Musical rhythms of the title. Musical rhythm

The melodic structure in music largely depends on the rhythm; it is to this indicator that we sometimes owe a good mood, when we want to nod to the beat or tap the downbeat in our favorite song. At the same time, it can be difficult to explain what rhythm in music is; this requires special knowledge, at least basic musical education. However, if you set a goal and desire, you can explain this issue to the general public, using popular concepts and detailed definitions. The word “rhythm” itself is used not only in music; it is a broad concept that has become so firmly established in life that it is regarded as something self-evident.

For successful meditation, you also need to connect to the rhythm; all that remains is to choose which one is more suitable for entering into resonance with the world around you. Some people prefer the rhythm of the waves, others prefer the beating of the human heart. Rhythm itself is very important for achieving harmony, and music helps achieve this goal.

Today in the Russian language there are a lot of concepts that are worth becoming familiar with. In this article we will talk about what rhythm is and what symbols are associated with it. There are a lot of definitions from different sources, but they all have the same meaning. Let's take a closer look at all the features of rhythm and give it a designation. The word "rhythm" today has several meanings, these are:

• Rhythm of life.
• Musical rhythm.
• Poetic rhythm.
• Biorhythm.

General concepts of rhythm

The word “rhythm” comes to us from the Greek language, where Rhytmos means regularity, consistency. We are accustomed to understanding rhythm as something measured, a natural alternation of certain elements, for example, movements, sounds.

Also with the help of rhythm we determine:

• Respiration rate.
• Change of season.
• Heartbeat.
• Pendulum swing and much more.

First of all, when we hear the word “rhythm”, music, dance and melodies appear in our minds. Musical rhythm is the alternation of long and short sounds in a certain order. When learning or composing this or that melody, musicians always pay attention to the rhythm. To do this, they can use a special device, a metronome. Music is characterized by its own rhythms, and they are completely different from the rhythms of life, movements and other things.

Rhythm in versification

Poetry has its own rhythms; here we can note such rhythmic units as:

• A line or phrase.
• Stop.
• Syllable.

There are also a lot of rhythms in nature, because our life consists of them. Rhythm can be called the change of day and night, the change of season or time. The human biorhythm is associated with natural rhythms. Many people are active during the day, but at night passivity predominates. It is not possible to judge general biorhythms, because they are strictly individual for each person. All this is connected with physiological processes. Each human biorhythm affects the activity, endurance and general condition of a person.

Each rhythm of life is determined by the way and way of life of a person. If a person is characterized by increased activity at night and passivity during the day, then his biorhythm is completely different from a person who is awake during the day. If you learn to determine your biorhythms correctly, you can improve your quality of life.

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What do you need to know in order to clearly feel the rhythm of music?

If you have worked through the previous material, then congratulations: you have already mastered the main part of musical notation! Now we begin to study an equally important topic: rhythm and everything connected with it. So:

Rhythm

You already know that sound (notes) has an important property for music: duration. Also in previous lessons we looked at parts of melodies as examples. Literally 1 - 2 bars, but this is enough to make sure that the notes are played sequentially, as written: from left to right. The sequential construction of durations of sounds (notes) is called rhythm (read in turn, from left to right, the duration of the melody presented below - this will be the rhythm).

Durations of sounds (notes) can be combined into so-called rhythmic groups, ">figures. In this example, rhythmic groups are highlighted in red brackets:

Figure 1. Rhythm groups

While listening to a song, a person often taps the rhythm with his foot, shakes his head rhythmically, and dances. A person can move “to the beat” of music, because the music seems to pulsate evenly. The sounds (notes) at which such a pulsation occurs (i.e. the very moment when a person, for example, makes one movement of his head to the music) are accented notes. And this selection of sounds itself is called ">accent. The part of a measure that contains accented sounds is called strong"> beats. Parts of a measure that do not have accents are called weak shares

Typically, the strongest accent is on the first beat of the bar. The second strongest is in the middle of the beat. The weakest beat falls at the end of the measure. In the figure we showed the strong and weak beats of a measure in 4/4 time. Let's look at them

Figure 2. Accented notes

Please note: under some notes there are signs that we have not yet studied. The "" sign indicates an accented note. The "" sign denotes a strongly accented note. Along with the melody, tap its rhythm. You will hit accented and heavily accented notes.

Meter

In Figure 2, strong and weak beats alternate evenly. This alternation is called meter.

Size

In one of the first lessons we briefly touched on the concept size works. We remind you: the size is what is indicated in the pictures of this lesson as “4/4” (to the right of the treble clef). Now we can give a completely scientific definition of the term “size of a work.”

