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1660:(1927–2003) developed a simple series of spoken sounds for teaching the rhythms of the hand-drum, using six vocal sounds, "Goon, Doon, Go, Do, Pa, Ta", for three basic sounds on the drum, each played with either the left or the right hand. The debate about the appropriateness of staff notation for African music is a subject of particular interest to outsiders while African scholars from Kyagambiddwa to Kongo have, for the most part, accepted the conventions and limitations of staff notation, and produced transcriptions to inform and enable discussion and debate.
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results in a certain redundancy of the musical structure, making the recognition of the rhythmic pattern "robust" under tempo deviations. Generally speaking, the more redundant the "musical support" of a rhythmic pattern, the better its recognizability under augmentations and diminutions, that is, its distortions are perceived as tempo variations rather than rhythmic changes:
1312:= 19/119, a span of 5.5 times. Such tempo deviations are strictly prohibited, for example, in Bulgarian or Turkish music based on so-called additive rhythms with complex duration ratios, which can also be explained by the principle of correlativity of perception. If a rhythm is not structurally redundant, then even minor tempo deviations are not perceived as
1351:: Each cell of the grid corresponds to a fixed duration of time with a resolution fine enough to capture the timing of the pattern, which may be counted as two bars of four beats in divisive (metrical or symmetrical) rhythm, each beat divided into two cells. The first bar of the pattern may also usefully be counted additively (in measured or
1579:
1676:. Collective utterances such as proverbs or lineages appear either in phrases translated into "drum talk" or in the words of songs. People expect musicians to stimulate participation by reacting to people dancing. Appreciation of musicians is related to the effectiveness of their upholding community values.
1827:
Narmour describes three categories of prosodic rules that create rhythmic successions that are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive
1066:
The example considered suggests two alternative representations of the same rhythm: as it is, and as the rhythm-tempo interaction – a two-level representation in terms of a generative rhythmic pattern and a "tempo curve". Table 1 displays these possibilities both with and without pitch, assuming that
463:
clarified "Rhythms of recurrence" arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. "Once a metric hierarchy has been established, we, as listeners, will maintain that organization as long as minimal evidence
402:
As a piece of music unfolds, its rhythmic structure is perceived not as a series of discrete independent units strung together in a mechanical, additive, way like beads , but as an organic process in which smaller rhythmic motives, whole possessing a shape and structure of their own, also function as
254:) in rhythmically coordinated vocalizations and other activities. According to Jordania, development of the sense of rhythm was central for the achievement of the specific neurological state of the battle trance, crucial for the development of the effective defense system of early hominids. Rhythmic
118:
Rhythm may be defined as the way in which one or more unaccented beats are grouped in relation to an accented one. ... A rhythmic group can be apprehended only when its elements are distinguished from one another, rhythm...always involves an interrelationship between a single, accented (strong) beat
741:
Short: of the order of one second (1 Hz, 60 bpm, 10–100,000 audio cycles). Musical tempo is generally specified in the range 40 to 240 beats per minute. A continuous pulse cannot be perceived as a musical beat if it is faster than 8–10 per second (8–10 Hz, 480–600 bpm) or slower
313:
The establishment of a basic beat requires the perception of a regular sequence of distinct short-duration pulses and, as a subjective perception of loudness is relative to background noise levels, a pulse must decay to silence before the next occurs if it is to be really distinct. For this reason,
920:
One difficulty in defining rhythm is the dependence of its perception on tempo, and, conversely, the dependence of tempo perception on rhythm. Furthermore, the rhythm–tempo interaction is context dependent, as explained by
Andranik Tangian using an example of the leading rhythm of "Promenade" from
281:
and other animals show no similar appreciation of rhythm yet posits that human affinity for rhythm is fundamental, so that a person's sense of rhythm cannot be lost (e.g. by stroke). "There is not a single report of an animal being trained to tap, peck, or move in synchrony with an auditory beat",
1287:
Thus, the loop of interdependence of rhythm and tempo is overcome due to the simplicity criterion, which "optimally" distributes the complexity of perception between rhythm and tempo. In the above example, the repetition is recognized because of additional repetition of the melodic contour, which
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1071:
takes four bytes. As shown in the bottom row of the table, the rhythm without pitch requires fewer bytes if it is "perceived" as it is, without repetitions and tempo leaps. On the contrary, its melodic version requires fewer bytes if the rhythm is "perceived" as being repeated at a double tempo.
199:
presents theories that human rhythm recalls the regularity with which we walk and the heartbeat. Other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that since certain
1667:
created by the simultaneous sounding of two or more different rhythms, generally one dominant rhythm interacting with one or more independent competing rhythms. These often oppose or complement each other and the dominant rhythm. Moral values underpin a musical system based on repetition of
204:
as well as subsequent anticipation of a series of beats that we abstract from the rhythm surface of the music as it unfolds in time". The "perception" and "abstraction" of rhythmic measure is the foundation of human instinctive musical participation, as when we divide a series of identical
1567:
1577:
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that, in contrast to the rhythmic unit, does not occupy a period of time equivalent to a pulse or pulses on an underlying metric level. It may be described according to its beginning and ending or by the rhythmic units it contains. Rhythms that begin on a strong pulse are
290:
of Vienna to performing circus animals appear to 'dance' to music. It is not clear whether they are doing so or are responding to subtle visual or tactile cues from the humans around them." Human rhythmic arts are possibly to some extent rooted in courtship ritual.
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1565:
1506:
may be distinguished. Metrical or divisive rhythm, by far the most common in
Western music calculates each time value as a multiple or fraction of the beat. Normal accents re-occur regularly providing systematical grouping (measures). Measured rhythm
303:
1754:'s where he notes that regular rhythms cause sounds to be heard as a group rather than individually; the irregular rhythms highlight the rapidly changing pitch relationships that would otherwise be subsumed into irrelevant rhythmic groupings.
1292:
By taking into account melodic context, homogeneity of accompaniment, harmonic pulsation, and other cues, the range of admissible tempo deviations can be extended further, yet still not preventing musically normal perception. For example,
98:
marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a
304:
3637:, Vision Edition and CE Books. A fast-track collection of graded exercises from elementary to advanced level divided in four sections and including an additional chapter with rhythmic structures used in contemporary music.
301:
1482:
1511:) also calculates each time value as a multiple or fraction of a specified time unit but the accents do not recur regularly within the cycle. Free rhythm is where there is neither, such as in Christian
757:
Medium: ≥ few seconds, this median durational level "defines rhythm in music" as it allows the definition of a rhythmic unit, the arrangement of an entire sequence of accented, unaccented and silent or
200:
features of human music are widespread, it is "reasonable to suspect that beat-based rhythmic processing has ancient evolutionary roots". Justin London writes that musical metre "involves our initial
1484:
139:, the rhythmic delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as "timed movement through space" and a common language of
1578:
2952:, revised edition, combining the text of the ninth edition with an extensively revised and expanded supplement. Oxford and New York: Oxford University Press, 1996. Online, Perseus Project
1059:
This context-dependent perception of rhythm is explained by the principle of correlative perception, according to which data are perceived in the simplest way. From the viewpoint of
1446:
time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a "slow", so that a full "right–left" step is equal to one
650:. These contrasts naturally facilitate a dual hierarchy of rhythm and depend on repeating patterns of duration, accent and rest forming a "pulse-group" that corresponds to the
266:
of the soldiers and contemporary professional combat forces listening to the heavy rhythmic rock music all use the ability of rhythm to unite human individuals into a shared
1566:
314:
the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm. Musical cultures that rely upon such instruments may develop multi-layered
435:
perceived as points in time. The "beat" pulse is not necessarily the fastest or the slowest component of the rhythm but the one that is perceived as fundamental: it has a
867:) down to the threshold of audible perception; thousandths to millionths of seconds, are similarly comparable to Moravcsik's "short" and "supershort" levels of duration.
2841:. Tbilisi: Logos, International Research Center for Traditional Polyphony; Melbourne: University of Melbourne, Institute of Classical Philology, Bizantyne [
1824:
put roughly equal time lags between stressed syllables, with the timing of the unstressed syllables in between them being adjusted to accommodate the stress timing.
1483:
5256:
1816:. Languages can be categorized according to whether they are syllable-timed, mora-timed, or stress-timed. Speakers of syllable-timed languages such as Spanish and
1404:
of the music are projected. The terminology of western music is notoriously imprecise in this area. MacPherson preferred to speak of "time" and "rhythmic shape",
1427:
Dance music has instantly recognizable patterns of beats built upon a characteristic tempo and measure. The
Imperial Society of Teachers of Dancing defines the
789:
Long: ≥ many seconds or a minute, corresponding to a durational unit that "consists of musical phrases"—which may make up a melody, a formal section, a poetic
1400:
The metric structure of music includes meter, tempo and all other rhythmic aspects that produce temporal regularity against which the foreground details or
302:
823:
and subsample, which take account of digital and electronic rates "too brief to be properly recorded or perceived", measured in millionths of seconds (
4765:
1690:
Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them.
707:
is a durational pattern that has a period equivalent to a pulse or several pulses. The duration of any such unit is inversely related to its tempo.
2750:, produced by David Jeffcock. Television series, 4 episodes. Episode 2: "Rhythm" (Saturday 25 November, 6:20–7:20pm). Tiger Aspect Productions for
1067:
one duration requires one byte of information, one byte is needed for the pitch of one tone, and invoking the repeat algorithm with its parameters
407:
Most music, dance and oral poetry establishes and maintains an underlying "metric level", a basic unit of time that may be audible or implied, the
3331:
1393:, the number of syllables in each line and the arrangement of those syllables as long or short, accented or unaccented. Music inherited the term "
734:
second (30–10,000 Hz or more than 1,800 bpm). These, though rhythmic in nature, are not perceived as separate events but as continuous
662:
A rhythm that accents another beat and de-emphasises the downbeat as established or assumed from the melody or from a preceding rhythm is called
151:. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by
2837:
2719:. Studia Psychologica. Louvain: Publications Universitaires; Paris and Brussels: Édition Erasme; Antwerp and Amsterdam: Standaard Boekhandel.
