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LearnMusicTheory.net 6.9 Rhythm and Meter 2: Ametric Techniques Ametric = Music whose rhythmic content doesn't depend on metric structure for its organization. Some music is notated with a time signature, but the organization of the rhythm may be ametric. 1. Additive Rhythm = The rhythm is "built up" from a short rhythmic value (below, the eighth note) through integer groupings (1, 2, 3, 4, etc. of the base value tied together). 2. Added Value = Adding a short rhythmic value to an otherwise straightforward rhythm to give it interest; The composer Messiaen was fond of this technique. _ _ _ 3. Nonretrogradable Rhythm = Rhythm that sounds the same forwards and backwards. In other words, a rhythmic palindrome. There will always be a "center point" where the pattern reverses. The pitch pattern may or may not be the same forwards and backwards. rhythmic center 4. Serialized Rhythm = Music using a predetermined, repeating series of durations, similar to twelve-tone music's use of tone rows. Total serialism, the serialization of all musical elements, includes serial rhythm. Rhythmic series statement 1 Rhythmic series statement 2 Rhythmic series statement 3 5. Time-line notation or graphic notation = Rhythm is notated graphically along a timeline marked with seconds or minutes. Pitch may be notated approximately (as below) or using traditional pitch notation. 10 sec. 20 sec. 30 sec. 6. Text notation = Rhythmic instructions are given using words. For example, "Play as fast as possible." 7. Fibonacci series = Some composers have organized rhythms (or even the lengths of sections in the piece) using the Fibonacci series, in which each number is the sum of the previous two numbers: 1, 1, 2, 3, 5, 8, 13... 8. Golden ratio or golden section = A ratio of sections of a whole in which section a is to section b as section b is to the whole; in other words, a is to b as b is to (a+b). The golden section of a movement is about 0.618 of the way through, or a little less than two-thirds of the way through. Some composers used this ratio to determine climax points or other important aspects of their organization of time. Copyright © 2011 by Mark Feezell. All Rights Reserved..

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Visual Rhythm
Visual Rhythm • Visual Rhythm is a Principle of Art. • Visual Rhythm is rhythm you receive through your eyes rather than your ears. • Visual Rhythm is created by repeated positive shapes separated by negative spaces. • Visual Rhythm is all around us. FIVE TYPES OF RHYTHM • Regular • Alternating • Random • Flowing • Progressive Regular Rhythm • Regular Rhythms and patterns have identical motifs or visual beats. • They have an equal amount of space between motifs. • Parking spaces are laid out in a regular rhythm. • Bricks on a wall form a regular rhythm. Alternating Rhythm • Alternating rhythm and pattern can be achieved by changing motifs at regular intervals. • Think of the black and white squares on a chess board. • Here the elephants alternate color and direction. Random Rhythm • The motif is repeated in no apparent order. • You can not predict exactly where the next motif will be. • Splashes of paint on a wall would create a random rhythm. • It would be difficult to predict where the next flower would be. Flowing Rhythm • Flowing rhythms are created by repeating wavy lines and curved shapes. Progressive Rhythm • In progressive rhythm there is a change in motif or visual beat each time it is repeated. See if you can identify the type of visual rhythm. Regular Rhythm • The motif stays the same and the distance between the motifs stays consistant. What type of rhythm do you see? Flowing Rhythm • The pattern is made up of curved motifs. What type of rhythm do you see? Regular Rhythm • The motif of the brick and the interval of the mortar are consistant.
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Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML.
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TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
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Chapter 1 "The Elements of Rhythm: Sound, Symbol, and Time"
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SCOPE and SEQUENCE for Instrumental Music Program
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Composers' Bridge!
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The Development of Musical Notation Carolyn S
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From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
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The Expressive Role of Rhythm and Meter in Schumannâ•Žs Late Lieder
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Empress Tremolo Manual
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Music Braille Code, 2015
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Basic Rhythm Recognition
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