255:
249:
76:
219:
179:
199:
212:
192:
172:
66:
95:; one that is too slow would be perceived as unconnected sounds. When the period of any continuous beat is faster than 8–10 per second or slower than 1 per 1.5–2 seconds, it cannot be perceived as such. "Musical" pulses are generally specified in the range 40–240 beats per minute. The pulse is not necessarily the fastest or the slowest component of the rhythm but the one that is perceived as basic. This is currently most often designated as a crotchet (
150:
55:
46:. By contrast, rhythm is always audible and can depart from the pulse. So while the rhythm may become too difficult for an untrained listener to fully match, nearly any listener instinctively matches the pulse by simply tapping uniformly, despite rhythmic variations in timing of sounds alongside the pulse.
110:
A pulse is one of a series of regularly recurring, precisely equivalent stimuli. Like the tick of a metronome or a watch, pulses mark off equal units in the temporal continuum.... A sense of regular pulses, once established, tends to be continued in the mind and musculature of the listener, even
256:
122:
is the measurement of the number of pulses between more or less regularly recurring accents. So for meter to exist, some of the pulses in a series must be accented—marked for consciousness—relative to others. When pulses are thus counted within a metric context, they are referred to as
240:
such as strong–weak and strong–weak–weak and any longer group may be broken into such groups of two and three. In fact there is a natural tendency to perceptually group or differentiate an ideal pulse in this way. A repetitive, regularly accented pulse-group is called a
77:
220:
180:
200:
115:
an important part of musical experience. Not only is pulse necessary for the existence of meter , but it generally, though not always, underlies and reinforces rhythmic experience.
279:
An isochronal or equally spaced pulse on one level that uses varied pulse groups (rather than just one pulse group the whole piece) create a pulse on the (slower)
136:
283:
that is non-isochronal (a stream of 2+3... at eighth-note level would create a pulse of a quarter note+dotted quarter note as its multiple level).
461:
365:
485:
430:
409:
401:
111:
though the sound has stopped.... The human mind tends to impose some sort of organization upon such equal pulses. ...
636:
454:
376:
248:
211:
191:
171:
687:
447:
312:
576:
20:
361:
in "A Handbook of
Experimental Psychology", ed. S.S. Stevens, Wiley, NY 1951, both quoted at
268:
Pulses can occur at multiple metric levels – see figure. Pulse groups may be distinguished as
8:
591:
586:
556:
426:
405:
397:
73:, rock drum kit. Despite the presence of eighth notes, there is a quarter note beat.
596:
532:
515:
362:
322:
292:
132:
91:
The tempo is the speed of the pulse. If a pulse becomes too fast it would become a
65:
61:: beat level shown in middle with division levels above and multiple levels below.
616:
561:
380:
369:
269:
106:
Pulse is related to and distinguished from rhythm (grouping), beats, and meter:
661:
551:
317:
302:
280:
273:
233:
100:
681:
626:
545:
505:
474:
242:
119:
92:
646:
500:
307:
297:
272:, if all pulses on slower levels coincide with those on faster levels, and
96:
58:
35:
27:
641:
495:
656:
606:
601:
571:
537:
527:
631:
611:
581:
520:
490:
425:. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.
70:
510:
439:
566:
373:
149:
54:
666:
470:
43:
651:
39:
232:
While ideal pulses are identical, when pulses are variously
421:
Winold, Allen (1975). "Rhythm in
Twentieth-Century Music",
252:
Varied pulse groups equals non-isochronal multiple level
392:
Cooper, Grosvenor and Meyer, Leonard B. Meyer (1960).
341:
Fitch, W. Tecumseh and
Rosenfeld, Andrew J. (2007).
679:
363:http://www.zeuxilogy.home.ro/media/manifesto.pdf
455:
349:
347:
462:
448:
216:=30 the pulse becomes disconnected sounds
344:
38:—either audible or implied—that sets the
247:
148:
64:
53:
680:
415:
396:, p.3-4. University of Chicago Press.