Let's return to Figure 2 again. We look at the notes from left to right, starting with the very first one (note “D”). Below it is the sign “strongly accented note”. The duration of the note is a quarter. It turns out that this is a strong beat lasting a quarter. Next comes the weak beat. The duration is also a quarter. Then a strong beat and a weak beat. The duration of each is a quarter. As a result, we fit into one measure 4 beats, each a quarter long. This is exactly what is written in the key: 4/4 (the first, that is, the top number on the staff, “4” indicates the number of beats in a measure, the second number “4” is the duration of each beat, so we read the size like this: “four quarters”) .

Tact

You already know what tact is. Please note that a measure is also a segment of a piece of music from a downbeat to the next downbeat. Now you know the full definition of tact.

If the music begins with a weak beat, then the very first measure is incomplete. This is a beat. As a rule, the last measure will be incomplete just enough so that the sum of the durations of the first and last measures is exactly a measure. Note that the introductory beat can also occur in the middle of the piece. Example of a beat:

Figure 3. Downbeat

To make it easier to hear the beat, we added one more track to the musical accompaniment of this picture. It is not shown in the figure. The first measure is incomplete. Its total length is a quarter (the sum of two eighths). This is the start. And the last bar (half with a dot) complements the first so that the total duration of both bars is equal to 4/4 (a whole note).

Results

In this article we have given a lot of material. If you misunderstood something, don’t be upset. In the future, we will again use the concepts we have learned and, if necessary, comment on them. So let's figure it out!

You now know such concepts as rhythm, strong and weak beats, beat

Form various rhythmic figures, which make up the total rhythmic pattern musical work. This rhythmic pattern is rhythm.

Rhythm is not tied to any absolute units of time; only relative note durations are specified in it (this note sounds 2 times longer than that one, and this one sounds 4 times shorter, etc.).

Rhythm, meter and tempo: differences

Graph paper

Rhythm, meter And pace- the concepts are different.

The meter defines a coordinate grid of strong and weak beats with equal distances between the beats. It can be imagined as graph paper, on which the smallest cell of the thinnest lines is the minimum duration in the work, thicker lines indicate beats, even thicker lines indicate relatively strong beats, and the thickest lines indicate strong beats.

Along the lines of this grid, you can draw rhythmic figures from segments of different lengths (notes of different durations). The figures may be completely different, but they will all be based on the lines of this grid.

The duration of notes can be specified in relative units (smallest cells): this sound is a segment 4 cells long, and this one is 2. These ratios will not change with changing the scale of the grid. The sequence of alternation of such segments is rhythm.

You can scale this grid using tempo, making the distances between lines longer or shorter. On a scale of “1 cell = 1 second,” the sound time of a note 2 cells long will be equal to 2 seconds. When the scale is reduced (the tempo is increased) by 2 times, the duration of the note in the same 2 segments will already be equal to 1 second.

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Books

• Music. 1 class. in 2 parts Part 1. Textbook. RHYTHM. Federal State Educational Standard, Aleev Vitaly Vladimirovich, Kichak Tatyana Nikolaevna. The textbook is intended for 1st grade students in general education institutions. He is starting a Music course for a four-year primary school. The main theme of the year is “Music, music is everywhere for us...

