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Pérotin, "Alleluia nativitas", in the third rhythmic mode. In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms).The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a ligature, and by ...
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Rhythmic war cry, rhythmic drumming by shamans, rhythmic drilling of the soldiers and contemporary professional combat forces listening to the heavy rhythmic rock music [19] all use the ability of rhythm to unite human individuals into a shared collective identity where group members put the interests of the group above their individual ...
Rhythmic mode; Rhythmical office; S. Sextuple metre This page was last edited on 9 April 2024, at 12:49 (UTC). Text is available under the Creative Commons ...
According to Walter Piston (1944), "the rhythmic life contributed to music by means of the underlying changes of harmony. The pattern of the harmonic rhythm of a given piece of music, derived by noting the root changes as they occur, reveals important and distinctive features affecting the style and texture ."
In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: . A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units.
The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type.
A technique in which a rhythmic pattern is superposed on another, heterometrically, and then supersedes it and becomes the basic metre. Usually, such time signatures are mutually prime, e.g., 4 4 and 3 8, and so have no common divisors. Thus the change of the basic metre decisively alters the numerical content of the beat, but the minimal ...