443:
469:
236:, this produces two- or three-pulse
13:
423:Aspects of Twentieth-Century Music
14:
699:
210:
190:
170:
34:is a series of uniformly spaced
394:The Rhythmic Structure of Music
357:, Erasme Paris 1956, H Woodrow
196:=600 the pulse becomes a drone
144:
42:and is the scaffolding for the
386:
335:
49:
1:
153:Clear quarter note pulse in
7:
286:
10:
704:
355:Les Structures Rhythmiques
328:
18:
481:
313:Duple and quadruple metre
592:Non-retrogradable rhythm
16:Series of musical beats
265:
229:
142:
85:
62:
21:Pulse (disambiguation)
486:Additive and divisive
251:
152:
108:
68:
57:
612:Prolation and tempus
99:) when written (see
19:For other uses, see
379:2012-03-06 at the
368:2011-07-22 at the
266:
230:
86:
63:
675:
674:
587:Metric modulation
374:zeuxilogy.home.ro
69:Simple quadruple
695:
688:Rhythm and meter
464:
457:
450:
441:
440:
434:
419:
413:
390:
384:
351:
342:
339:
323:Counting (music)
293:Composite rhythm
263:
262:
261:
259:
227:
226:
225:
223:
215:
214:
207:
206:
205:
203:
195:
194:
187:
186:
185:
183:
175:
174:
167:
166:
165:
164:
140:
133:Leonard B. Meyer
84:
83:
82:
80:
703:
702:
698:
697:
696:
694:
693:
692:
678:
677:
676:
671:
562:Harmonic rhythm
477:
468:
438:
437:
420:
416:
391:
387:
381:Wayback Machine
370:Wayback Machine
359:Time Perception
352:
345:
340:
336:
331:
289:
257:
254:
253:
221:
218:
217:
209:
201:
198:
197:
189:
181:
178:
177:
169:
163:
158:
157:
156:
155:
154:
147:
141:
131:
116:
112:
88:
78:
75:
74:
52:
24:
17:
12:
11:
5:
701:
691:
690:
673:
672:
670:
669:
664:
662:Time signature
659:
654:
649:
644:
639:
634:
629:
624:
619:
614:
609:
604:
599:
597:Notes inégales
594:
589:
584:
579:
574:
569:
564:
559:
554:
549:
542:
541:
540:
530:
525:
524:
523:
513:
508:
503:
498:
493:
488:
482:
479:
478:
467:
466:
459:
452:
444:
436:
435:
414:
385:
343:
333:
332:
330:
327:
326:
325:
320:
318:Sextuple metre
315:
310:
305:
303:Metre (poetry)
300:
295:
288:
285:
281:multiple level
274:nonsynchronous
168:at a tempo of
159:
146:
143:
129:
101:time signature
51:
48:
15:
9:
6:
4:
3:
2:
700:
689:
686:
685:
683:
668:
665:
663:
660:
658:
655:
653:
650:
648:
645:
643:
640:
638:
635:
633:
630:
628:
627:Rhythmic mode
625:
623:
620:
618:
615:
613:
610:
608:
605:
603:
600:
598:
595:
593:
590:
588:
585:
583:
580:
578:
575:
573:
570:
568:
565:
563:
560:
558:
555:
553:
550:
548:
547:
543:
539:
536:
535:
534:
531:
529:
526:
522:
519:
518:
517:
514:
512:
509:
507:
506:Canter rhythm
504:
502:
499:
497:
494:
492:
489:
487:
484:
483:
480:
476:
472:
465:
460:
458:
453:
451:
446:
445:
442:
432:
431:0-13-049346-5
428:
424:
418:
411:
410:0-226-11522-4
407:
403:
402:0-226-11521-6
399:
395:
389:
382:
378:
375:
371:
367:
364:
360:
356:
350:
348:
338:
334:
324:
321:
319:
316:
314:
311:
309:
306:
304:
301:
299:
296:
294:
291:
290:
284:
282:
277:
275:
271:
260:
250:
246:
244:
239:
235:
224:
213:
204:
193:
184:
173:
162:
151:
138:
134:
128:
126:
121:
117:
113:
107:
104:
102:
98:
94:
89:
81:
72:
67:
60:
59:Metric levels
56:
47:
45:
41:
37:
33:
29:
22:
621:
544:
422:
417:
393:
388:
358:
354:
353:P. Fraisse,
337:
308:Triple metre
298:Metre (hymn)
278:
267:
238:pulse groups
237:
231:
160:
145:Pulse groups
124:
118:
114:
109:
105:
97:quarter note
90:
87:
71:drum pattern
31:
28:music theory
25:
642:Syncopation
270:synchronous
208:, while at
50:Definitions
657:Time point
607:Polyrhythm
602:Note value
572:Homorhythm
538:Note value
528:Cross-beat
276:, if not.
632:Stop-time
582:Isorhythm
557:Half-time
521:Count off
491:Anacrusis
682:Category
533:Duration
516:Counting
511:Colotomy
377:Archived
366:Archived
287:See also
234:accented
130:—
617:Prosody
567:Hemiola
329:Sources
667:Tuplet
552:Groove
471:Rhythm
429:
408:
400:
139:(1960)
137:Cooper
44:rhythm
30:, the
652:Tempo
637:Swing
622:Pulse
546:Gatra
475:meter
243:metre
188:. At
176:=120
125:beats
120:Meter
93:drone
40:tempo
36:beats
32:pulse
647:Tala
577:Iqa'
501:Beat
473:and
427:ISBN
406:ISBN
398:ISBN
258:Play
222:Play
202:Play
182:Play
135:and
79:Play
496:Bar
245:.
103:).
26:In
684::
346:^
463:e
456:t
449:v
433:.
412:.
404:/
383:)
372:(
264:.
228:.
161:4
127:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.png)