1541:
is an
Italian musical term for "without meter", meaning to play without a beat, using time to measure how long it will take to play the bar.
3665:, 6th corrected reprint of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York: Oxford University Press.
3314:, 6th corrected reprint of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York: Oxford University Press.
3297:, 6th corrected reprint of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York: Oxford University Press.
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250:. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, but only humans have the ability to be engaged (
4162:
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891:
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and the supra musical, encompass natural periodicities of months, years, decades, centuries, and greater, while the last three, the
5151:
1727:
2807:
786:
that may characterise an entire genre of music, dance or poetry and that may be regarded as the fundamental formal unit of music.
3010:
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or infinitely brief, are again in the extra-musical domain. Roads' Macro level, encompassing "overall musical architecture or
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and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of
147:
often speak of the rhythm of a building, referring to patterns in the spacing of windows, columns, and other elements of the
3736:
5362:
835:" roughly corresponds to Moravcsik's "very long" division while his Meso level, the level of "divisions of form" including
710:
Musical sound may be analyzed on five different time scales, which
Moravscik has arranged in order of increasing duration.
630:
The alternation of the strong and weak beat is fundamental to the ancient language of poetry, dance and music. The common
5377:
5367:
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also wrote music in which the sense of a regular beat is absent because the music consists only of long sustained tones (
539:
214:
3546:
3410:
Proceedings of the Japan
Conference on Discrete and Computational Geometry, vol. 3742: Lecture Notes in Computer Science
1475:
Notation of three measures of a clave pattern preceded by one measure of steady quarter notes. This pattern is noted in
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takes a wider view by distinguishing nine-time scales, this time in order of decreasing duration. The first two, the
3374:
Tanguiane, Andranick (1994). "A principle of correlativity of perception and its application to music recognition".
4751:
4628:
4014:
2986:
2854:
Aural Skills
Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians
623:, or the long and short note. As well as perceiving rhythm humans must be able to anticipate it. This depends on
1320:
but rather given an impression of a change in rhythm, which implies an inadequate perception of musical meaning.
1305:
4155:
3951:
3769:
1820:
put roughly equal time on each syllable; in contrast, speakers of stressed-timed languages such as
English and
1549:
980:
This rhythm is perceived as it is rather than as the first three events repeated at a double tempo (denoted as
669:
Normally, even the most complex of meters may be broken down into a chain of duple and triple pulses either by
1636:
in 1976 as "the extreme rhythmic foreground of a composition – the absolute surface of articulated movement".
5565:
5114:
3046:
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as they tap their foot or dance to a piece of music. It is currently most often designated as a crotchet or
5570:
901:
670:
187:
Percussion instruments have clearly defined sounds that aid the creation and perception of complex rhythms.
3577:
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Finally some music, such as some graphically scored works since the 1950s and non-European music such as
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210:
1063:'s complexity theory, this means such a representation of the data that minimizes the amount of memory.
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4819:
2939:
746:, too slow a succession of sounds seems unconnected. This time frame roughly corresponds to the human
5560:
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1694:, an English pop singer of Indian descent, made performances based on her singing these patterns. In
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rhythms are open-ended and repetitive. Richard
Middleton points out this method cannot account for
1813:
1558:
282:
Sacks write, "No doubt many pet lovers will dispute this notion, and indeed many animals, from the
111:
in a rock music song); to several minutes or hours, or, at the most extreme, even over many years.
2820:
1515:, which has a basic pulse but a freer rhythm, like the rhythm of prose compared to that of verse.
298:
Compound triple drum pattern: divides three beats into three; contains repetition on three levels
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20:
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2800:
An ABC of Music: A Short
Practical Guide to the Basic Essentials of Rudiments, Harmony, and Form
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where group members put the interests of the group above their individual interests and safety.
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Melodyhound has a "Query by Tapping" search that allows users to identify music based on rhythm
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801:. Thus the temporal regularity of musical organisation includes the most elementary levels of
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3459:
2633:
African Rhythm and African Sensibility: Aesthetic and Social Action in African Musical Idioms
1805:
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2897:. The MIT Press Series on Cognitive Theory and Mental Representation. Cambridge: MIT Press.
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654:. Normally such pulse-groups are defined by taking the most accented beat as the first and
8:
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3611:
3359:. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin, Heidelberg: Springer.
3082:. Chicago and London: University of Chicago Press, 1977. Phoenix paperback edition 1980.
1352:
897:
808:
Very long: ≥ minutes or many hours, musical compositions or subdivisions of compositions.
699:, a measure of how quickly the beat flows. This is often measured in 'beats per minute' (
267:
4668:
3680:, (Cambridge Library Collection—Music), Cambridge University Press; first edition, 2009.
1663:
John Miller has argued that West African music is based on the tension between rhythms,
49:
Please expand the article to include this information. Further details may exist on the
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op. 32 no. 1 transcribed from a piano-roll recording contains tempo deviations within
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taking seconds or minutes, is likewise similar to Moravcsik's "long" category. Roads'
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than 1 per 1.5–2 seconds (0.6–0.5 Hz, 40–30 bpm). Too fast a beat becomes a
44:
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3699:. A collection of graded exercises in two volumes, from elementary to advanced level.
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2697:, and Andrew J. Rosenfeld (2007). "Perception and Production of Syncopated Rhythms".
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A Griot performs at Diffa, Niger, West Africa. The Griot is playing a Ngoni or Xalam.
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91:
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2689:". Self-published online (archive from 18 January 2018, accessed 26 September 2019).
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that may give rise to the "briefest intelligible and self-existent musical unit", a
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wrote music involving multiple simultaneous periodic rhythms and collaborated with
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of a composition is the rhythmic pattern over which the whole piece is structured.
1597:
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124:
3412:, edited by J. Akiyama, M. Kano, and X. Tan, 198–212. Berlin/Heidelberg: Springer.
639:
397:: beat level shown in middle with division levels above and multiple levels below.
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3438:, edited by Gary Wittlich, 208–269. Englewood Cliffs, New Jersey: Prentice-Hall.
3327:
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2716:
1735:
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1711:
1605:
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840:
703:): 60 bpm means a speed of one beat per second, a frequency of 1 Hz. A
242:
recently suggested that the sense of rhythm was developed in the early stages of
239:
172:
164:
3569:, MA dissertation, School of Oriental and African Studies, University of London.
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mini structural time scale); fraction of a second to several seconds, and his
782:. This may be further organized, by repetition and variation, into a definite
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3737:'Rhythm of Prose', William Morrison Patterson, Columbia University Press 1917
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3537:. Vol. 23 (11th ed.). Cambridge University Press. pp. 277–280.
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texture". This concept was concurrently defined as "attack point rhythm" by
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tradition of Africa everything related to music has been passed on orally.
1633:
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1601:
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848:
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677:, beat structures beyond four, in western music, are "simply not natural".
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Louis Hébert, "A Little Semiotics of Rhythm. Elements of Rhythmology", in
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2873:, edited by Alison Latham. Oxford and New York: Oxford University Press.
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The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology
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The Singing Neanderthals: The Origins of Music, Language, Mind and Body
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Rhythm is marked by the regulated succession of opposite elements: the
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3721:
131:
that occur over time, of the steps of a dance, or the meter of spoken
5448:
5236:
5176:
5104:
4973:
4910:
4883:
4868:
4658:
4648:
4608:
4573:
4457:
4217:
4119:
3946:
3926:
3896:
3835:
3805:
3389:
2751:
1817:
1795:
1751:
428:
319:
114:
Rhythm is related to and distinguished from pulse, meter, and beats:
104:
100:
1910:
1908:
1479:
relative to the one above, in one instead of two four-beat measures.
1464:
148:
5273:
5039:
4948:
4878:
4814:
4805:
4509:
4494:
4337:
4312:
4140:
4035:
3825:
3754:
3116:(1). Berkeley, California: University of California Press: 99–104.
1526:
816:
283:
263:
132:
3567:
The Development of Rhythmic Organization in Indian Classical Music
3106:(2006). "Musical Rhythm, Linguistic Rhythm, and Human Evolution".
2582:
Representing African Music: Postcolonial Notes, Queries, Positions
427:. This consists of a (repeating) series of identical yet distinct
5527:
4846:
4484:
4467:
4442:
4427:
4412:
4369:
4212:
4051:
4041:
3881:
2142:
1905:
1386:
334:
327:
318:
and simultaneous rhythms in more than one time signature, called
243:
140:
1343:
1015:
However, the motive with this rhythm in the Moussorgsky's piece
390:
31:
5501:
5246:
5201:
5166:
5043:
4920:
4499:
4437:
4364:
4108:
4023:
3981:
3139:"The Evolutionary Biology of Musical Rhythm: Was Darwin Wrong?"
2761:
Listening: An Introduction to the Perception of Auditory Events
2670:
Perspectives in Music Theory: An Historical-Analytical Approach
1471:
1370:
790:
525:
259:
95:
3434:
Winold, Allen (1975). "Rhythm in Twentieth-Century Music". In
2814:. Sevenoaks, Kent: Hodder and Stoughton; New York: David McKay
851:: "a basic unit of musical structure" and a generalization of
587:
and those beginning after a rest or tied-over note are called
107:
of anything from microseconds to several seconds (as with the
4653:
4359:
4257:
4237:
3966:
3522:
3503:. A theoretical approach to western and non-western rhythms.
2827:, Ithaca: Cornell University website (accessed 24 July 2014).
1653:
1512:
1420:
714:
Supershort: a single cycle of an audible wave, approximately
700:
686:
436:
234:, which lays a foundation of duration common in popular music
128:
77:
2343:
1845:
1600:
and patterns (rhythm) produced by amalgamating all sounding
638:
of the foot in time. In a similar way musicians speak of an
4207:
3249:. New York and Toronto: Alfred A. Knopf. pp. 233–247.
