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Medium: ≥ few seconds, this median durational level "defines rhythm in music" [35] 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", [17] a motif ...
"The 'fastness' or 'slowness' of harmonic rhythm is not absolute, but relative," [6] [self-published source] and thus analysts compare the overall pace of harmonic rhythm from one piece to another, or the amount of variation of harmonic rhythm within a piece. For example, a key stylistic difference between Baroque music and Classical-period ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
The pattern of a music piece's rhythm of strong and weak beats mezza voce Half voice (i.e. with subdued or moderated volume) mezzo Half; used in combinations like mezzo forte (mf), meaning moderately loud mezzo forte (mf) Half loudly (i.e. moderately loudly). See dynamics. mezzo piano (mp) Half softly (i.e. moderately soft). See dynamics. mezzo ...
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.
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" [1] This is indicated ...
The music of African xylophones, such as the balafon and gyil, is often based on cross-rhythm. In the following example, a Ghanaian gyil sounds a 3:2-based ostinato melody. The left hand (lower notes) sounds the two main beats, while the right hand (upper notes) sounds the three cross-beats. [15]
Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores , which may be of the same or a different length from the talea .