(Greek rytmos, from reo - flow) - the perceived form of the occurrence of any processes over time. The variety of manifestations of R. in various types. types and styles of art (not only temporal, but also spatial), as well as outside the arts. spheres (r. speech, walking, labor processes, etc.) gave rise to many often contradictory definitions of r. (which deprives this word of terminological clarity). Among them, three vaguely demarcated groups can be identified.
In the broadest sense, R. is the temporal structure of any perceived processes, one of the three (along with melody and harmony) basic principles. elements of music, distributing in relation to time (in the words of P. I. Tchaikovsky) melodic. and harmonious combinations. R. form accents, pauses, division into segments (rhythmic units of different levels down to individual sounds), their grouping, relationships in duration, etc.; in a narrower sense, a sequence of durations of sounds, abstracted from their pitch (rhythmic pattern, as opposed to melodic).
This descriptive approach is opposed to the understanding of rhythm as a special quality that distinguishes rhythmic movements from non-rhythmic ones. This quality is given diametrically opposed definitions. Mn. Researchers understand R. as a natural alternation or repetition and proportionality based on them. From this point of view, R. in its pure form is the repeated oscillations of a pendulum or the beats of a metronome. Aesthetic the significance of R. is explained by its ordering effect and “economy of attention,” facilitating perception and promoting the automation of muscular work, for example. when walking. In music, this understanding of rhythm leads to its identification with a uniform tempo or with a beat - music. meter.
But in music (as in poetry), where the role of rhythm is especially great, it is often contrasted with meter and is associated not with correct repetition, but with a difficult to explain “sense of life,” energy, etc. (“Rhythm is the main force ", the main energy of poetry. It cannot be explained" - V. V. Mayakovsky). The essence of R., according to E. Kurt, is “the striving forward, the movement and persistent strength inherent in it.” In contrast to the definitions of R., based on commensurability (rationality) and stable repetition (statics), emotional and dynamic are emphasized here. the nature of R., edges can manifest itself without meter and be absent in metrically correct forms.
In favor of dynamic understanding of R. says the very origin of this word from the verb “to flow,” which Heraclitus expressed his main idea. position: “everything flows.” Heraclitus can rightfully be called the “philosopher of world peace.” and contrast the “philosopher of world harmony” with Pythagoras. Both philosophers express their worldview using the concepts of two main principles. antique parts theory of music, but Pythagoras turns to the doctrine of stable relationships of sound pitches, and Heraclitus - to the theory of the formation of music in time, his philosophy and antiquity. rhythms can mutually explain each other. Basic The difference between R. and timeless structures is uniqueness: “you cannot enter the same flow twice.” At the same time, in the “world R.” Heraclitus alternates between “the way up” and “the way down”, the names of which - “ano” and “kato” - coincide with the terms of the ancient. rhythmics, denoting 2 parts of rhythmic. units (more often called “arsis” and “thesis”), the relationships of which in duration form the R. or “logos” of this unit (for Heraclitus, the “world R.” is also equivalent to the “world Logos”). Thus, the philosophy of Heraclitus points the way to the synthesis of dynamic. understanding of R. with the rational, generally predominant in antiquity.
Emotional (dynamic) and rational (static) points of view do not actually exclude, but complement each other. “Rhythmic” is usually recognized as those movements that cause a kind of resonance, empathy for the movement, expressed in the desire to reproduce it (the experience of rhythm is directly related to muscle sensations, and from external sensations - with sounds, the perception of which is often accompanied by internal sensations). playback). For this, it is necessary, on the one hand, that the movement is not chaotic, has a certain perceptible structure, which can be repeated, and on the other hand, that the repetition is not mechanical. R. is experienced as a change in emotional tensions and resolutions, which disappear with precise pendulum-like repetitions. In R., therefore, static are combined. and dynamic signs, but since the criterion of rhythm remains emotional and, therefore, in the meaning. To the extent subjective, the boundaries separating rhythmic movements from chaotic and mechanical ones cannot be strictly established, which makes it legal and descriptive. the approach underlying the plural. specific studies of both speech (in poetry and prose) and music. R.
The alternation of tensions and resolutions (ascending and descending phases) gives rhythm. periodic structures character, which should be understood not only as a repetition of the definition. sequence of phases (compare the concept of period in acoustics, etc.), but also as its “roundness,” which gives rise to repetition, and completeness, which allows one to perceive rhythm without repetition. This second sign is of greater importance, the higher the rhythmic level. units. In music (as well as in artistic speech) the period is called. a construction expressing a complete thought. The period may be repeated (in verse form) or be part of a larger form; at the same time, it represents the smallest formation that can be independent. work.
