms of recurrence arise from the interaction of two levels of motion the faster providing the pulse and the slower organizing the beats into repetitive groups 23 once a metric hierarchy has been established we as listeners will maintain that organization as long as minimal evidence is present 24 unit and gesture edit a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit these may be classified as metric even patterns such as steady eighth notes or pulses intrametric confirming patterns such as dotted eighth sixteenth note and swing patterns contrametric non confirming or syncopated patterns and extrametric irregular patterns such as tuplets audio playback is not supported in your browser you can download the audio file from left to right metric intrametric contrametric and extrametric rhythmic units a rhythmic gesture is any durational pattern that in contrast to the rhythmic unit does not occupy a period of time equivalent to a pulse or pulses on an underlying metric level it may be described according to its beginning and ending or by the rhythmic units it contains rhythms that begin on a strong pulse are thetic those beginning on a weak pulse are anacrustic and those beginning after a rest or tied over note are called initial rest endings on a strong pulse are strong on a weak pulse weak and those that end on a strong or weak upbeat are upbeat 25 alternation and repetition edit rhythm is marked by the regulated succession of opposite elements the dynamics of the strong and weak beat the played beat and the inaudible but implied rest beat or the long and short note as well as perceiving rhythm humans must be able to anticipate it this depends on repetition of a pattern that is short enough to memorize the alternation of the strong and weak beat is fundamental to the ancient language of poetry dance and music the common poetic term foot refers as in dance to the lifting and tapping of the foot in time in a similar way musicians speak of an upbeat and a downbeat and of the on and off beat these contrasts naturally facilitate a dual hierarchy of rhythm and depend on repeating patterns of duration accent and rest forming a pulse group that corresponds to the poetic foot normally such pulse groups are defined by taking the most accented beat as the first and counting the pulses until the next accent 26 scholes 1977b a rhythm that accents another beat and de emphasises the downbeat as established or assumed from the melody or from a preceding rhythm is called syncopated rhythm normally even the most complex of meters may be broken down into a chain of duple and triple pulses 26 27 either by addition or division according to pierre boulez beat structures beyond four in western music are simply not natural 28 tempo and duration edit further information tempo and duration music the tempo of the piece is the speed or frequency of the tactus a measure of how quickly the beat flows this is often measured in beats per minute bpm 60 bpm means a speed of one beat per second a frequency of 1 hz a rhythmic unit is a durational pattern that has a period equivalent to a pulse or several pulses 29 the duration of any such unit is inversely related to its tempo musical sound may be analyzed on five different time scales which moravscik has arranged in order of increasing duration 30 supershort a single cycle of an audible wave approximately 1 30 1 10 000 second 30 10 000 hz or more than 1 800 bpm these though rhythmic in nature are not perceived as separate events but as continuous musical pitch short of the order of one second 1 hz 60 bpm 10 100 000 audio cycles musical tempo is generally specified in the range 40 to 240 beats per minute a continuous pulse cannot be perceived as a musical beat if it is faster than 8 10 per second 8 10 hz 480 600 bpm or slower than 1 per 1 5 2 seconds 0 6 0 5 hz 40 30 bpm too fast a beat becomes a drone too slow a succession of sounds seems unconnected 31 this time frame roughly corresponds to the human heart rate and to the duration of a single step syllable or rhythmic gesture medium few seconds this median durational level defines rhythm in music 30 as it allows the definition of a rhythmic unit the arrangement of an entire sequence of accented unaccented and silent or rest pulses into the cells of a measure that may give rise to the briefest intelligible and self existent musical unit 32 a motif or figure this may be further organized by repetition and variation into a definite phrase that may characterise an entire genre of music dance or poetry and that may be regarded as the fundamental formal unit of music 33 long many seconds or a minute corresponding to a durational unit that consists of musical phrases 30 which may make up a melody a formal section a poetic stanza or a characteristic sequence of dance moves and steps thus the temporal regularity of musical organisation includes the most elementary levels of musical form 34 very long minutes or many hours musical compositions or subdivisions of compositions curtis roads 35 takes a wider view by distinguishing nine time scales this time in order of decreasing duration the first two the infinite and the supra musical encompass natural periodicities of months years decades centuries and greater while the last three the sample and subsample which take account of digital and electronic rates too brief to be properly recorded or perceived measured in millionths of seconds microseconds and finally the infinitesimal or infinitely brief are again in the extra musical domain roads macro level encompassing overall musical architecture or form roughly corresponds to moravcsik s very long division while his meso level the level of divisions of form including movements sections phrases taking seconds or minutes is likewise similar to moravcsik s long category roads sound object 36 a basic unit of musical structure and a generalization of note xenakis mini structural time scale fraction of a second to several seconds and his microsound see granular synthesis down to the threshold of audible perception thousandths to millionths of seconds are similarly comparable to moravcsik s short and supershort levels of duration rhythm tempo interaction edit one difficulty in defining rhythm is the dependence of its perception on tempo and conversely the dependence of tempo perception on rhythm furthermore the rhythm tempo interaction is context dependent as explained by andranik tangian using an example of the leading rhythm of promenade from moussorgsky s pictures at an exhibition 37 38 this rhythm is perceived as it is rather than as the first three events repeated at a double tempo denoted as r012 repeat from 0 one time twice faster r012 however the motive with this rhythm in the moussorgsky s piece is rather perceived as a repeat r012 this context dependent perception of rhythm is explained by the principle of correlative perception according to which data are perceived in the simplest way from kolmogorov s complexity theory this means a representation of the data that minimizes the amount of memory the example considered suggests two alternative representations of the same rhythm as it is and as the