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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.
Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into bars organized by time signature and tempo indications. Beats are related to and distinguished from pulse, rhythm (grouping), and meter:
Regional and national music with no significant commercial impact abroad, except when it is a version of an international genre, such as: traditional music, oral traditions, sea shanties, work songs, nursery rhymes, Arabesque and indigenous music.
Ars antiqua – European music from the Late Middle Ages, which advanced concepts of rhythm. Ars nova – a style of French music from the Late Middle Ages, rejected fiercely by the Catholic Church. Ars subtilior – a style of French music from the Late Middle Ages. Art pop – pop music made purposefully to bring the genre to artistic heights.
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 ...
Music is the arrangement of sound to create some combination of form, harmony, melody, rhythm, or otherwise expressive content. [1] [2] [3] Music is generally agreed to be a cultural universal that is present in all human societies. [4]
In music theory, the pulse is a series of uniformly spaced beats—either audible or implied—that sets the tempo and is the scaffolding for the rhythm.By contrast, rhythm is always audible and can depart from the pulse.
Godfried Toussaint (1944–2019) was a Belgian–Canadian computer scientist who worked as a professor of computer science for McGill University and New York University.His main professional expertise was in computational geometry, [2] but he was also a jazz drummer, [3] held a long-term interest in the mathematics of music and musical rhythm, and since 2005 held an affiliation as a researcher ...