Rhythmic. the impression can be created by the composition as a whole due to the change of tension (ascending phase, arsis, beginning) with resolution (descending phase, thesis, denouement) and division by caesuras or pauses into parts (with their own arses and theses). In contrast to compositional ones, smaller, directly perceived divisions are usually called rhythmic. It is hardly possible to establish the limits of what is directly perceived, but in music we can attribute phrasing and articulation units within music to R. periods and sentences, determined not only by semantic (syntactic), but also physiological. conditions and comparable in magnitude with such physiological. periodicities, such as breathing and pulse, which are prototypes of two types of rhythmic. structures. Compared to the pulse, breathing is less automated, further from mechanical. repetition and closer to the emotional origins of R., its periods have a clearly perceived structure and are clearly demarcated, but their magnitude, normally corresponding to approx. 4 pulse beats, easily deviates from this norm. Breathing is the basis of speech and music. phrasing, determining the size of the main. phrasing unit - column (in music it is often called “phrase”, and also, for example, A. Reich, M. Lussi, A.F. Lvov, “rhythm”), creating pauses and naturals. melodic form cadence (literally “fall” - the descending phase of a rhythmic unit), caused by a lowering of the voice towards the end of exhalation. In the alternation of melodic. increases and decreases - the essence of "free, asymmetrical R." (Lvov) without constant value rhythmic. units characteristic of plural folklore forms (starting with primitive and ending with Russian lingering song), Gregorian chant, znamenny chant, etc. This melodic, or intonation, R. (for which the linear, not the modal side of the melody is important) becomes uniform thanks to the addition of pulsating periodicity, which is especially evident in songs associated with body movements (dance, games, labor). Recurrence prevails in it over the formalization and delimitation of periods, the end of a period is an impulse that begins a new period, a blow, in comparison with the Crimea, the remaining moments as non-stress are secondary and can be replaced by a pause. Pulsation periodicity is characteristic of walking and automated labor movements; in speech and music, it determines the tempo - the size of the intervals between stresses. Division by pulsation of primary rhythmic and intonation. units of the respiratory type into equal shares, generated by the strengthening of the motor principle, in turn, enhances motor reactions during perception and thereby rhythmic. experience. Thus, already in the early stages of folklore, songs of a drawn-out type are opposed to “quick” songs, which produce a more rhythmic tone. impression. Hence, already in antiquity, the opposition between rhythm and melody (the “male” and “female” principles) arose, and dance was recognized as the pure expression of rhythm (Aristotle, Poetics, 1), and in music it was associated with percussion and plucked instruments. In modern times, rhythmic. character is also attributed to the preem. marching and dance. music, and the concept of R. is more often associated with the pulse than with breathing. However, one-sided emphasizing pulsation periodicity leads to mechanical repetition and replacement of the alternation of tensions and resolutions with uniform strokes (hence the centuries-old misunderstanding of the terms “arsis” and “thesis”, denoting the main rhythmic moments, and attempts to identify one or the other with stress). A series of blows is perceived as R. only due to the differences between them and their grouping; the simplest form of the cut is combining into pairs, which in turn are grouped in pairs, etc., which creates the widespread “square” R.
The subjective assessment of time is based on pulsation (reaching the greatest accuracy in relation to values ​​close to the time intervals of the normal pulse, 0.5-1 sec) and, therefore, a quantitative (time-measuring) rhythm, built on the ratios of durations, which received the classic. expression in antiquity. However, the decisive role in it is played by physiological factors that are not characteristic of muscular work. trends, but aesthetic. requirements, proportionality here are not a stereotype, but an art form. canon. The importance of dance for quantitative rhythmics is determined not so much by its motor nature as by its plastic nature, addressed to vision, which for rhythmics. perception due to psychophysiological reasons requires intermittent movement, changing scenes that last a certain time. This is exactly what antiquity was like. dance, which R. (according to Aristide Quintilian) consisted of changing dances. poses ("schemes") separated by "signs" or "dots" (Greek "semeion" has both meanings). Beats in quantitative rhythm are not impulses, but boundaries of segments comparable in size into which time is divided. The perception of time here comes closer to the spatial, and the concept of rhythm - to symmetry (the idea of ​​rhythm as proportionality and harmony is based on ancient rhythm). The equality of temporary quantities becomes a special case of their proportionality, along with which there are other “kinds of R.” (ratios of 2 parts of a rhythmic unit - arsis and thesis) - 1:2, 2:3, etc. Submission to formulas that predetermine the ratios of durations, which distinguishes dance from other bodily movements, is transferred to musical and verse genres, directly with dance not related (for example, to epic). Due to the differences in syllables in length, a poetic text can serve as a “measure” of R. (meter), but only as a sequence of long and short syllables; the actual R. ("flow") of the verse, its division into arsises and theses and the accentuation determined by them (not related to verbal stresses) belong to music-dance. side of the syncretic lawsuit. Inequality of rhythmic phases (in a foot, verse, stanza, etc.) is more common than equality; repetition and squareness give way to very complex structures reminiscent of architectural proportions.
Characteristic of syncretic, but already folklore eras, and prof. Quantitative R. art exists, in addition to ancient music, in a number of eastern music. countries (Indian, Arab, etc.), in the Middle Ages. mensural music, as well as in folklore. peoples, in which one can assume the influence of prof. and personal creativity (bards, ashugs, troubadours, etc.). Dance the music of modern times owes to this folklore a number of quantitative formulas, consisting of various. durations in a certain order, repetition (or variation within certain limits) of which characterizes this or that dance. But for the rhythmic rhythm that dominates in modern times, dances such as the waltz, where there is no division into departments, are more typical. “poses” and corresponding time periods of a certain duration.