rhythm tempo interaction a two level representation in terms of a generative rhythmic pattern and a tempo curve table 1 displays these possibilities both with and without pitch assuming that one duration requires one byte of information one byte is needed for the pitch of one tone and invoking the repeat algorithm with its parameters r012 takes four bytes as shown in the bottom row of the table the rhythm without pitch requires fewer bytes if it is perceived as it is without repetitions and tempo leaps on the contrary its melodic version requires fewer bytes if the rhythm is perceived as being repeated at a double tempo complexity of representation of time events rhythm only rhythm with pitch complete coding coding as repeat complete coding coding as repeat r012 r012 complexity of rhythmic pattern 6 bytes 3 bytes 12 bytes 6 bytes complexity of its transformation 0 bytes 4 bytes 0 bytes 4 bytes total complexity 6 bytes 7 bytes 12 bytes 10 bytes thus the loop of interdependence of rhythm and tempo is overcome due to the simplicity criterion which optimally distributes the complexity of perception between rhythm and tempo in the above example the repetition is recognized because of additional repetition of the melodic contour which results in a redundancy of the musical structure making the recognition of the rhythmic pattern robust under tempo deviations generally speaking the more redundant the musical support of a rhythmic pattern the better its recognizability under augmentations and diminutions that is its distortions are perceived as tempo variations rather than rhythmic changes by taking into account melodic context homogeneity of accompaniment harmonic pulsation and other cues the range of admissible tempo deviations can be extended further yet still not preventing musically normal perception for example skrjabin s own performance of his poem op 32 no 1 transcribed from a piano roll recording contains tempo deviations within 19 119 a span of 5 5 times 39 such tempo deviations are strictly prohibited for example in bulgarian or turkish music based on so called additive rhythms with complex duration ratios which can also be explained by the principle of correlativity of perception if a rhythm is not structurally redundant then even minor tempo deviations are not perceived as accelerando or ritardando but rather given an impression of a change in rhythm which implies an inadequate perception of musical meaning 40 metric structure edit further information metre music bar music and metre poetry notation of a clave rhythm pattern each cell of the grid corresponds to a fixed duration of time with a resolution fine enough to capture the timing of the pattern which may be counted as two bars of four beats in divisive metrical or symmetrical rhythm each beat divided into two cells the first bar of the pattern may also usefully be counted additively in measured or asymmetrical rhythm as 3 3 2 the study of rhythm stress and pitch in speech is called prosody see also prosody music it is a topic in linguistics and poetics where it means the number of lines in a verse the number of syllables in each line and the arrangement of those syllables as long or short accented or unaccented music inherited the term meter or metre from the terminology of poetry 27 32 41 the metric structure of music includes meter tempo and all other rhythmic aspects that produce temporal regularity against which the foreground details or durational patterns of the music are projected 42 the terminology of western music is notoriously imprecise in this area 27 macpherson preferred to speak of time and rhythmic shape 34 imogen holst of measured rhythm 43 an early moving picture demonstrates the waltz a dance in triple metre dance music has instantly recognizable patterns of beats built upon a characteristic tempo and measure the imperial society of teachers of dancing defines the tango for example as to be danced in 2 4 time at approximately 66 beats per minute the basic slow step forwards or backwards lasting for one beat is called a slow so that a full right left step is equal to one 2 4 measure 44 see rhythm and dance notation of three measures of a clave pattern preceded by one measure of steady quarter notes this pattern is noted in double time relative to the one above in one instead of two four beat measures four beats followed by three clave patterns the general classifications of metrical rhythm measured rhythm and free rhythm may be distinguished 45 metrical or divisive rhythm by far the most common in western music calculates each time value as a multiple or fraction of the beat normal accents re occur regularly providing systematical grouping measures measured rhythm additive rhythm also calculates each time value as a multiple or fraction of a specified time unit but the accents do not recur regularly within the cycle free rhythm is where there is neither 45 such as in christian chant which has a basic pulse but a freer rhythm like the rhythm of prose compared to that of verse 32 see free time music finally some music such as some graphically scored works since the 1950s and non european music such as honkyoku repertoire for shakuhachi may be considered ametric 46 senza misura is an italian musical term for without meter meaning to play without a beat using time to measure how long it will take to play the bar 47 composite rhythm edit bach s sinfonia in f minor bwv 795 mm 1 3 original with composite a composite rhythm is the durations and patterns rhythm produced by amalgamating all sounding parts of a musical texture in music of the common practice period the composite rhythm usually confirms the meter often in metric or even note patterns identical to the pulse on a specific metric level white defines composite rhythm as the resultant overall rhythmic articulation among all the voices of a contrapuntal texture 48 this concept was concurrently defined as attack point rhythm by maury yeston in 1976 as the extreme rhythmic foreground of a composition the absolute surface of articulated movement 49 counter rhythm edit from 1927 and forward the recognized definition of counter rhythm 50 is a subordinate rhythm acting as a counterbalance to the main rhythm oed 50 counter rhythm is not a common word or phrase in the english language appearing approximately 0 01 times per million words in modern written english counter rhythm has been on a steady decrease in usage since its conception with the exception of a spike in usage in the 1970s previous definitions that have been phased out include the musical counter rhythms which marlowe introduced and splashes of counter rhythms flashing tremolos oed 50 in different traditions edit african edit a griot performs at diffa niger west africa the griot is playing a ngoni or xalam in the griot tradition of africa everything related to music has been passed on orally babatunde olatunji 1927 2003 developed a simple series of spoken sounds for teaching the rhythms of the hand drum using six vocal sounds goon doon go do pa ta for three basic sounds on the drum each played with either the left or the ...
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