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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.
This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his Symphony in C in 1938–40, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output). [25]
Stravinsky's Russian period is characterized by the use of Russian folk tunes and the influence of Rimsky-Korsakov, Tchaikovsky, Glazunov, and Taneyev. [ 14 ] [ 15 ] His neoclassical period reflected back to the techniques and themes of the Classical period , like his use of the sonata form in the first movement of his Octet (1923) and the ...
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.
Media in category "Rhythm and meter" The following 3 files are in this category, out of 3 total. Nono - Variazioni canoniche, rhythmic values row.png 273 × 81; 2 KB
The influence of Bartok and Stravinsky can be shown, as well as that of the 17th-century English Madrigal School.From these, and folk-song, Tippett derives his distinctive and personal technique of 'additive rhythm'.
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Concerto for Two Pianos by Igor Stravinsky, in the second movement. [97] Concerto in E-flat by Igor Stravinsky has a measure of 2 8 + 3 16 a few measures after rehearsal mark 4. [98] Donna Diana Overture, by Emil von Reznicek. [99] Douze études pour Caisse-Claire by Jacques Delécluse, in some measures of the last piece. [83]