Time rhythm, in the 17th century. completely replacing the mensural one, it belongs to the third (after intonation and quantitative) type of R. - accented, characteristic of the stage when poetry and music separated from each other (and from dance) and each developed its own rhythm. Common to poetry and music. R. is that they are both built not on the measurement of time, but on accent relationships. Specifically music. the bar meter, formed by the alternation of strong (heavy) and weak (light) stresses, differs from all verse meters (both syncretic musical-speech and purely speech) by continuity (the absence of division into verses, metrical phrasing); the beat is like a continuous accompaniment. Like verse meters in accent systems (syllabic, syllabic-tonic and tonic), the bar meter is poorer and more monotonous than the quantitative one and provides much more opportunities for rhythmicity. diversity created by changing themes. and syntactic. structure. In accented rhythm, it is not regularity (subordination to meter) that comes to the fore, but the dynamic and emotional sides of rhythm; its freedom and diversity are valued above correctness. Unlike meter, R. itself usually refers to those components of the temporal structure that are not regulated by metric. scheme. In music, this is the grouping of bars (see Beethoven’s instructions “R. of 3 bars”, “R. of 4 bars”; “rythme ternaire” in “The Sorcerer’s Apprentice” by Duke, etc.), phrasing (since musical meter is not prescribes divisions into lines, music in this respect is closer to prosaic than to poetic speech), filling out the beats decl. note durations - rhythmic. drawing, to which it is silent. and Russian textbooks of elementary theory (under the influence of H. Riemann and G. Konyus) reduce the concept of rhythm. Therefore, rhythm and meter are sometimes opposed as a set of durations and accentuation, although it is clear that the same sequences of durations with different. arrangement of accents cannot be considered rhythmically identical. R. meter can be contrasted only as a realistically perceived structure with a prescribed scheme, therefore real accentuation, both coinciding with the beat and contradicting it, refers to R. The ratios of durations in accentual rhythms lose their independence. meaning and become one of the means of accentuation - longer sounds stand out compared to short ones. The normal position of larger durations is on the strong beats of the bar; violation of this rule creates the impression of syncopation (which is not characteristic of quantitative rhythm and the dances derived from it. formulas like mazurka). In this case, the musical notations of the quantities that form the rhythmic. drawing, indicate not real durations, but divisions of the bar, which in music. performance are stretched and compressed within the widest limits. The possibility of agogy is due to the fact that real time relationships serve only as one of the means of expressing rhythmicity. drawing, which can be perceived even if the actual durations do not coincide with those indicated in the notes. A metronomically even tempo in a rhythmic rhythm is not only not required, but rather avoided; approaching it usually indicates motor tendencies (march, dance), which are most strongly manifested in classical music. style; for the romantic style, on the contrary, is characterized by extreme freedom of tempo.
Motority is also manifested in square constructions, the “correctness” of which gave Riemann and his followers a reason to see muses in them. meter, which determines, like verse meter, the division of a period into motives and phrases. However, the correctness that arises due to psychophysiological trends, not adherence to definitions. rules, cannot be called a meter. There are no rules for dividing into phrases in a rhythmic rhythm, and therefore it (regardless of the presence or absence of squareness) does not apply to metrics. Riemann's terminology is not generally accepted even within him. musicology (for example, F. Weingartner, analyzing Beethoven's symphonies, calls rhythmic structure what the Riemann school defines as metric structure) and is not accepted in Great Britain and France. E. Prout calls R. “the order according to which cadences are placed in a musical work” (“Musical Form”, M., 1900, p. 41). M. Lussi contrasts metric (bar) accents with rhythmic - phrasal ones, and in an elementary phrasing unit ("rhythm", in Lussi's terminology; by "phrase" he calls a complete thought, period) there are usually two of them. It is important that rhythmic. units, unlike metric ones, are not formed by subordination to one chapter. stress, but by conjugating accents that are equal but different in function (the meter indicates their normal, although not obligatory, position; therefore, the most typical phrase is two-beat). These functions can be identified with the main. moments inherent in every R. - arsis and thesis.
Music R., like verse, is formed by the interaction of semantic (thematic, syntactic) structure and meter, which plays a auxiliary role in clock rhythm, as in accented verse systems.
The dynamizing, articulating, and not dismembering function of the bar meter, which regulates (unlike verse meters) only accentuation, and not punctuation (caesuras), is reflected in the conflicts between rhythmic (real) and metrical. accentuation, between semantic caesuras and continuous alternation of heavy and light metrical. moments.
In the history of clock rhythm 17 - beginning. 20th centuries three main ones can be distinguished. era. Completed by the work of J. S. Bach and G. f. Handel's Baroque era sets the foundation. principles of new rhythms associated with homophonic-harmonic. thinking. The beginning of the era is marked by the invention of the general bass, or continuous bass (basso continuo), which implements a sequence of harmonies not connected by caesuras, the changes of which normally correspond to the metric. accentuation, but may also deviate from it. Melodics, in which “kinetic energy” prevails over “rhythmic” (E. Kurt) or “R. theme” over “time R.” (A. Schweitzer), is characterized by freedom of accentuation (in relation to the beat) and tempo, especially in recitative. Tempo freedom is expressed in emotional deviations from a strict tempo (C. Monteverdi contrasts tempo del "-affetto del animo with mechanical tempo de la mano), and finally slowdowns, about which G. Frescobaldi already writes, in tempo rubato ("concealed tempo "), understood as shifts of the melody relative to the accompaniment. Strict tempo becomes rather an exception, as evidenced by such indications as mesurе by F. Couperin. The violation of the exact correspondence between musical notations and real durations is expressed in the overall understanding of the prolonging point: depending on the context