2263:
2261:
2259:
108:
3186:
Sound Targets: American Soldiers and Music in the Iraq War
2309:
2307:
2232:
2222:
2220:
2042:
1968:
3992:
2843:
2391:
1616:, often in metric or even-note patterns identical to the
541:
Audio playback is not supported in your browser. You can
216:
Audio playback is not supported in your browser. You can
5257:
Pervasive developmental disorder not otherwise specified
3345:
Poem for piano, Op. 32, No. 1. Transcribed by P. Lobanov
2367:
2256:
2159:
2157:
2118:
2094:
695:
The tempo of the piece is the speed or frequency of the
2959:
Hearing in Time: Psychological Aspects of Musical Meter
2591:
The Compact Edition of the Oxford English Dictionary II
2478:
2442:
2432:
2430:
2304:
2217:
2181:
2032:
2030:
2028:
2026:
2013:
2011:
2009:
2007:
1869:
3059:
Musical Sound: An Introduction to the Physics of Music
2885:
2856:. Oxford and New York: Oxford University Press, 2000.
1914:
127:, rhythm is the timing of events on a human scale; of
3574:
Rhythm—What it is and How to Improve Your Sense of It
2802:. Oxford and New York: Oxford University Press, 1963.
2593:. Oxford and New York: Oxford University Press, 1971.
2526:
2331:
2244:
2205:
2154:
1804:, rhythm or isochrony is one of the three aspects of
2684:
2502:
2466:
2427:
2355:
2287:
2193:
2130:
2023:
2004:
1944:
1932:
1857:
619:
beat, the played beat and the inaudible but implied
3547:"Structure and interpretation of rhythm and timing"
3347:. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo.
3188:. Bloomington and London: Indiana University Press.
2693:
2490:
2403:
2148:
1992:
1881:
273:Some types of parrots can know rhythm. Neurologist
3646:Music and Rhythm: Fundamentals, History, Analysis.
3237:
2723:
2460:
2379:
2169:
1980:
1956:
750:and to the duration of a single step, syllable or
599:and those that end on a strong or weak upbeat are
403:integral parts of a larger rhythmic organization.
2934:
2319:
2066:
1893:
1851:
5552:
2961:. Oxford and New York: Oxford University Press.
2618:, second edition. New York: Dover Publications.
1920:
1668:relatively simple patterns that meet at distant
3474:. New Haven and London: Yale University Press.
3421:. Englewood Cliffs, New Jersey: Prentice-Hall.
3061:. New York: Kluwer Academic/Plenum Publishers.
627:of a pattern that is short enough to memorize.
3706:(Autumn 1975). "Rubato and the Middleground".
2922:. Hillsdale, New York: Pendragon Press, 1986.
2703:, vol. 25, issue 1, pp. 43–58. ISSN 0730-7829.
119:and either one or two unaccented (weak) beats.
4759:
4156:
4008:
3770:
3080:: The Need for Alternatives in Music Analysis
894:to certain ideas, incidents, or controversies
606:
135:and poetry. In some performing arts, such as
2838:Why do People Sing? Music in Human Evolution
2724:Forney, Kristine, and Joseph Machlis. 2007.
2422:Imperial Society of Teachers of Dancing 1977
1750:. This use may be explained by a comment of
1726:wrote more rhythmically complex music using
1612:, the composite rhythm usually confirms the
1076:Complexity of representation of time events
4773:
3408:2005. "The Geometry of Musical Rhythm". In
3357:Artificial Perception and Music Recognition
2639:
2635:. Chicago: The University of Chicago Press.
2124:
1875:
1488:Four beats followed by three clave patterns
870:
499:Intrametric – confirming patterns, such as
348:. For other Asian approaches to rhythm see
4766:
4752:
4718:
4163:
4149:
4015:
4001:
3777:
3763:
3513:
3028:. Archived from the original on 2020-11-09
2973:
2313:
2298:
2226:
1620:on a specific metric level. White defines
1389:, where it means the number of lines in a
984:= repeat from 0, one time, twice faster):
904:this issue before removing this message.
524:Extrametric – irregular patterns, such as
375:
143:unites rhythm with geometry. For example,
5284:Social (pragmatic) communication disorder
3678:The Aristoxenian Theory of Musical Rhythm
3404:
3373:
3351:
3215:
3166:
3156:
3053:
2985:
2851:
2728:, tenth edition. New York: W. W. Norton.
2560:
2448:
2373:
2349:
2337:
2267:
1950:
1938:
5152:Basic interpersonal communicative skills
3339:
3309:
3289:
2831:
2818:
2648:. Chicago: University of Chicago Press.
2630:
2520:
2508:
2361:
2048:
2036:
2017:
1887:
1643:
1575:
1563:
1548:
1480:
1470:
1410:
1342:
659:
389:
299:
293:
205:clock-ticks into "tick-tock-tick-tock".
182:
5219:
3450:
3326:
3271:, edited by Arved Mark Ashby, 253–258.
3239:"19. Keeping Time: Rhythm and Movement"
3200:. Cambridge, Massachusetts: MIT Press.
3183:
3073:
2993:. Philadelphia: Open University Press.
2808:Imperial Society of Teachers of Dancing
2740:
2707:
2544:
2283:
2279:
2238:
2060:
1974:
1778:, in order to perform them. Similarly,
1738:. At the same time, modernists such as
492:Metric – even patterns, such as steady
5553:
3466:
3433:
3263:
3005:
2956:
2917:
2868:
2758:
2664:
2548:
2532:
2484:
2436:
2397:
2385:
2250:
2211:
2199:
2187:
2175:
2163:
2112:
1998:
1962:
1899:
583:, those beginning on a weak pulse are
171:, William Rothstein, Joel Lester, and
5218:
5140:
5014:High-context and low-context cultures
4785:
4747:
4144:
3996:
3758:
3456:A Handbook of Experimental Psychology
3416:
3310:Scholes, Percy (1977c). "Rhythm", in
3232:
3192:
3136:
3102:
3018:. London: Weidenfeld & Nicolson.
2794:
2777:
2610:
2600:Parrots Have Got Rhythm, Studies Find
2597:
2588:
2576:
2496:
2472:
2409:
2325:
2136:
2100:
2088:
2084:
2072:
1986:
1926:
1863:
751:
704:
680:
5363:Computer processing of body language
5141:
4170:
3784:
3472:The Stratification of Musical Rhythm
3137:Patel, Aniruddh D. (25 March 2014).
2685:Covaciu-Pogorilowski, Andrei. n.d. "
1710:In the 20th century, composers like
1624:as, "the resultant overall rhythmic
874:
25:
5378:List of facial expression databases
5368:Emotion recognition in conversation
2782:. Oxford: Oxford University Press.
2747:How Music Works with Howard Goodall
2687:Musical Time Theory and a Manifesto
1544:
1397:" from the terminology of poetry.)
1324:
898:create a more balanced presentation
467:
324:cross-rhythms of Sub-Saharan Africa
13:
3488:
3436:Aspects of Twentieth-Century Music
2895:A Generative Theory of Tonal Music
1431:, for example, as to be danced in
517:Contrametric – non-confirming, or
14:
5587:
5262:Childhood disintegrative disorder
3730:
1365:The study of rhythm, stress, and
1248:Complexity of its transformation
658:the pulses until the next accent.
4728:
4727:
4717:
2981:, London: Joseph Williams, 1930.
1705:
1639:
1304:
1216:
1203:
1192:
1177:
1170:
1163:
1152:
1145:
1138:
1129:
1122:
1115:
1045:
1040:is rather perceived as a repeat
1031:
1020:
1002:
995:
988:
972:
965:
958:
949:
942:
935:
879:
591:. Endings on a strong pulse are
30:
3551:Tijdschrift voor Muziektheorie
2869:Latham, Alison. 2002. "Metre",
2847:] and Modern Greek Studies.
2646:The Rhythmic Structure of Music
2538:
2273:
2078:
1679:
1494:The general classifications of
1229:Complexity of rhythmic pattern
178:
4786:
3247:, Tales of Music and the Brain
2631:Chernoff, John Miller (1979).
1789:
488:. These may be classified as:
423:, sometimes simply called the
370:
1:
3663:The Oxford Companion to Music
3312:The Oxford Companion to Music
3295:The Oxford Companion to Music
3267:(2004). "A Fine Madness". In
2871:The Oxford Companion to Music
2616:Structural Functions in Music
1839:
1074:
340:For information on rhythm in
3557:(3): 227–232. Archived from
3220:. New York: Schirmer Books.
3218:Phrase Rhythm in Tonal Music
3158:10.1371/journal.pbio.1001821
2819:Jirousek, Charlotte. 1995. "
1832:and suggests the concept of
634:refers, as in dance, to the
538:
480:or pulses on the underlying
213:
7:
5279:Nonverbal learning disorder
4857:Speech-independent gestures
4830:Facial Action Coding System
4528:History of music publishing
3417:White, John David. (1976).
3216:Rothstein, William (1989).
2778:Hasty, Christopher (1997).
1915:Lerdahl and Jackendoff 1983
246:evolution by the forces of
129:musical sounds and silences
10:
5592:
5019:Interpersonal relationship
4820:Body-to-body communication
4022:
3689:Broekmans & Van Poppel
3683:Van Der, Horst F. (1963).
3593:The Topos of Music, Vol. I
3184:Pieslak, Jonathan (2009).
2920:The Rhythms of Tonal Music
2713:Les Structures Rhythmiques
2569:
1793:
1683:
1628:among all the voices of a
1423:, a dance in triple metre.
1328:
1297:'s own performance of his
684:
607:Alternation and repetition
574:A rhythmic gesture is any
379:
78:
18:
5510:
5484:
5424:
5417:
5391:
5355:
5319:
5292:
5229:
5225:
5214:
5147:
5136:
5092:
5069:
5032:
4984:
4919:
4798:
4794:
4781:
4733:Category:Musical notation
4713:
4677:
4599:Numbered musical notation
4551:
4518:
4398:
4390:Scientific pitch notation
4281:
4178:
4030:
3796:
3591:Mazzola, Guerino (2017).
3462:,. New York: Wiley, 1951.
3332:Discovering Music: Rhythm
3045:: CS1 maint: unfit URL (
2288:Covaciu-Pogorilowski n.d.
1730:, and techniques such as
1087:
1082:
928:Pictures at an Exhibition
476:that synchronises with a
447:in western notation (see
191:In his television series
5434:Behavioral communication
4380:Helmholtz pitch notation
3907:Non-retrogradable rhythm
3644:Petersen, Peter (2013).