Can mean

Etc., a

Continuity of music. fabric is created (along with basso continuo) polyphonic. means - the discrepancy of cadences in different voices (for example, the continuing movement of accompanying voices at the end of stanzas in Bach's chorale arrangements), the dissolution of individualized rhythmic. drawing in uniform motion (general forms of motion), in one-headed. line or in complementary rhythm, filling the stops of one voice with the movement of other voices

Etc.), the concatenation of motives, see, for example, the combination of the counter-addition cadence with the beginning of the theme in Bach’s 15th Invention:

The era of classicism brings rhythm to the fore. energy, which is expressed in bright accents, in greater evenness of tempo and in an increase in the role of meter, which, however, only emphasizes the dynamic. the essence of tact, which distinguishes it from quantitative meters. The duality of the beat-impulse is also manifested in the fact that a strong beat time is the normal point of completion of the music. semantic unities and at the same time the entry of a new harmony, texture, etc., which makes it the initial moment of bars, bar groups and formations. The dismemberment of the melody (of a dance-song nature) is overcome by the accompaniment, which creates “double connections” and “invading cadences.” Contrary to the structure of phrases and motives, the beat often determines changes in tempo, dynamics (sudden f and p on the bar line), and articulatory grouping (in particular, leagues). Characteristic are sf, emphasizing metric. pulsation, edges in similar passages by Bach, for example, in the fantasy from the cycle “Chromatic Fantasy and Fugue”) is completely obscured

A clearly identified clock meter can dispense with general forms of movement; classic The style is characterized by diversity and rich rhythmic development. drawing, always correlated, however, with metric. supports. The number of sounds between them does not exceed the limits of easily perceived (usually 4), rhythmic changes. divisions (triplets, quintuplets, etc.) strengthen the strongholds. Activation of metric supports are also created by syncopation, even if these supports are absent in the real sound, as at the beginning of one of the sections of the finale of Beethoven's 9th symphony, where there is also no rhythm. inertia, but the perception of music requires internal counting imaginary metric. accents:

Although emphasizing the beat is often associated with an even tempo, it is necessary to distinguish between these two classical tendencies. rhythms. W. A. ​​Mozart strives for metric equality. beats (bringing its rhythm closer to the quantitative) was most clearly manifested in the minuet from Don Juan, where at the same time. the combination of different sizes excludes agogic. highlighting strong times. Beethoven has emphasized metrical. accentuation gives more space to agogics, and gradation is metric. stress often extends beyond the bar, forming regular alternations of strong and weak bars; In connection with this, in Beethoven the role of square rhythms, as if “beats of a higher order”, increases, in which syncopation is possible. accents on weak bars, but, unlike real bars, the regularity of the alternation can be disrupted, allowing expansion and contraction.
In the era of romanticism (in the broad sense), the features that distinguish accentual rhythms from quantitative ones (including the secondary role of temporal relations and meter) are revealed most fully. Int. the division of beats reaches such small values ​​that not only the duration of the division. sounds, but their number is not directly perceived (which makes it possible to create in music images of the continuous movement of wind, water, etc.). Changes in intralobar division do not emphasize, but soften the metric. beats: combinations of doubles and triplets (

) are perceived almost as quintuplets. Syncopation often plays the same softening role among romantics; Very characteristic are syncopations formed by the lag of the melody (written rubato in the old sense), as in Ch. parts of Chopin's Fantasia. In romantic "large" triplets, quintuplets and other cases of special rhythmic appear in music. divisions corresponding to not one, but several. metric shares Erasing metric boundaries are graphically expressed in strings that freely cross the bar line. In conflicts between motive and beat, motivic accents usually dominate over metric ones (this is very typical for the “talking melody” of I. Brahms). More often than in the classic. style, the beat is reduced to an imaginary pulsation, which is usually less active than in Beethoven (see the beginning of the Faust symphony by Liszt). Weakening the pulsation expands the possibilities of violations of its uniformity; romantic The performance is characterized by maximum tempo freedom; a beat in duration can exceed the sum of the two beats immediately following it. Such discrepancies between actual durations and musical notations are marked in Scriabin's own performance. prod. where the notes do not indicate changes in tempo. Since, according to contemporaries, A. N. Scriabin’s playing was distinguished by “rhythmic clarity,” the accentual nature of rhythmic play is fully revealed here. drawing. Music notation does not indicate duration, but “weightiness,” which, along with duration, can be expressed by other means. Hence the possibility of paradoxical writings (especially frequent in Chopin), when in the fp. in presentation, one sound is indicated by two different notes; for example, when the 1st and 3rd notes of triplets of one voice contain the sounds of another voice, along with the “correct” spelling

Possible spellings

Dr. The type of paradoxical spelling is that with a changing rhythm. division of the composer in order to maintain the same level of weight, contrary to the rules of the muses. spelling, does not change note values ​​(R. Strauss, S. V. Rachmaninov):

R. Strauss. "Don Juan".
The decline in the role of the meter up to the abandonment of the beat in the instrument. recitatives, cadences, etc. is associated with the increasing importance of musical-semantic structure and with the subordination of R. to other elements of music, characteristic of modern music, especially romantic music. language.
Along with the most striking manifestations of specific. Features of accent rhythm in 19th century music. one can find an interest in earlier types of rhythm, associated with an appeal to folklore (the use of folk song intonation rhythms, characteristic of Russian music, quantitative formulas preserved in the folklore of Spanish, Hungarian, West Slavic, and a number of Eastern peoples) and foreshadowing the renewal of rhythm in 20th century
M. G. Kharlap.
If in the 18-19 centuries. in prof. European music orientation R. occupied a subordinate position, then in the 20th century. in a row means. styles, it has become a defining, paramount element. In the 20th century rhythm as an element of the whole began to resonate in importance with such rhythmic. phenomena in European history. music, like the Middle Ages. modes, isorhythmia 14-15 centuries. In the music of the era of classicism and romanticism, only one rhythm structure is comparable in its active constructive role to the rhythm formations of the 20th century. - “normal 8-cycle period”, logically substantiated by Riemann. However, music 20th century rhythm differs significantly from rhythmic. phenomena of the past: it is specific as a music itself. phenomenon without being dependent on dance music. or poetic-musical. R.; he means. least based on the principle of irregularity and asymmetry. New function of R. in music of the 20th century. was revealed in its formative role, in the appearance of rhythmic. thematic, rhythmic polyphony. In terms of structural complexity, it began to approach harmony and melody. The complication of R. and the increase in its weight as an element gave rise to a number of compositional systems, including stylistically individual ones, partially recorded by the authors in theoretical studies. works.
Music presenter R. 20th century the principle of irregularity manifested itself in the normative variability of time signatures, mixed time signatures, contradictions between the motive and the beat, and the variety of rhythmic patterns. drawings, non-squareness, polyrhythms with rhythmic division. units for any number of small beats, polymetry, polychronicity of motifs and phrases. The initiator of the introduction of irregular rhythm as a system was I. F. Stravinsky, sharpening tendencies of this kind that came from M. P. Mussorgsky, N. A. Rimsky-Korsakov, as well as from Russian. folklore verse and Russian speech itself. Leading in the 20th century. R.'s interpretation is stylistically opposed to the work of S. S. Prokofiev, which consolidated the elements of regularity (invariance of tact, squareness, multifaceted regularity, etc.) characteristic of the styles of the 18th and 19th centuries. Regularity as ostinatism, multifaceted regularity is cultivated by K. Orff, who does not come from the classical. prof. traditions, but from the idea of ​​​​recreating archaic. declamatory dance scenic valid
Stravinsky's system of asymmetrical rhythm (theoretically it was not disclosed by the author) is based on the techniques of temporal and accentual variation and on the motivic polymetry of two or three layers.
O. Messiaen's rhythmic system of a clearly irregular type (declared by him in the book: "Technique of My Musical Language") is based on the fundamental variability of beats and aporiodic formulas of mixed measures.
In A. Schoenberg and A. Berg, as well as in D. D. Shostakovich, rhythmic. irregularity was expressed in the principle of “musical prose”, in the techniques of non-squareness, time variability, “remetering”, polyrhythm (Novovenskaya school). For A. Webern, polychronicity of motives and phrases, mutual neutralization of tact and rhythmicity became characteristic. drawing in relation to emphasis, in later productions. - rhythmic canons.
In a number of the latest styles, the 2nd floor. 20th century among the rhythmic forms. organizations took a prominent place rhythmic. series, usually combined with series of other parameters, primarily pitch (in L. Nono, P. Boulez, K. Stockhausen, A. G. Schnittke, E. V. Denisov, A. A. Pärt, etc.). Deviation from the clock system and free variation of rhythmic divisions. units (by 2, 3, 4, 5, 6, 7, etc.) led to two opposite types of R. notation: notation in seconds and notation without fixed durations. Due to the texture of super-polyphony and aleatoric. in writing (for example, in D. Ligeti, V. Lutoslawski) a static R., devoid of accent pulsation and definite tempo. Rhythmic. features of the latest styles prof. music is fundamentally different from rhythmic. properties of mass songs, household and popular songs. music of the 20th century, where, on the contrary, rhythmic regularity and emphasis, the clock system retains all its significance.