3595:. Heidelberg: Springer.
3454:. "Time Perception". In
2759:Handel, Stephen (1989).
2672:. New York: Dodd, Mead.
2149:Fitch and Rosenfeld 2007
871:Rhythm–tempo interaction
455:, and slower levels are
361:—Rhythm in Turkish music
4874:Interpersonal synchrony
4775:Nonverbal communication
4723:List of musical symbols
4594:Nashville Number System
3709:Journal of Music Theory
3641: 979-0-9002315-1-2
3616:. The Word Foundation.
3534:Encyclopædia Britannica
3122:10.1525/mp.2006.24.1.99
2957:London, Justin (2004).
2949:A Greek–English Lexicon
2825:An Interactive Textbook
2754:Television Corporation.
2640:Cooper, Grosvenor, and
2461:Forney and Machlis 2007
2125:Cooper & Meyer 1960
1876:Cooper & Meyer 1960
1774:, the first electronic
543:download the audio file
376:Pulse, beat and measure
350:Rhythm in Persian music
258:, rhythmic drumming by
218:download the audio file
21:Rhythm (disambiguation)
5471:Monastic sign lexicons
5162:Emotional intelligence
4273:Transposing instrument
3648:New York: Peter Lang.
3572:Lewis, Andrew (2005).
3497:Die Kunst des Rhythmus
3406:Toussaint, Godfried T.
2991:Studying Popular Music
2726:The Enjoyment of Music
2584:. New York: Routledge.
1852:Liddell and Scott 1996
1696:Indian classical music
1674:call-and-response form
1649:
1610:common practice period
1587:
1585:
1573:
1491:
1489:
1424:
1408:of "measured rhythm".
1362:
1322:
405:
398:
354:Rhythm in Arabic music
310:
308:
188:
121:
94:") generally means a "
41:is missing information
5461:Impression management
3801:Additive and divisive
3519:Tovey, Donald Francis
3515:Gosse, Edmund William
3495:Giger, Peter (1993).
3460:Stanley Smith Stevens
3419:The Analysis of Music
3334:with Leonard Slatkin"
3293:(1977b). "Metre", in
3055:Moravcsik, Michael J.
2936:Liddell, Henry George
1647:
1583:
1571:
1552:
1487:
1474:
1414:
1346:
1329:Further information:
1290:
799:dance moves and steps
685:Further information:
451:). Faster levels are
400:
393:
380:Further information:
307:
297:
288:Spanish Riding School
186:
167:, Christopher Hasty,
116:
5566:Cognitive musicology
5476:Verbal communication
5429:Animal communication
5347:Targeted advertising
4864:Haptic communication
3927:Prolation and tempus
3676:Williams, C. F. A.,
3661:(1977a). "Form", in
3613:Thinking and Destiny
3353:Tanguiane, Andranick
2715:, with a preface by
1533:, may be considered
1417:early moving picture
1381:): it is a topic in
1349:clave rhythm pattern
793:or a characteristic
671:addition or division
552:From left to right:
19:For other uses, see
5571:Musical terminology
5485:Non-verbal language
5373:Gesture recognition
5220:Further information
5110:Emotion recognition
5061:Silent service code
4619:Percussion notation
3608:Percival, Harold W.
3565:Humble, M. (2002).
3341:Skrjabin, Alexander
2975:Macpherson, Stewart
2852:Karpinski, Gary S.
2744:(presenter). 2006.
2400:, pp. 209–210.
2352:, pp. 465–502.
2103:, pp. 239–240.
1559:Sinfonia in F minor
1402:durational patterns
1353:asymmetrical rhythm
1077:
827:), and finally the
648:"on" and "off" beat
636:lifting and tapping
595:, on a weak pulse,
439:to which listeners
268:collective identity
5511:Art and literature
5466:Meta-communication
5454:Passive-aggressive
5383:Sentiment analysis
5084:Non-verbal leakage
3104:Patel, Aniruddh D.
2987:Middleton, Richard
2695:Fitch, W. Tecumseh
2091:, pp. 239–240
2051:, pp. 99–101.
1744:irrational rhythms
1658:Babatunde Olatunji
1650:
1608:. In music of the
1588:
1586:
1574:
1492:
1490:
1425:
1363:
1088:Rhythm with pitch
1075:
865:granular synthesis
762:" pulses into the
681:Tempo and duration
632:poetic term "foot"
576:durational pattern
474:durational pattern
399:
311:
309:
189:
169:Godfried Toussaint
5548:
5547:
5544:
5543:
5540:
5539:
5536:
5535:
5242:Asperger syndrome
5210:
5209:
5192:Social competence
5132:
5131:
5128:
5127:
4934:Emotional prosody
4840:Subtle expression
4825:Facial expression
4741:
4740:
4685:Mensural notation
4138:
4137:
3990:
3989:
3902:Metric modulation
3654:978-3-631-64393-8
3623:978-0-911650-06-8
3601:978-3-319-64364-9
3586:978-0-9754667-0-4
3576:. San Francisco:
3509:978-3-7957-1862-6
3366:978-3-540-57394-4
3282:The Village Voice
3279:. Reprinted from
3256:978-1-4000-4081-0
3210:978-0-262-68154-4
3206:978-0-262-18215-7
3096:978-0-226-56848-5
3088:978-0-226-56847-8
3074:Narmour, Eugene.
3067:978-0-306-46710-3
2928:978-0-8093-1282-5
2911:978-0-262-62049-9
2907:978-0-262-62107-6
2903:978-0-262-12094-4
2862:978-0-19-511785-1
2734:978-0-393-17423-6
2624:978-0-486-25384-8
2604:World-Science.net
2487:, pp. 41–42.
2286:, both quoted in
1762:). In the 1930s,
1672:intervals and on
1581:
1569:
1562:BWV 795, mm. 1–3
1519:Free time (music)
1485:
1419:demonstrates the
1285:
1284:
1267:Total complexity
1106:Coding as repeat
1098:Coding as repeat
918:
917:
896:. Please help to
888:This section may
547:
305:
248:natural selection
222:
68:
67:
5583:
5561:Rhythm and meter
5422:
5421:
5399:Ray Birdwhistell
5227:
5226:
5216:
5215:
5142:Broader concepts
5138:
5137:
5115:First impression
4796:
4795:
4783:
4782:
4768:
4761:
4754:
4745:
4744:
4731:
4730:
4721:
4720:
4584:Graphic notation
4248:Rehearsal letter
4172:Musical notation
4165:
4158:
4151:
4142:
4141:
4017:
4010:
4003:
3994:
3993:
3779:
3772:
3765:
3756:
3755:
3725:
3627:
3562:
3538:
3526:
3483:
3463:
3452:Woodrow, Herbert
3447:
3430:
3413:
3401:
3390:10.2307/40285634
3377:Music Perception
3370:
3348:
3335:
3328:Slatkin, Leonard
3323:
3306:
3286:
3285:(16 March 1982).
3260:
3241:
3229:
3212:
3189:
3180:
3170:
3160:
3133:
3109:Music Perception
3099:
3070:
3050:
3044:
3036:
3034:
3033:
3017:
3002:
2982:
2970:
2953:
2931:
2914:
2882:
2865:
2848:
2833:Jordania, Joseph
2828:
2815:
2812:Ballroom Dancing
2803:
2791:
2774:
2755:
2737:
2720:
2704:
2700:Music Perception
2690:
2681:
2661:
2642:Leonard B. Meyer
2636:
2627:
2607:
2594:
2585:
2564:
2558:
2552:
2542:
2536:
2530:
2524:
2518:
2512:
2506:
2500:
2494:
2488:
2482:
2476:
2470:
2464:
2458:
2452:
2446:
2440:
2434:
2425:
2419:
2413:
2407:
2401:
2395:
2389:
2383:
2377:
2371:
2365:
2359:
2353:
2347:
2341:
2335:
2329:
2323:
2317:
2311:
2302:
2296:
2290:
2277:
2271:
2265:
2254:
2248:
2242:
2236:
2230:
2224:
2215:
2209:
2203:
2197:
2191:
2190:, p. 50–52.
2185:
2179:
2173:
2167:
2161:
2152:
2146:
2140:
2134:
2128:
2122:
2116:
2110:
2104:
2098:
2092:
2082:
2076:
2070:
2064:
2058:
2052:
2046:
2040:
2034:
2021:
2015:
2002:
1996:
1990:
1984:
1978:
1972:
1966:
1960:
1954:
1948:
1942:
1936:
1930:
1924:
1918:
1912:
1903:
1897:
1891:
1885:
1879:
1873:
1867:
1861:
1855:
1849:
1822:Mandarin Chinese
1780:Conlon Nancarrow
1740:Olivier Messiaen
1622:composite rhythm
1593:composite rhythm
1582:
1570:
1545:Composite rhythm
1486:
1465:Rhythm and dance
1460:
1459:
1458:
1457:
1445:
1444:
1443:
1442:
1360:
1325:Metric structure
1311:
1310:
1308:
1221:
1220:
1208:
1207:
1197:
1196:
1182:
1181:
1175:
1174:
1168:
1167:
1157:
1156:
1150:
1149:
1143:
1142:
1134:
1133:
1127:
1126:
1120:
1119:
1103:Complete coding
1095:Complete coding
1078:
1050:
1049:
1036:
1035:
1025:
1024:
1007:
1006:
1000:
999:
993:
992:
977:
976:
970:
969:
963:
962:
954:
953:
947:
946:
940:
939:
913:
910:
883:
882:
875:
752:rhythmic gesture
733:
732:
728:
723:
722:
718:
691:Duration (music)
484:may be called a
468:Unit and gesture
306:
125:performance arts
81:
80:
63:
60:
54:
34:
26:
5591:
5590:
5586:
5585:
5584:
5582:
5581:
5580:
5551:
5550:
5549:
5532:
5523:Mimoplastic art
5506:
5497:Tactile signing
5480:
5413:
5387:
5351:
5315:
5288:
5221:
5206:
5182:Social behavior
5143:
5124:
5088:
5079:Microexpression
5065:
5049:One-bit message
5028:
4980:
4915:
4835:Microexpression
4790:
4777:
4772:
4742:
4737:
4709:
4673:
4547:
4538:Music publisher
4533:Music engraving
4514:
4394:
4385:Letter notation
4277:
4174:
4169:
4139:
4134:
4104:Steps and skips
4026:
4021:
3991:
3986:
3877:Harmonic rhythm
3792:
3783:
3733:
3728:
3702:
3624:
3606:
3541:
3491:
3489:Further reading
3486:
3367:
3257:
3151:(3): e1001821.
3038:
3037:
3031:
3029:
3026:
3015:
2780:Meter as Rhythm
2771:
2742:Goodall, Howard
2572:
2567:
2559:
2555:
2543:
2539:
2531:
2527:
2519:
2515:
2507:
2503:
2495:
2491:
2483:
2479:
2471:
2467:
2459:
2455:
2447:
2443:
2435:
2428:
2420:
2416:
2408:
2404:
2396:
2392:
2384:
2380:
2372:
2368:
2360:
2356:
2348:
2344:
2336:
2332:
2324:
2320:
2314:MacPherson 1930
2312:
2305:
2299:MacPherson 1930
2297:
2293:
2278:
2274:
2266:
2257:
2249:
2245:
2237:
2233:
2227:MacPherson 1930
2225:
2218:
2210:
2206:
2198:
2194:
2186:
2182:
2174:
2170:
2162:
2155:
2147:
2143:
2135:
2131:
2123:
2119:
2111:
2107:
2099:
2095:
2083:
2079:
2071:
2067:
2059:
2055:
2047:
2043:
2035:
2024:
2016:
2005:
1997:
1993:
1985:
1981:
1973:
1969:
1961:
1957:
1949:
1945:
1937:
1933:
1925:
1921:
1913:
1906:
1898:
1894:
1886:
1882:
1874:
1870:
1866:, p. 2537.
1862:
1858:
1850:
1846:
1842:
1798:
1792:
1736:additive rhythm
1712:Igor Stravinsky
1708:
1688:
1682:
1642:
1576:
1564:
1547:
1529:repertoire for
1509:additive rhythm
1500:measured rhythm
1496:metrical rhythm
1481:
1456:
1451:
1450:
1449:
1448:
1447:
1441:
1436:
1435:
1434:
1433:
1432:
1379:prosody (music)
1356:
1341:
1327:
1303:
1302:
1223:
1222:
1215:
1210:
1209:
1202:
1199:
1198:
1191:
1183:
1176:
1169:
1162:
1158:
1151:
1144:
1137:
1135:
1128:
1121:
1114:
1057:
1052:
1051:
1044:
1038:
1037:
1030:
1027:
1026:
1019:
1013:
1008:
1001:
994:
987:
978:
971:
964:
957:
955:
948:
941:
934:
914:
908:
905:
884:
880:
873:
730:
726:
725:
720:
716:
715:
693:
683:
673:. According to
617:strong and weak
609:
572:
571:
570:
569:
550:
549:
548:
546:
470:
457:multiple levels
453:division levels
431:short-duration
388:
378:
373:
333:rhythms of the
322:. Such are the
300:
240:Joseph Jordania
237:
236:
235:
225:
224:
223:
221:
193:How Music Works
181:
173:Guerino Mazzola
165:Jonathan Kramer
86:, "any regular
64:
58:
55:
48:
35:
24:
17:
16:Aspect of music
12:
11:
5:
5589:
5579:
5578:
5573:
5568:
5563:
5546:
5545:
5542:
5541:
5538:
5537:
5534:
5533:
5531:
5530:
5525:
5520:
5514:
5512:
5508:
5507:
5505:
5504:
5499:
5494:
5488:
5486:
5482:
5481:
5479:
5478:
5473:
5468:
5463:
5458:
5457:
5456:
5451:
5446:
5441:
5431:
5425:
5419:
5415:
5414:
5412:
5411:
5406:
5404:Charles Darwin
5401:
5395:
5393:
5389:
5388:
5386:
5385:
5380:
5375:
5370:
5365:
5359:
5357:
5353:
5352:
5350:
5349:
5344:
5339:
5334:
5329:
5323:
5321:
5317:
5316:
5314:
5313:
5308:
5298:
5296:
5290:
5289:
5287:
5286:
5281:
5276:
5271:
5270:
5269:
5264:
5259:
5254:
5249:
5244:
5233:
5231:
5223:
5222:
5212:
5211:
5208:
5207:
5205:
5204:
5199:
5194:
5189:
5184:
5179:
5174:
5169:
5164:
5159:
5154:
5148:
5145:
5144:
5134:
5133:
5130:
5129:
5126:
5125:
5123:
5122:
5117:
5112:
5107:
5102:
5100:Affect display
5096:
5094:
5090:
5089:
5087:
5086:
5081:
5075:
5073:
5067:
5066:
5064:
5063:
5058:
5057:
5056:
5046:
5036:
5034:
5030:
5029:
5027:
5026:
5021:
5016:
5011:
5006:
5001:
4996:
4990:
4988:
4986:Social context
4982:
4981:
4979:
4978:
4977:
4976:
4971:
4966:
4961:
4956:
4951:
4946:
4936:
4931:
4925:
4923:
4917:
4916:
4914:
4913:
4908:
4903:
4898:
4897:
4896:
4894:Pupil dilation
4891:
4881:
4876:
4871:
4866:
4861:
4860:
4859:
4854:
4844:
4843:
4842:
4837:
4832:
4822:
4817:
4808:
4802:
4800:
4792:
4791:
4779:
4778:
4771:
4770:
4763:
4756:
4748:
4739:
4738:
4736:
4735:
4725:
4714:
4711:
4710:
4708:
4707:
4702:
4697:
4692:
4687:
4681:
4679:
4675:
4674:
4672:
4671:
4666:
4661:
4656:
4651:
4646:
4641:
4636:
4631:
4626:
4621:
4616:
4611:
4606:
4601:
4596:
4591:
4586:
4581:
4576:
4571:
4566:
4561:
4555:
4553:
4549:
4548:
4546:
4545:
4540:
4535:
4530:
4524:
4522:
4516:
4515:
4513:
4512:
4507:
4502:
4497:
4492:
4487:
4482:
4481:
4480:
4475:
4470:
4465:
4460:
4455:
4445:
4440:
4435:
4430:
4425:
4420:
4415:
4410:
4404:
4402:
4396:
4395:
4393:
4392:
4387:
4382:
4377:
4372:
4367:
4362:
4357:
4352:
4347:
4346:
4345:
4340:
4335:
4325:
4320:
4315:
4310:
4309:
4308:
4303:
4298:
4287:
4285:
4279:
4278:
4276:
4275:
4270:
4265:
4263:Time signature
4260:
4255:
4250:
4245:
4240:
4235:
4230:
4225:
4220:
4215:
4210:
4205:
4200:
4195:
4190:
4184:
4182:
4176:
4175:
4168:
4167:
4160:
4153:
4145:
4136:
4135:
4133:
4132:
4127:
4122:
4117:
4111:
4106:
4101:
4096:
4091:
4086:
4081:
4076:
4075:
4074:
4064:
4059:
4057:Melodic motion
4054:
4049:
4044:
4039:
4031:
4028:
4027:
4020:
4019:
4012:
4005:
3997:
3988:
3987:
3985:
3984:
3979:
3977:Time signature
3974:
3969:
3964:
3959:
3954:
3949:
3944:
3939:
3934:
3929:
3924:
3919:
3914:
3912:Notes inégales
3909:
3904:
3899:
3894:
3889:
3884:
3879:
3874:
3869:
3864:
3857:
3856:
3855:
3845:
3840:
3839:
3838:
3828:
3823:
3818:
3813:
3808:
3803:
3797:
3794:
3793:
3782:
3781:
3774:
3767:
3759:
3753:
3752:
3744:
3739:
3732:
3731:External links
3729:
3727:
3726:
3716:(2): 286–301.
3700:
3681:
3674:
3659:Scholes, Percy
3656:
3642:
3628:
3622:
3604:
3589:
3570:
3563:
3561:on 2012-12-08.
3539:
3529:Chisholm, Hugh
3524:"Rhythm"
3511:
3492:
3490:
3487:
3485:
3484:
3464:
3448:
3431:
3414:
3402:
3384:(4): 465–502.
3371:
3365:
3349:
3337:
3324:
3307:
3291:Scholes, Percy
3287:
3261:
3255:
3230:
3213:
3190:
3181:
3134:
3100:
3071:
3051:
3024:
3007:Mithen, Steven
3003:
2983:
2971:
2954:
2932:
2918:Lester, Joel.
2915:
2891:Ray Jackendoff
2883:
2866:
2849:
2829:
2816:
2804:
2792:
2775:
2769:
2756:
2738:
2721:
2705:
2691:
2682:
2662:
2637:
2628:
2612:Berry, Wallace
2608:
2595:
2586:
2573:
2571:
2568:
2566:
2565:
2561:Middleton 1990
2553:
2537:
2535:, p. 257.
2525:
2513:
2501:
2489:
2477:
2475:, p. 136.
2465:
2453:
2449:Karpinski 2000
2441:
2426:
2414:
2402:
2390:
2378:
2376:, p. 480.
2374:Tanguiane 1994
2366:
2354:
2350:Tanguiane 1994
2342:
2338:Tanguiane 1993
2330:
2318:
2303:
2291:
2272:
2270:, p. 114.
2268:Moravcsik 2002
2255:
2253:, p. 237.
2243:
2231:
2216:
2214:, p. 239.
2204:
2192:
2180:
2168:
2166:, p. 213.
2153:
2141:
2139:, p. 349.
2129:
2117:
2105:
2093:
2077:
2065:
2053:
2041:
2022:
2003:
1991:
1979:
1967:
1955:
1951:Rothstein 1989
1943:
1939:Toussaint 2005
1931:
1919:
1904:
1892:
1880:
1868:
1856:
1843:
1841:
1838:
1834:transformation
1794:Main article:
1791:
1788:
1782:wrote for the
1776:rhythm machine
1770:to invent the
1756:La Monte Young
1748:New Complexity
1707:
1704:
1692:Sheila Chandra
1681:
1678:
1670:cross-rhythmic
1641:
1638:
1584:With composite
1546:
1543:
1452:
1437:
1395:meter or metre
1347:Notation of a
1339:Metre (poetry)
1326:
1323:
1283:
1282:
1279:
1276:
1274:
1271:
1268:
1264:
1263:
1260:
1257:
1255:
1252:
1249:
1245:
1244:
1241:
1238:
1236:
1233:
1230:
1226:
1225:
1214:
1213:
1211:
1201:
1200:
1190:
1189:
1187:
1185:
1161:
1159:
1136:
1113:
1111:
1108:
1107:
1104:
1101:
1099:
1096:
1093:
1090:
1089:
1086:
1084:
1081:
1053:
1043:
1042:
1029:
1028:
1018:
1017:
1009:
986:
956:
933:
916:
915:
900:. Discuss and
887:
885:
878:
872:
869:
810:
809:
806:
787:
755:
739:
682:
679:
608:
605:
568:rhythmic units
551:
540:
537:
534:
533:
532:
531:
530:
529:
522:
515:
508:sixteenth note
497:
469:
466:
449:time signature
417:mensural level
377:
374:
372:
369:
365:Dumbek rhythms
286:horses of the
226:
215:
212:
209:
208:
207:
197:Howard Goodall
180:
177:
161:Ray Jackendoff
66:
65:
45:counter-rhythm
38:
36:
29:
15:
9:
6:
4:
3:
2:
5588:
5577:
5574:
5572:
5569:
5567:
5564:
5562:
5559:
5558:
5556:
5529:
5526:
5524:
5521:
5519:
5516:
5515:
5513:
5509:
5503:
5500:
5498:
5495:
5493:
5492:Sign language
5490:
5489:
5487:
5483:
5477:
5474:
5472:
5469:
5467:
5464:
5462:
5459:
5455:
5452:
5450:
5447:
5445:
5442:
5440:
5437:
5436:
5435:
5432:
5430:
5427:
5426:
5423:
5420:
5416:
5410:
5407:
5405:
5402:
5400:
5397:
5396:
5394:
5390:
5384:
5381:
5379:
5376:
5374:
5371:
5369:
5366:
5364:
5361:
5360:
5358:
5354:
5348:
5345:
5343:
5340:
5338:
5337:Freudian slip
5335:
5333:
5332:Lie detection
5330:
5328:
5325:
5324:
5322:
5318:
5312:
5311:Mirror neuron
5309:
5307:
5303:
5302:Limbic system
5300:
5299:
5297:
5295:
5291:
5285:
5282:
5280:
5277:
5275:
5272:
5268:
5267:Rett syndrome
5265:
5263:
5260:
5258:
5255:
5253:
5250:
5248:
5245:
5243:
5240:
5239:
5238:
5235:
5234:
5232:
5228:
5224:
5217:
5213:
5203:
5200:
5198:
5197:Social skills
5195:
5193:
5190:
5188:
5185:
5183:
5180:
5178:
5175:
5173:
5172:People skills
5170:
5168:
5165:
5163:
5160:
5158:
5157:Communication
5155:
5153:
5150:
5149:
5146:
5139:
5135:
5121:
5118:
5116:
5113:
5111:
5108:
5106:
5103:
5101:
5098:
5097:
5095:
5093:Multi-faceted
5091:
5085:
5082:
5080:
5077:
5076:
5074:
5072:
5068:
5062:
5059:
5055:
5052:
5051:
5050:
5047:
5045:
5041:
5038:
5037:
5035:
5031:
5025:
5022:
5020:
5017:
5015:
5012:
5010:
5007:
5005:
5004:Display rules
5002:
5000:
4997:
4995:
4992:
4991:
4989:
4987:
4983:
4975:
4974:Voice quality
4972:
4970:
4967:
4965:
4962:
4960:
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4941:
4940:
4937:
4935:
4932:
4930:
4927:
4926:
4924:
4922:
4918:
4912:
4909:
4907:
4904:
4902:
4899:
4895:
4892:
4890:
4887:
4886:
4885:
4882:
4880:
4877:
4875:
4872:
4870:
4867:
4865:
4862:
4858:
4855:
4853:
4850:
4849:
4848:
4845:
4841:
4838:
4836:
4833:
4831:
4828:
4827:
4826:
4823:
4821:
4818:
4816:
4812:
4811:Body language
4809:
4807:
4804:
4803:
4801:
4797:
4793:
4789:
4784:
4780:
4776:
4769:
4764:
4762:
4757:
4755:
4750:
4749:
4746:
4734:
4726:
4724:
4716:
4715:
4712:
4706:
4705:Transcription
4703:
4701:
4700:Sight-reading
4698:
4696:
4695:Perfect pitch
4693:
4691:
4688:
4686:
4683:
4682:
4680:
4676:
4670:
4667:
4665:
4662:
4660:
4657:
4655:
4652:
4650:
4647:
4645:
4642:
4640:
4637:
4635:
4632:
4630:
4629:Ancient Greek
4627:
4625:
4622:
4620:
4617:
4615:
4612:
4610:
4607:
4605:
4602:
4600:
4597:
4595:
4592:
4590:
4587:
4585:
4582:
4580:
4577:
4575:
4572:
4570:
4569:Chord diagram
4567:
4565:
4562:
4560:
4559:Braille music
4557:
4556:
4554:
4552:Other systems
4550:
4544:
4541:
4539:
4536:
4534:
4531:
4529:
4526:
4525:
4523:
4521:
4517:
4511:
4508:
4506:
4503:
4501:
4498:
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4488:
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4479:
4476:
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4459:
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4434:
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4429:
4426:
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4416:
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4411:
4409:
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4403:
4401:
4397:
4391:
4388:
4386:
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4371:
4368:
4366:
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4353:
4351:
4348:
4344:
4341:
4339:
4336:
4334:
4331:
4330:
4329:
4326:
4324:
4321:
4319:
4316:
4314:
4311:
4307:
4304:
4302:
4299:
4297:
4294:
4293:
4292:
4289:
4288:
4286:
4284:
4283:Musical notes
4280:
4274:
4271:
4269:
4268:Transposition
4266:
4264:
4261:
4259:
4256:
4254:
4251:
4249:
4246:
4244:
4241:
4239:
4236:
4234:
4231:
4229:
4226:
4224:
4223:Key signature
4221:
4219:
4216:
4214:
4211:
4209:
4206:
4204:
4201:
4199:
4196:
4194:
4191:
4189:
4186:
4185:
4183:
4181:
4177:
4173:
4166:
4161:
4159:
4154:
4152:
4147:
4146:
4143:
4131:
4130:Voice leading
4128:
4126:
4123:
4121:
4118:
4115:
4112:
4110:
4107:
4105:
4102:
4100:
4097:
4095:
4092:
4090:
4087:
4085:
4082:
4080:
4077:
4073:
4070:
4069:
4068:
4065:
4063:
4060:
4058:
4055:
4053:
4050:
4048:
4045:
4043:
4040:
4038:
4037:
4033:
4032:
4029:
4025:
4018:
4013:
4011:
4006:
4004:
3999:
3998:
3995:
3983:
3980:
3978:
3975:
3973:
3970:
3968:
3965:
3963:
3960:
3958:
3955:
3953:
3950:
3948:
3945:
3943:
3942:Rhythmic mode
3940:
3938:
3935:
3933:
3930:
3928:
3925:
3923:
3920:
3918:
3915:
3913:
3910:
3908:
3905:
3903:
3900:
3898:
3895:
3893:
3890:
3888:
3885:
3883:
3880:
3878:
3875:
3873:
3870:
3868:
3865:
3863:
3862:
3858:
3854:
3851:
3850:
3849:
3846:
3844:
3841:
3837:
3834:
3833:
3832:
3829:
3827:
3824:
3822:
3821:Canter rhythm
3819:
3817:
3814:
3812:
3809:
3807:
3804:
3802:
3799:
3798:
3795:
3791:
3787:
3780:
3775:
3773:
3768:
3766:
3761:
3760:
3757:
3751:
3750:
3745:
3743:
3740:
3738:
3735:
3734:
3723:
3719:
3715:
3711:
3710:
3705:
3704:Yeston, Maury
3701:
3698:
3697:9789491906008
3694:
3690:
3686:
3685:Maat en Ritme
3682:
3679:
3675:
3672:
3671:0-19-311306-6
3668:
3664:
3660:
3657:
3655:
3651:
3647:
3643:
3640:
3636:
3632:
3629:
3625:
3619:
3615:
3614:
3609:
3605:
3602:
3598:
3594:
3590:
3587:
3583:
3579:
3575:
3571:
3568:
3564:
3560:
3556:
3552:
3548:
3544:
3540:
3536:
3535:
3530:
3525:
3520:
3516:
3512:
3510:
3506:
3502:
3498:
3494:
3493:
3481:
3480:0-300-01884-3
3477:
3473:
3469:
3468:Yeston, Maury
3465:
3461:
3457:
3453:
3449:
3445:
3444:0-13-049346-5
3441:
3437:
3432:
3428:
3427:0-13-033233-X
3424:
3420:
3415:
3411:
3407:
3403:
3399:
3395:
3391:
3387:
3383:
3379:
3378:
3372:
3368:
3362:
3358:
3354:
3350:
3346:
3342:
3338:
3333:
3329:
3325:
3321:
3320:0-19-311306-6
3317:
3313:
3308:
3304:
3303:0-19-311306-6
3300:
3296:
3292:
3288:
3284:
3283:
3278:
3277:1-58046-143-3
3274:
3270:
3266:
3262:
3258:
3252:
3248:
3246:
3240:
3235:
3234:Sacks, Oliver
3231:
3227:
3226:9780028721910
3223:
3219:
3214:
3211:
3207:
3203:
3199:
3195:
3194:Roads, Curtis
3191:
3187:
3182:
3178:
3174:
3169:
3164:
3159:
3154:
3150:
3146:
3145:
3140:
3135:
3131:
3127:
3123:
3119:
3115:
3111:
3110:
3105:
3101:
3097:
3093:
3089:
3085:
3081:
3079:
3072:
3068:
3064:
3060:
3056:
3052:
3048:
3042:
3027:
3025:0-297-64317-7
3021:
3014:
3013:
3008:
3004:
3000:
2999:0-335-15275-9
2996:
2992:
2988:
2984:
2980:
2979:Form in Music
2976:
2972:
2968:
2967:0-19-516081-9
2964:
2960:
2955:
2951:
2950:
2945:
2941:
2937:
2933:
2929:
2925:
2921:
2916:
2912:
2908:
2904:
2900:
2896:
2892:
2888:
2887:Lerdahl, Fred
2884:
2880:
2879:0-19-866212-2
2876:
2872:
2867:
2863:
2859:
2855:
2850:
2846:
2845:
2840:
2839:
2834:
2830:
2826:
2822:
2817:
2813:
2809:
2805:
2801:
2797:
2796:Holst, Imogen
2793:
2789:
2788:0-19-510066-2
2785:
2781:
2776:
2772:
2770:9780262081795
2766:
2763:. MIT Press.
2762:
2757:
2753:
2749:
2748:
2743:
2739:
2735:
2731:
2727:
2722:
2718:
2714:
2710:
2709:Fraisse, Paul
2706:
2702:
2701:
2696:
2692:
2688:
2683:
2679:
2678:0-396-06752-2
2675:
2671:
2667:
2663:
2659:
2658:0-226-11522-4
2655:
2654:0-226-11521-6
2651:
2647:
2643:
2638:
2634:
2629:
2625:
2621:
2617:
2613:
2609:
2605:
2601:
2598:Anon. 2009. "
2596:
2592:
2587:
2583:
2579:
2575:
2574:
2562:
2557:
2550:
2546:
2541:
2534:
2529:
2522:
2521:Chernoff 1979
2517:
2510:
2509:Chernoff 1979
2505:
2499:, p. 52.
2498:
2493:
2486:
2481:
2474:
2469:
2462:
2457:
2451:, p. 19.
2450:
2445:
2439:, p. 30.
2438:
2433:
2431:
2423:
2418:
2412:, p. 17.
2411:
2406:
2399:
2394:
2387:
2382:
2375:
2370:
2363:
2362:Skrjabin 1960
2358:
2351:
2346:
2339:
2334:
2327:
2322:
2315:
2310:
2308:
2300:
2295:
2289:
2285:
2281:
2276:
2269:
2264:
2262:
2260:
2252:
2247:
2240:
2235:
2228:
2223:
2221:
2213:
2208:
2202:, p. 77.
2201:
2196:
2189:
2184:
2177:
2172:
2165:
2160:
2158:
2151:, p. 44.
2150:
2145:
2138:
2133:
2126:
2121:
2114:
2109:
2102:
2097:
2090:
2086:
2081:
2074:
2069:
2062:
2057:
2050:
2049:Jordania 2011
2045:
2038:
2037:Scholes 1977c
2033:
2031:
2029:
2027:
2019:
2018:Scholes 1977b
2014:
2012:
2010:
2008:
2000:
1995:
1988:
1983:
1976:
1971:
1964:
1959:
1952:
1947:
1940:
1935:
1928:
1923:
1916:
1911:
1909:
1901:
1896:
1889:
1888:Jirousek 1995
1884:
1877:
1872:
1865:
1860:
1853:
1848:
1844:
1837:
1835:
1831:
1825:
1823:
1819:
1815:
1811:
1808:, along with
1807:
1803:
1797:
1787:
1785:
1781:
1777:
1773:
1769:
1768:Leon Theremin
1765:
1761:
1757:
1753:
1749:
1745:
1741:
1737:
1733:
1729:
1725:
1721:
1717:
1713:
1706:Western music
1703:
1701:
1697:
1693:
1687:
1677:
1675:
1671:
1666:
1661:
1659:
1655:
1646:
1640:African music
1637:
1635:
1631:
1627:
1623:
1619:
1615:
1611:
1607:
1604:of a musical
1603:
1599:
1595:
1594:
1561:
1560:
1555:
1551:
1542:
1540:
1536:
1532:
1528:
1523:
1521:
1520:
1514:
1510:
1505:
1501:
1497:
1478:
1473:
1469:
1467:
1466:
1455:
1440:
1430:
1422:
1418:
1413:
1409:
1407:
1403:
1398:
1396:
1392:
1388:
1384:
1380:
1376:
1372:
1368:
1359:
1354:
1350:
1345:
1340:
1336:
1332:
1331:Metre (music)
1321:
1319:
1315:
1307:
1300:
1296:
1289:
1280:
1277:
1275:
1272:
1269:
1266:
1265:
1261:
1258:
1256:
1253:
1250:
1247:
1246:
1242:
1239:
1237:
1234:
1231:
1228:
1227:
1219:
1212:
1206:
1195:
1188:
1186:
1180:
1173:
1166:
1160:
1155:
1148:
1141:
1132:
1125:
1118:
1112:
1110:
1109:
1105:
1102:
1100:
1097:
1094:
1092:
1091:
1085:
1080:
1079:
1073:
1070:
1064:
1062:
1056:
1048:
1041:
1034:
1023:
1016:
1012:
1005:
998:
991:
985:
983:
975:
968:
961:
952:
945:
938:
932:
930:
929:
924:
912:
903:
899:
895:
893:
886:
877:
876:
868:
866:
862:
858:
854:
850:
846:
842:
838:
834:
830:
829:infinitesimal
826:
822:
818:
814:
807:
804:
800:
796:
792:
788:
785:
781:
780:
775:
774:
769:
765:
761:
756:
753:
749:
745:
740:
737:
736:musical pitch
713:
712:
711:
708:
706:
705:rhythmic unit
702:
698:
692:
688:
678:
676:
675:Pierre Boulez
672:
667:
665:
661:
660:Scholes 1977b
657:
653:
649:
645:
641:
637:
633:
628:
626:
622:
618:
614:
604:
602:
598:
594:
590:
586:
582:
577:
567:
563:
559:
555:
544:
527:
523:
521:patterns; and
520:
516:
513:
509:
505:
502:
498:
495:
491:
490:
489:
487:
486:rhythmic unit
483:
479:
475:
465:
464:is present".
462:
458:
454:
450:
446:
442:
438:
434:
430:
426:
422:
418:
414:
410:
404:
396:
395:Metric levels
392:
387:
383:
382:Pulse (music)
368:
366:
362:
360:
355:
351:
347:
343:
338:
336:
332:
331:
328:interlocking
325:
321:
317:
296:
292:
289:
285:
280:
276:
271:
269:
265:
261:
257:
253:
249:
245:
241:
233:
230:
219:
206:
203:
198:
194:
185:
176:
174:
170:
166:
162:
158:
154:
150:
146:
142:
138:
137:hip hop music
134:
130:
126:
120:
115:
112:
110:
106:
102:
97:
93:
89:
85:
76:
72:
62:
52:
46:
42:
39:This article
37:
33:
28:
27:
22:
5327:Cold reading
5320:Applications
5294:Neuroanatomy
4958:
4939:Paralanguage
4604:Klavarskribo
4579:Figured bass
4453:Appoggiatura
4400:Articulation
4198:Abbreviation
4093:
4034:
3859:
3785:
3748:
3713:
3707:
3684:
3677:
3662:
3645:
3635:Rhythm to Go
3634:
3631:Palmer, John
3612:
3592:
3578:RhythmSource
3573:
3559:the original
3554:
3550:
3532:
3501:Schott Music
3496:
3471:
3458:, edited by
3455:
3435:
3418:
3409:
3381:
3375:
3356:
3344:
3311:
3294:
3280:
3268:
3265:Sandow, Greg
3245:Musicophilia
3243:
3217:
3197:
3185:
3148:
3144:PLOS Biology
3142:
3113:
3107:
3098:(paperback).
3075:
3058:
3030:. Retrieved
3011:
2990:
2978:
2958:
2947:
2940:Robert Scott
2919:
2894:
2870:
2853:
2842:
2836:
2824:
2811:
2799:
2779:
2760:
2745:
2725:
2712:
2698:
2669:
2666:Cooper, Paul
2645:
2632:
2615:
2603:
2590:
2581:
2556:
2545:Narmour 1977
2540:
2528:
2516:
2504:
2492:
2480:
2468:
2456:
2444:
2417:
2405:
2393:
2381:
2369:
2357:
2345:
2333:
2321:
2316:, p. 3.
2294:
2284:Woodrow 1951
2280:Fraisse 1956
2275:
2246:
2239:Slatkin n.d.
2234:
2229:, p. 5.
2207:
2195:
2183:
2171:
2144:
2132:
2127:, p. 2.
2120:
2108:
2096:
2080:
2068:
2061:Pieslak 2009
2056:
2044:
2001:, p. 4.
1994:
1989:, p. 1.
1982:
1975:Goodall 2006
1970:
1958:
1946:
1934:
1922:
1895:
1883:
1878:, p. 6.
1871:
1859:
1847:
1826:
1799:
1784:player piano
1764:Henry Cowell
1720:Philip Glass
1709:
1689:
1680:Indian music
1662:
1651:
1634:Maury Yeston
1630:contrapuntal
1626:articulation
1621:
1592:
1591:
1589:
1557:
1539:Senza misura
1538:
1534:
1524:
1516:
1503:
1499:
1495:
1493:
1462:
1453:
1438:
1426:
1406:Imogen Holst
1399:
1364:
1357:
1317:
1313:
1298:
1291:
1286:
1083:Rhythm only
1068:
1065:
1058:
1054:
1039:
1014:
1010:
981:
979:
926:
919:
909:January 2021
906:
892:undue weight
889:
849:Sound object
825:microseconds
813:Curtis Roads
811:
803:musical form
783:
777:
771:
767:
709:
696:
694:
668:
629:
610:
600:
596:
592:
589:initial rest
588:
584:
580:
573:
565:
562:contrametric
561:
557:
553:
494:eighth notes
485:
482:metric level
471:
461:Maury Yeston
456:
452:
445:quarter note
420:
412:
406:
401:
386:Beat (music)
358:
346:Tala (music)
342:Indian music
339:
329:
312:
277:states that
275:Oliver Sacks
272:
238:
232:drum pattern
192:
190:
179:Anthropology
157:Fred Lerdahl
153:Maury Yeston
122:
117:
113:
83:
70:
69:
56:
40:
5306:Limbic lobe
5071:Unconscious
5054:Missed call
5024:Social norm
4999:Conventions
4889:Eye contact
4690:Music stand
4564:Chord chart
4543:Scorewriter
4520:Sheet music
4318:Dotted note
4253:Repeat sign
4228:Ledger line
3957:Syncopation
3078:Schenkerism
2717:A. Michotte
2606:(April 30).
2578:Agawu, Kofi
2563:, p. .
2549:Winold 1975
2547:, cited in
2533:Sandow 2004
2523:, p. .
2485:Yeston 1976
2463:, p. .
2437:Cooper 1973
2424:, p. .
2398:Winold 1975
2386:Latham 2002
2301:, p. .
2251:Winold 1975
2212:Winold 1975
2200:Lester 1986
2188:Yeston 1976
2176:Handel 1989
2164:Winold 1975
2115:, p. .
2113:Mithen 2005
2087:, cited in
2063:, p. .
1999:London 2004
1963:Lester 1986
1900:Yeston 1976
1830:syncopation
1802:linguistics
1790:Linguistics
1724:Steve Reich
1716:Béla Bartók
1686:Bol (music)
1665:polyrhythms
1504:free rhythm
1477:double time
1383:linguistics
1377:(see also:
1335:Bar (music)
1314:accelerando
923:Moussorgsky
652:poetic foot
646:and of the
566:extrametric
558:intrametric
371:Terminology
279:chimpanzees
262:, rhythmic
101:periodicity
5555:Categories
5439:Aggressive
5409:Paul Ekman
5392:Key people
5356:Technology
5342:Poker tell
5187:Social cue
4994:Chronemics
4944:Intonation
4788:Modalities
4664:Shakuhachi
4639:Ekphonetic
4624:Simplified
4589:Lead sheet
4463:Grace note
4328:Note value
4323:Grace note
4291:Accidental
3972:Time point
3922:Polyrhythm
3917:Note value
3887:Homorhythm
3853:Note value
3843:Cross-beat
3543:Honing, H.
3198:Microsound
3032:2008-02-25
2551:, p.
2497:Agawu 2003
2473:White 1976
2410:Holst 1963
2326:Roads 2001
2241:, at 5:05.
2137:Berry 1987
2101:Sacks 2007
2089:Sacks 2007
2085:Patel 2006
2073:Anon. 2009
1987:Patel 2014
1977:, 0:03:10.
1927:Hasty 1997
1864:Anon. 1971
1840:References
1814:intonation
1772:rhythmicon
1728:odd meters
1684:See also:
1531:shakuhachi
1461:measure. (
1373:is called
1318:ritardando
1061:Kolmogorov
861:Microsound
748:heart rate
664:syncopated
625:repetition
585:anacrustic
519:syncopated
496:or pulses;
421:beat level
316:polyrhythm
284:Lipizzaner
202:perception
145:architects
5444:Assertive
5252:Fragile X
5237:Aprosodia
5230:Disorders
5177:Semiotics
5105:Deception
4911:Proxemics
4901:Olfaction
4884:Oculesics
4869:Imitation
4659:Swaralipi
4649:Kunkunshi
4609:Tablature
4574:Eye music
4458:Glissando
4433:Fingering
4218:Dal segno
4120:Ululation
3947:Stop-time
3897:Isorhythm
3872:Half-time
3836:Count off
3806:Anacrusis
3130:0730-7829
3090:(cloth);
3041:cite book
2752:Channel 4
1818:Cantonese
1796:Isochrony
1752:John Cage
1598:durations
1358:3 + 3 + 2
1281:10 bytes
837:movements
621:rest beat
514:patterns;
320:polymeter
252:entrained
227:A simple
105:frequency
88:recurring
59:June 2024
51:talk page
5576:Patterns
5274:Dyssemia
5120:Intimacy
5040:Emoticon
4949:Loudness
4879:Laughter
4815:Kinesics
4806:Blushing
4799:Physical
4669:Znamenny
4510:Tonguing
4495:Staccato
4448:Ornament
4423:Dynamics
4375:Interval
4338:Notehead
4313:Cue note
4116:(figure)
4099:Sequence
4084:Phrasing
4067:Ornament
4047:Interval
4036:Balungan
3848:Duration
3831:Counting
3826:Colotomy
3633:(2013).
3610:(1946).
3545:(2002).
3521:(1911).
3470:. 1976.
3398:40285634
3355:(1993).
3343:(1960).
3330:. n.d. "
3236:(2007).
3196:(2001).
3177:24667562
3057:(2002).
3009:(2005).
2989:(1990).
2893:. 1983.
2835:. 2011.
2810:(1977).
2711:(1956).
2668:(1973).
2644:(1960).
2614:(1987).
2580:. 2003.
1572:Original
1527:Honkyoku
1295:Skrjabin
1278:12 bytes
1262:4 bytes
1243:6 bytes
1240:12 bytes
857:Xenakis'
841:sections
817:infinite
795:sequence
666:rhythm.
656:counting
644:downbeat
613:dynamics
429:periodic
326:and the
264:drilling
133:language
96:movement
92:symmetry
90:motion,
84:rhythmos
5528:Subtext
5449:Passive
5418:Related
5009:Habitus
4954:Prosody
4906:Posture
4847:Gesture
4678:Related
4644:Gamelan
4634:Chinese
4614:Parsons
4485:Portato
4468:Mordent
4443:Marcato
4428:Fermata
4418:Damping
4413:Caesura
4370:Tremolo
4301:natural
4213:Da capo
4079:Pattern
4052:Melisma
4042:Cadence
3932:Prosody
3882:Hemiola
3580:Press.
3531:(ed.).
3168:3965380
3076:Beyond
2570:Sources
1806:prosody
1732:phasing
1652:In the
1606:texture
1596:is the
1535:ametric
1387:poetics
1375:prosody
1273:7 bytes
1270:6 bytes
1259:0 bytes
1254:4 bytes
1251:0 bytes
1235:3 bytes
1232:6 bytes
902:resolve
845:phrases
768:measure
729:⁄
719:⁄
615:of the
526:tuplets
441:entrain
433:stimuli
415:of the
335:gamelan
330:kotekan
260:shamans
256:war cry
244:hominid
141:pattern
123:In the
5502:Tadoma
5247:Autism
5202:Unsaid
5167:Nunchi
5044:Smiley
4964:Stress
4959:Rhythm
4929:Affect
4921:Speech
4500:Tenuto
4438:Legato
4408:Accent
4365:Tuplet
4109:Timbre
4094:Rhythm
4024:Melody
3982:Tuplet
3867:Groove
3786:Rhythm
3722:843592
3720:
3695:
3669:
3652:
3620:
3599:
3584:
3507:
3478:
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2946:", in
2944:ῥυθμός
2938:, and
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2889:, and
2877:
2860:
2823:". In
2821:Rhythm
2786:
2767:
2732:
2676:
2652:
2622:
2589:Anon.
1810:stress
1760:drones
1722:, and
1698:, the
1502:, and
1371:speech
1337:, and
821:sample
791:stanza
784:phrase
779:figure
731:10,000
697:tactus
642:and a
640:upbeat
601:upbeat
593:strong
581:thetic
564:, and
554:metric
504:eighth
501:dotted
413:tactus
149:façade
79:ῥυθμός
73:(from
71:Rhythm
43:about
5033:Other
4654:Neume
4478:Trill
4473:Slide
4360:Tacet
4350:Pitch
4306:sharp
4258:Tempo
4243:Scale
4238:Ossia
4180:Staff
4125:Voice
4089:Pitch
4072:Trill
4062:Motif
3967:Tempo
3952:Swing
3937:Pulse
3861:Gatra
3790:meter
3749:Signo
3718:JSTOR
3527:. In
3394:JSTOR
3016:(PDF)
1654:Griot
1618:pulse
1614:meter
1602:parts
1513:chant
1429:tango
1421:waltz
1391:verse
1367:pitch
1355:) as
1224:R012
1184:R012
890:lend
863:(see
773:motif
766:of a
764:cells
744:drone
687:Tempo
512:swing
478:pulse
437:tempo
419:, or
409:pulse
229:duple
75:Greek
5518:Mime
4969:Tone
4852:List
4490:Slur
4355:Rest
4343:stem
4333:beam
4296:flat
4233:Mode
4208:Clef
4114:Type
3962:Tala
3892:Iqa'
3816:Beat
3788:and
3693:ISBN
3667:ISBN
3650:ISBN
3639:ISMN
3618:ISBN
3597:ISBN
3582:ISBN
3505:ISBN
3476:ISBN
3440:ISBN
3423:ISBN
3361:ISBN
3316:ISBN
3299:ISBN
3273:ISBN
3251:ISBN
3222:ISBN
3202:ISBN
3173:PMID
3126:ISSN
3092:ISBN
3084:ISBN
3063:ISBN
3047:link
3020:ISBN
2995:ISBN
2963:ISBN
2924:ISBN
2899:ISBN
2875:ISBN
2858:ISBN
2784:ISBN
2765:ISBN
2730:ISBN
2674:ISBN
2650:ISBN
2620:ISBN
1812:and
1734:and
1700:Tala
1554:Bach
1517:See
1463:See
1385:and
1299:Poem
1069:R012
1055:R012
1011:R012
982:R012
853:note
833:form
760:rest
689:and
597:weak
510:and
425:beat
384:and
363:and
359:Usul
356:and
344:see
159:and
109:riff
4505:Tie
4203:Bar
3811:Bar
3386:doi
3163:PMC
3153:doi
3118:doi
2942:. "
2844:sic
2602:",
1800:In
1746:in
1556:'s
1468:.)
1415:An
1369:in
1316:or
931::(
925:'s
797:of
776:or
701:bpm
411:or
103:or
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