V. N. Kholopova. Literature : Serov A.N., Rhythm as a controversial word, "SPB Vedomosti", 1856, June 15, the same in his book: Critical articles, vol. 1, St. Petersburg, 1892, p. 632-39; Lvov A.F., On free or asymmetrical rhythm, St. Petersburg, 1858; Westphal R., Art and Rhythm. Greeks and Wagner, "Russian Bulletin", 1880, No. 5; Bulich S., New theory of musical rhythm, Warsaw, 1884; Melgunov Yu. N., On the rhythmic performance of Bach's fugues, in the musical edition: Ten fugues for piano by J. S. Bach in the rhythmic edition of R. Westphal, M., 1885; Sokalsky P. P., Russian folk music, Great Russian and Little Russian, in its melodic and rhythmic structure and its differences from the foundations of modern harmonic music, Khar., 1888; Proceedings of the Musical-Ethnographic Commission..., vol. 3, no. 1 - Materials on musical rhythm, M., 1907; Sabaneev L., Rhythm, in: Melos, book. 1, St. Petersburg, 1917; his, Music of Speech. Aesthetic research, M., 1923; Teplov B. M., Psychology of musical abilities, M.-L., 1947; Garbuzov N. A., Zone nature of tempo and rhythm, M., 1950; Mostras K. G., Rhythmic discipline of the violinist, M.-L., 1951; Mazel L., The structure of musical works, M., 1960, ch. 3 - Rhythm and meter; Nazaikinsky E.V., About musical tempo, M., 1965; his, On the psychology of musical perception, M., 1972, essay 3 - Natural prerequisites for musical rhythm; Mazel L. A., Tsukkerman V. A., Analysis of musical works. Elements of music and methods of analysis of small forms, M., 1967, ch. 3 - Meter and rhythm; Kholopova V., Questions of rhythm in the works of composers of the first half of the 20th century, M., 1971; her, On the nature of non-squareness, in the collection: On music. Problems of analysis, M., 1974; Kharlap M. G., Beethoven’s Rhythm, in the book: Beethoven, collection: article, issue. 1, M., 1971; his, The Russian folk musical system and the problem of the origin of music, in the collection: Early forms of art, M., 1972; Kon Yu., Notes on rhythm in the “Great Sacred Dance” from Stravinsky’s “The Rite of Spring,” in the collection: Theoretical problems of musical forms and genres, M., 1971; Elatov V.I., Following the same rhythm, Minsk, 1974; Rhythm, space and time in literature and art, collection: Art., Leningrad, 1974; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1853, 1873; Westphal R., Allgemeine Theorie der musikalischen Rhythmik seit J. S. Bach, Lpz., 1880; Lussy M., Le rythme musical. Son origine, sa fonction et son accentuation, P., 1883; Bücher K., Arbeit und Rhythmus, Lpz., 1897, 1924 (Russian translation - Bücher K., Work and Rhythm, M., 1923); Riemann H., System der musikalischen Rhythmik und Metrik, Lpz. , 1903; Jaques-Dalсroze E., La rythmique, pt. 1-2, Lausanne, 1907, 1916 (Russian translation Jacques-Dalcroze E., Rhythm. Its educational significance for life and art, translation N. Gnessina, P., 1907, M., 1922); Wiemauer Th., Musikalische Rhythmik und Metrik, Magdeburg, (1917); Forel O. L., Le Rythme. Etude psychologique, "Journal für Psychologie und Neurologie", 1921, Bd 26, H. 1-2; Dumesnil R., Le rythme musical, P., 1921, 1949; Tetzel E., Rhythmus und Vortrag, V., 1926; Stoin V., Bulgarian folk music. Metrics and rhythmics, Sofia, 1927; Vorträge und Verhandlungen zum Problemkreise Rhythmus..., "Zeitschrift für Dsthetik und allgemeine Kunstwissenschaft", 1927, Bd 21, H. 3; Klages L., Vom Wesen des Rhythmus, Z.-Lpz., 1944; Messiaen O., Technique de mon langage musical, P., 1944; Sachs C., Rhythm and Tempo. A study in music history, L.-N. Y., 1953; Willems E., Le rythme musical. Etude psychologique, P., 1954; Elston A., Some rhythmic practices in contemporary music, "MQ", 1956, v. 42, No. 3; Dahlhaus S., Zur Entstehung des modernen Taktsystems im 17. Jahrhundert, "AfMw", 1961, Jahrg. 18, No. 3-4; his, Probleme des Rhythmus in der neuen Musik, in the book: Terminologie der neuen Musik, Bd 5, V., 1965; Lissa Z., Integracja rytmiczna w "Suicie scytyjskiej" S. Prokofiewa, in the book: About tуrczosci Sergiusza Prokofiewa. Studia i materialy, Kr., 1962; Stockhausen K., Texte..., Bd 1-2, Ktln, 1963-64; Smither H. E., The rhythmic analysis of 20th century music, "The Journal of Music Theory", 1964, v. 8, No. 1; Stroh W. M., Alban Berg's "Constructive Rhythm", "Perspectives of New Music", 1968, v. 7, No. 1; Giuleanu V., Ritmul muzical, (v. 1-2), Buc., 1968-69; Krastewa I., La langage rythmique d "Olivier Messiaen et la métrique ancienne grecque", "SMz", 1972, No. 2; Somfai L., Rhythmic continuity and articulation in Weberns instrumental works, in the book: Webern-Kongress, Beitrdge 1972/73, Kassel-Basel (u.a.), (1973).

Musical encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .