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1671:(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:
1323:= 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
1362:: 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
1590:
1687:. 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.
1838:
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
1077:
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
474:
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
413:
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
265:) 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
129:
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
752:
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
324:
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,
931:
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
292:
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",
1298:
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
1591:
1082:
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.
210:
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
1678:
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
215:
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
1578:
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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
301:
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.
1579:
1576:
1517:
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
314:
1765:'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.
1303:
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,
109:
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
315:
3648:, 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.
312:
1493:
1522:) 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
768:
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
211:
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
1495:
150:, 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
1589:
2963:, 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
1070:
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
1457:
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
661:. 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
277:
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
1577:
325:
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
446:
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
878:) down to the threshold of audible perception; thousandths to millionths of seconds, are similarly comparable to Moravcsik's "short" and "supershort" levels of duration.
2852:. Tbilisi: Logos, International Research Center for Traditional Polyphony; Melbourne: University of Melbourne, Institute of Classical Philology, Bizantyne [
1835:
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.
1494:
5267:
1827:. 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
1415:
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",
1438:
Dance music has instantly recognizable patterns of beats built upon a characteristic tempo and measure. The
Imperial Society of Teachers of Dancing defines the
800:
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
1411:
The metric structure of music includes meter, tempo and all other rhythmic aspects that produce temporal regularity against which the foreground details or
313:
834:
and subsample, which take account of digital and electronic rates "too brief to be properly recorded or perceived", measured in millionths of seconds (
4776:
1701:
Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them.
718:
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.
2761:, produced by David Jeffcock. Television series, 4 episodes. Episode 2: "Rhythm" (Saturday 25 November, 6:20–7:20pm). Tiger Aspect Productions for
1078:
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
418:
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
3342:
1404:, the number of syllables in each line and the arrangement of those syllables as long or short, accented or unaccented. Music inherited the term "
745:
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
673:
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
162:. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by
2848:
2730:. Studia Psychologica. Louvain: Publications Universitaires; Paris and Brussels: Édition Erasme; Antwerp and Amsterdam: Standaard Boekhandel.
1552:
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.
3676:, 6th corrected reprint of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York: Oxford University Press.
3325:, 6th corrected reprint of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York: Oxford University Press.
3308:, 6th corrected reprint of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York: Oxford University Press.
3577:
3544:
261:. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, but only humans have the ability to be engaged (
4173:
3787:
902:
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and the supra musical, encompass natural periodicities of months, years, decades, centuries, and greater, while the last three, the
5162:
1738:
2818:
797:
that may characterise an entire genre of music, dance or poetry and that may be regarded as the fundamental formal unit of music.
3021:
2697:
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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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3596:
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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
158:
often speak of the rhythm of a building, referring to patterns in the spacing of windows, columns, and other elements of the
3747:
5373:
846:" roughly corresponds to Moravcsik's "very long" division while his Meso level, the level of "divisions of form" including
721:
Musical sound may be analyzed on five different time scales, which
Moravscik has arranged in order of increasing duration.
641:
The alternation of the strong and weak beat is fundamental to the ancient language of poetry, dance and music. The common
5388:
5378:
3811:
1769:
also wrote music in which the sense of a regular beat is absent because the music consists only of long sustained tones (
550:
225:
3557:
3421:
Proceedings of the Japan
Conference on Discrete and Computational Geometry, vol. 3742: Lecture Notes in Computer Science
1486:
Notation of three measures of a clave pattern preceded by one measure of steady quarter notes. This pattern is noted in
334:
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3287:
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3009:
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takes a wider view by distinguishing nine-time scales, this time in order of decreasing duration. The first two, the
3385:
Tanguiane, Andranick (1994). "A principle of correlativity of perception and its application to music recognition".
4762:
4639:
4025:
2997:
2865:
Aural Skills
Acquisition: The Development of Listening, Reading, and Performing Skills in College-Level Musicians
634:, or the long and short note. As well as perceiving rhythm humans must be able to anticipate it. This depends on
1331:
but rather given an impression of a change in rhythm, which implies an inadequate perception of musical meaning.
1316:
4166:
3962:
3780:
1831:
put roughly equal time on each syllable; in contrast, speakers of stressed-timed languages such as
English and
1560:
991:
This rhythm is perceived as it is rather than as the first three events repeated at a double tempo (denoted as
680:
Normally, even the most complex of meters may be broken down into a chain of duple and triple pulses either by
17:
1647:
in 1976 as "the extreme rhythmic foreground of a composition – the absolute surface of articulated movement".
5576:
5125:
3057:
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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
5581:
912:
681:
198:
Percussion instruments have clearly defined sounds that aid the creation and perception of complex rhythms.
3588:
5464:
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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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1074:'s complexity theory, this means such a representation of the data that minimizes the amount of memory.
5029:
4830:
2950:
757:, too slow a succession of sounds seems unconnected. This time frame roughly corresponds to the human
5571:
5081:
4743:
4634:
4609:
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1705:, an English pop singer of Indian descent, made performances based on her singing these patterns. In
1684:
938:
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4954:
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rhythms are open-ended and repetitive. Richard
Middleton points out this method cannot account for
1824:
1569:
293:
Sacks write, "No doubt many pet lovers will dispute this notion, and indeed many animals, from the
122:
in a rock music song); to several minutes or hours, or, at the most extreme, even over many years.
2831:
1526:, which has a basic pulse but a freer rhythm, like the rhythm of prose compared to that of verse.
309:
Compound triple drum pattern: divides three beats into three; contains repetition on three levels
5481:
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553:
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228:
31:
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2811:
An ABC of Music: A Short
Practical Guide to the Basic Essentials of Rudiments, Harmony, and Form
658:
281:
where group members put the interests of the group above their individual interests and safety.
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4283:
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Melodyhound has a "Query by Tapping" search that allows users to identify music based on rhythm
3641:
2676:
1844:
1706:
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364:
812:. Thus the temporal regularity of musical organisation includes the most elementary levels of
5471:
5130:
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3470:
2644:
African Rhythm and African Sensibility: Aesthetic and Social Action in African Musical Idioms
1816:
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298:
2908:. The MIT Press Series on Cognitive Theory and Mental Representation. Cambridge: MIT Press.
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665:. Normally such pulse-groups are defined by taking the most accented beat as the first and
8:
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5120:
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5019:
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3622:
3370:. Lecture Notes in Artificial Intelligence. Vol. 746. Berlin, Heidelberg: Springer.
3093:. Chicago and London: University of Chicago Press, 1977. Phoenix paperback edition 1980.
1363:
908:
819:
Very long: ≥ minutes or many hours, musical compositions or subdivisions of compositions.
710:, a measure of how quickly the beat flows. This is often measured in 'beats per minute' (
278:
4679:
3691:, (Cambridge Library Collection—Music), Cambridge University Press; first edition, 2009.
1674:
John Miller has argued that West African music is based on the tension between rhythms,
60:
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
858:
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
55:
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3710:. A collection of graded exercises in two volumes, from elementary to advanced level.
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2708:, and Andrew J. Rosenfeld (2007). "Perception and Production of Syncopated Rhythms".
2705:
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A Griot performs at Diffa, Niger, West Africa. The Griot is playing a Ngoni or Xalam.
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258:
102:
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2700:". 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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3119:
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2652:
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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.
1608:
1412:
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666:
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623:
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135:
3423:, edited by J. Akiyama, M. Kano, and X. Tan, 198–212. Berlin/Heidelberg: Springer.
650:
408:: beat level shown in middle with division levels above and multiple levels below.
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3449:, edited by Gary Wittlich, 208–269. Englewood Cliffs, New Jersey: Prentice-Hall.
3338:
3168:
2843:
2727:
1746:
1742:
1722:
1616:
1519:
1427:
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851:
714:): 60 bpm means a speed of one beat per second, a frequency of 1 Hz. A
253:
recently suggested that the sense of rhythm was developed in the early stages of
250:
183:
175:
3580:, 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
793:. This may be further organized, by repetition and variation, into a definite
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3800:
3748:'Rhythm of Prose', William Morrison Patterson, Columbia University Press 1917
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3548:. 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.
1644:
1640:
1612:
1422:
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863:
859:
843:
823:
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688:, 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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2884:, edited by Alison Latham. Oxford and New York: Oxford University Press.
1840:
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The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology
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3023:
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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3732:
142:
that occur over time, of the steps of a dance, or the meter of spoken
5459:
5247:
5187:
5115:
4984:
4921:
4894:
4879:
4669:
4659:
4619:
4584:
4468:
4228:
4130:
3957:
3937:
3907:
3846:
3816:
3400:
2762:
1828:
1806:
1762:
439:
330:
125:
Rhythm is related to and distinguished from pulse, meter, and beats:
115:
111:
1921:
1919:
1490:
relative to the one above, in one instead of two four-beat measures.
1475:
159:
5284:
5050:
4959:
4889:
4825:
4816:
4520:
4505:
4348:
4323:
4151:
4046:
3836:
3765:
3127:(1). Berkeley, California: University of California Press: 99–104.
1537:
827:
294:
274:
143:
3578:
The Development of Rhythmic Organization in Indian Classical Music
3117:(2006). "Musical Rhythm, Linguistic Rhythm, and Human Evolution".
2593:
Representing African Music: Postcolonial Notes, Queries, Positions
438:. This consists of a (repeating) series of identical yet distinct
5538:
4857:
4495:
4478:
4453:
4438:
4423:
4380:
4223:
4062:
4052:
3892:
2153:
1916:
1397:
345:
338:
329:
and simultaneous rhythms in more than one time signature, called
254:
151:
1354:
1026:
However, the motive with this rhythm in the Moussorgsky's piece
401:
42:
5512:
5257:
5212:
5177:
5054:
4931:
4510:
4448:
4375:
4119:
4034:
3992:
3150:"The Evolutionary Biology of Musical Rhythm: Was Darwin Wrong?"
2772:
Listening: An Introduction to the Perception of Auditory Events
2681:
Perspectives in Music Theory: An Historical-Analytical Approach
1482:
1381:
801:
536:
270:
106:
3445:
Winold, Allen (1975). "Rhythm in Twentieth-Century Music". In
2825:. Sevenoaks, Kent: Hodder and Stoughton; New York: David McKay
862:: "a basic unit of musical structure" and a generalization of
598:
and those beginning after a rest or tied-over note are called
118:
of anything from microseconds to several seconds (as with the
4664:
4370:
4268:
4248:
3977:
3533:
3514:. A theoretical approach to western and non-western rhythms.
2838:, Ithaca: Cornell University website (accessed 24 July 2014).
1664:
1523:
1431:
725:
Supershort: a single cycle of an audible wave, approximately
711:
697:
447:
245:, which lays a foundation of duration common in popular music
139:
88:
2354:
1856:
1611:
and patterns (rhythm) produced by amalgamating all sounding
649:
of the foot in time. In a similar way musicians speak of an
4218:
3260:. New York and Toronto: Alfred A. Knopf. pp. 233–247.
2274:
2272:
2270:
119:
3197:
Sound Targets: American Soldiers and Music in the Iraq War
2320:
2318:
2243:
2233:
2231:
2053:
1979:
4003:
2854:
2402:
1627:, often in metric or even-note patterns identical to the
552:
Audio playback is not supported in your browser. You can
227:
Audio playback is not supported in your browser. You can
5268:
Pervasive developmental disorder not otherwise specified
3356:
Poem for piano, Op. 32, No. 1. Transcribed by P. Lobanov
2378:
2267:
2170:
2168:
2129:
2105:
706:
The tempo of the piece is the speed or frequency of the
2970:
Hearing in Time: Psychological Aspects of Musical Meter
2602:
The Compact Edition of the Oxford English Dictionary II
2489:
2453:
2443:
2441:
2315:
2228:
2192:
2043:
2041:
2039:
2037:
2024:
2022:
2020:
2018:
1880:
3070:
Musical Sound: An Introduction to the Physics of Music
2896:
2867:. Oxford and New York: Oxford University Press, 2000.
1925:
138:, rhythm is the timing of events on a human scale; of
3585:
Rhythm—What it is and How to Improve Your Sense of It
2813:. Oxford and New York: Oxford University Press, 1963.
2604:. Oxford and New York: Oxford University Press, 1971.
2537:
2342:
2255:
2216:
2165:
1815:, rhythm or isochrony is one of the three aspects of
2695:
2513:
2477:
2438:
2366:
2298:
2204:
2141:
2034:
2015:
1955:
1943:
1868:
630:
beat, the played beat and the inaudible but implied
3558:"Structure and interpretation of rhythm and timing"
3358:. Moscow: Gosudarstvennoye Muzykalnoye Izdatelstvo.
3199:. Bloomington and London: Indiana University Press.
2704:
2501:
2414:
2159:
2003:
1892:
284:Some types of parrots can know rhythm. Neurologist
3657:Music and Rhythm: Fundamentals, History, Analysis.
3248:
2734:
2471:
2390:
2180:
1991:
1967:
761:and to the duration of a single step, syllable or
610:and those that end on a strong or weak upbeat are
414:integral parts of a larger rhythmic organization.
2945:
2330:
2077:
1904:
1862:
5563:
2972:. Oxford and New York: Oxford University Press.
2629:, second edition. New York: Dover Publications.
1931:
1679:relatively simple patterns that meet at distant
3485:. New Haven and London: Yale University Press.
3432:. Englewood Cliffs, New Jersey: Prentice-Hall.
3072:. New York: Kluwer Academic/Plenum Publishers.
638:of a pattern that is short enough to memorize.
3717:(Autumn 1975). "Rubato and the Middleground".
2933:. Hillsdale, New York: Pendragon Press, 1986.
2714:, vol. 25, issue 1, pp. 43–58. ISSN 0730-7829.
130:and either one or two unaccented (weak) beats.
4770:
4167:
4019:
3781:
3091:: The Need for Alternatives in Music Analysis
905:to certain ideas, incidents, or controversies
617:
146:and poetry. In some performing arts, such as
2849:Why do People Sing? Music in Human Evolution
2735:Forney, Kristine, and Joseph Machlis. 2007.
2433:Imperial Society of Teachers of Dancing 1977
1761:. This use may be explained by a comment of
1737:wrote more rhythmically complex music using
1623:, the composite rhythm usually confirms the
1087:Complexity of representation of time events
4784:
3419:2005. "The Geometry of Musical Rhythm". In
3368:Artificial Perception and Music Recognition
2650:
2646:. Chicago: The University of Chicago Press.
2135:
1886:
1499:Four beats followed by three clave patterns
881:
510:Intrametric – confirming patterns, such as
359:. For other Asian approaches to rhythm see
4777:
4763:
4729:
4174:
4160:
4026:
4012:
3788:
3774:
3524:
3039:. Archived from the original on 2020-11-09
2984:
2324:
2309:
2237:
1631:on a specific metric level. White defines
1400:, where it means the number of lines in a
995:= repeat from 0, one time, twice faster):
915:this issue before removing this message.
535:Extrametric – irregular patterns, such as
386:
154:unites rhythm with geometry. For example,
5295:Social (pragmatic) communication disorder
3689:The Aristoxenian Theory of Musical Rhythm
3415:
3384:
3362:
3226:
3177:
3167:
3064:
2996:
2862:
2739:, tenth edition. New York: W. W. Norton.
2571:
2459:
2384:
2360:
2348:
2278:
1961:
1949:
5163:Basic interpersonal communicative skills
3350:
3320:
3300:
2842:
2829:
2659:. Chicago: University of Chicago Press.
2641:
2531:
2519:
2372:
2059:
2047:
2028:
1898:
1654:
1586:
1574:
1559:
1491:
1481:
1421:
1353:
670:
400:
310:
304:
216:clock-ticks into "tick-tock-tick-tock".
193:
5230:
3461:
3337:
3282:, edited by Arved Mark Ashby, 253–258.
3250:"19. Keeping Time: Rhythm and Movement"
3211:. Cambridge, Massachusetts: MIT Press.
3194:
3084:
3004:. Philadelphia: Open University Press.
2819:Imperial Society of Teachers of Dancing
2751:
2718:
2555:
2294:
2290:
2249:
2071:
1985:
1789:, in order to perform them. Similarly,
1749:. At the same time, modernists such as
503:Metric – even patterns, such as steady
14:
5564:
3477:
3444:
3274:
3016:
2967:
2928:
2879:
2769:
2675:
2559:
2543:
2495:
2447:
2408:
2396:
2261:
2222:
2210:
2198:
2186:
2174:
2123:
2009:
1973:
1910:
594:, those beginning on a weak pulse are
182:, William Rothstein, Joel Lester, and
5229:
5151:
5025:High-context and low-context cultures
4796:
4758:
4155:
4007:
3769:
3467:A Handbook of Experimental Psychology
3427:
3321:Scholes, Percy (1977c). "Rhythm", in
3243:
3203:
3147:
3113:
3029:. London: Weidenfeld & Nicolson.
2805:
2788:
2621:
2611:Parrots Have Got Rhythm, Studies Find
2608:
2599:
2587:
2507:
2483:
2420:
2336:
2147:
2111:
2099:
2095:
2083:
1997:
1937:
1874:
762:
715:
691:
5374:Computer processing of body language
5152:
4181:
3795:
3483:The Stratification of Musical Rhythm
3148:Patel, Aniruddh D. (25 March 2014).
2696:Covaciu-Pogorilowski, Andrei. n.d. "
1721:In the 20th century, composers like
1635:as, "the resultant overall rhythmic
885:
36:
5389:List of facial expression databases
5379:Emotion recognition in conversation
2793:. Oxford: Oxford University Press.
2758:How Music Works with Howard Goodall
2698:Musical Time Theory and a Manifesto
1555:
1408:" from the terminology of poetry.)
1335:
909:create a more balanced presentation
478:
335:cross-rhythms of Sub-Saharan Africa
24:
3499:
3447:Aspects of Twentieth-Century Music
2906:A Generative Theory of Tonal Music
1442:, for example, as to be danced in
528:Contrametric – non-confirming, or
25:
5598:
5273:Childhood disintegrative disorder
3741:
1376:The study of rhythm, stress, and
1259:Complexity of its transformation
669:the pulses until the next accent.
4739:
4738:
4728:
2992:, London: Joseph Williams, 1930.
1716:
1650:
1315:
1227:
1214:
1203:
1188:
1181:
1174:
1163:
1156:
1149:
1140:
1133:
1126:
1056:
1051:is rather perceived as a repeat
1042:
1031:
1013:
1006:
999:
983:
976:
969:
960:
953:
946:
890:
602:. Endings on a strong pulse are
41:
3562:Tijdschrift voor Muziektheorie
2880:Latham, Alison. 2002. "Metre",
2858:] and Modern Greek Studies.
2657:The Rhythmic Structure of Music
2549:
2284:
2089:
1690:
1505:The general classifications of
1240:Complexity of rhythmic pattern
189:
4797:
3258:, Tales of Music and the Brain
2642:Chernoff, John Miller (1979).
1800:
499:. These may be classified as:
434:, sometimes simply called the
381:
13:
1:
3674:The Oxford Companion to Music
3323:The Oxford Companion to Music
3306:The Oxford Companion to Music
3278:(2004). "A Fine Madness". In
2882:The Oxford Companion to Music
2627:Structural Functions in Music
1850:
1085:
351:For information on rhythm in
3568:(3): 227–232. Archived from
3231:. New York: Schirmer Books.
3229:Phrase Rhythm in Tonal Music
3169:10.1371/journal.pbio.1001821
2830:Jirousek, Charlotte. 1995. "
1843:and suggests the concept of
645:refers, as in dance, to the
549:
491:or pulses on the underlying
224:
7:
5290:Nonverbal learning disorder
4868:Speech-independent gestures
4841:Facial Action Coding System
4539:History of music publishing
3428:White, John David. (1976).
3227:Rothstein, William (1989).
2789:Hasty, Christopher (1997).
1926:Lerdahl and Jackendoff 1983
257:evolution by the forces of
140:musical sounds and silences
10:
5603:
5030:Interpersonal relationship
4831:Body-to-body communication
4033:
3700:Broekmans & Van Poppel
3694:Van Der, Horst F. (1963).
3604:The Topos of Music, Vol. I
3195:Pieslak, Jonathan (2009).
2931:The Rhythms of Tonal Music
2724:Les Structures Rhythmiques
2580:
1804:
1694:
1639:among all the voices of a
1434:, a dance in triple metre.
1339:
1308:'s own performance of his
695:
618:Alternation and repetition
585:A rhythmic gesture is any
390:
89:
29:
5521:
5495:
5435:
5428:
5402:
5366:
5330:
5303:
5240:
5236:
5225:
5158:
5147:
5103:
5080:
5043:
4995:
4930:
4809:
4805:
4792:
4744:Category:Musical notation
4724:
4688:
4610:Numbered musical notation
4562:
4529:
4409:
4401:Scientific pitch notation
4292:
4189:
4041:
3807:
3602:Mazzola, Guerino (2017).
3473:,. New York: Wiley, 1951.
3343:Discovering Music: Rhythm
3056:: CS1 maint: unfit URL (
2299:Covaciu-Pogorilowski n.d.
1741:, and techniques such as
1098:
1093:
939:Pictures at an Exhibition
487:that synchronises with a
458:in western notation (see
202:In his television series
5445:Behavioral communication
4391:Helmholtz pitch notation
3918:Non-retrogradable rhythm
3655:Petersen, Peter (2013).
3606:. Heidelberg: Springer.
3465:. "Time Perception". In
2770:Handel, Stephen (1989).
2683:. New York: Dodd, Mead.
2160:Fitch and Rosenfeld 2007
882:Rhythm–tempo interaction
466:, and slower levels are
372:—Rhythm in Turkish music
4885:Interpersonal synchrony
4786:Nonverbal communication
4734:List of musical symbols
4605:Nashville Number System
3720:Journal of Music Theory
3652: 979-0-9002315-1-2
3627:. The Word Foundation.
3545:Encyclopædia Britannica
3133:10.1525/mp.2006.24.1.99
2968:London, Justin (2004).
2960:A Greek–English Lexicon
2836:An Interactive Textbook
2765:Television Corporation.
2651:Cooper, Grosvenor, and
2472:Forney and Machlis 2007
2136:Cooper & Meyer 1960
1887:Cooper & Meyer 1960
1785:, the first electronic
554:download the audio file
387:Pulse, beat and measure
361:Rhythm in Persian music
269:, rhythmic drumming by
229:download the audio file
32:Rhythm (disambiguation)
5482:Monastic sign lexicons
5173:Emotional intelligence
4284:Transposing instrument
3659:New York: Peter Lang.
3583:Lewis, Andrew (2005).
3508:Die Kunst des Rhythmus
3417:Toussaint, Godfried T.
3002:Studying Popular Music
2737:The Enjoyment of Music
2595:. New York: Routledge.
1863:Liddell and Scott 1996
1707:Indian classical music
1685:call-and-response form
1660:
1621:common practice period
1598:
1596:
1584:
1502:
1500:
1435:
1419:of "measured rhythm".
1373:
1333:
416:
409:
365:Rhythm in Arabic music
321:
319:
199:
132:
105:") generally means a "
52:is missing information
5472:Impression management
3812:Additive and divisive
3530:Tovey, Donald Francis
3526:Gosse, Edmund William
3506:Giger, Peter (1993).
3471:Stanley Smith Stevens
3430:The Analysis of Music
3345:with Leonard Slatkin"
3304:(1977b). "Metre", in
3066:Moravcsik, Michael J.
2947:Liddell, Henry George
1658:
1594:
1582:
1563:
1498:
1485:
1425:
1357:
1340:Further information:
1301:
810:dance moves and steps
696:Further information:
462:). Faster levels are
411:
404:
391:Further information:
318:
308:
299:Spanish Riding School
197:
178:, Christopher Hasty,
127:
5577:Cognitive musicology
5487:Verbal communication
5440:Animal communication
5358:Targeted advertising
4875:Haptic communication
3938:Prolation and tempus
3687:Williams, C. F. A.,
3672:(1977a). "Form", in
3624:Thinking and Destiny
3364:Tanguiane, Andranick
2726:, with a preface by
1544:, may be considered
1428:early moving picture
1392:): it is a topic in
1360:clave rhythm pattern
804:or a characteristic
682:addition or division
563:From left to right:
30:For other uses, see
5582:Musical terminology
5496:Non-verbal language
5384:Gesture recognition
5231:Further information
5121:Emotion recognition
5072:Silent service code
4630:Percussion notation
3619:Percival, Harold W.
3576:Humble, M. (2002).
3352:Skrjabin, Alexander
2986:Macpherson, Stewart
2863:Karpinski, Gary S.
2755:(presenter). 2006.
2411:, pp. 209–210.
2363:, pp. 465–502.
2114:, pp. 239–240.
1570:Sinfonia in F minor
1413:durational patterns
1364:asymmetrical rhythm
1088:
838:), and finally the
659:"on" and "off" beat
647:lifting and tapping
606:, on a weak pulse,
450:to which listeners
279:collective identity
5522:Art and literature
5477:Meta-communication
5465:Passive-aggressive
5394:Sentiment analysis
5095:Non-verbal leakage
3115:Patel, Aniruddh D.
2998:Middleton, Richard
2706:Fitch, W. Tecumseh
2102:, pp. 239–240
2062:, pp. 99–101.
1755:irrational rhythms
1669:Babatunde Olatunji
1661:
1619:. In music of the
1599:
1597:
1585:
1503:
1501:
1436:
1374:
1099:Rhythm with pitch
1086:
876:granular synthesis
773:" pulses into the
692:Tempo and duration
643:poetic term "foot"
587:durational pattern
485:durational pattern
410:
322:
320:
200:
180:Godfried Toussaint
5559:
5558:
5555:
5554:
5551:
5550:
5547:
5546:
5253:Asperger syndrome
5221:
5220:
5203:Social competence
5143:
5142:
5139:
5138:
4945:Emotional prosody
4851:Subtle expression
4836:Facial expression
4752:
4751:
4696:Mensural notation
4149:
4148:
4001:
4000:
3913:Metric modulation
3665:978-3-631-64393-8
3634:978-0-911650-06-8
3612:978-3-319-64364-9
3597:978-0-9754667-0-4
3587:. San Francisco:
3520:978-3-7957-1862-6
3377:978-3-540-57394-4
3293:The Village Voice
3290:. Reprinted from
3267:978-1-4000-4081-0
3221:978-0-262-68154-4
3217:978-0-262-18215-7
3107:978-0-226-56848-5
3099:978-0-226-56847-8
3085:Narmour, Eugene.
3078:978-0-306-46710-3
2939:978-0-8093-1282-5
2922:978-0-262-62049-9
2918:978-0-262-62107-6
2914:978-0-262-12094-4
2873:978-0-19-511785-1
2745:978-0-393-17423-6
2635:978-0-486-25384-8
2615:World-Science.net
2498:, pp. 41–42.
2297:, both quoted in
1773:). In the 1930s,
1683:intervals and on
1592:
1580:
1573:BWV 795, mm. 1–3
1530:Free time (music)
1496:
1430:demonstrates the
1296:
1295:
1278:Total complexity
1117:Coding as repeat
1109:Coding as repeat
929:
928:
907:. Please help to
899:This section may
558:
316:
259:natural selection
233:
79:
78:
16:(Redirected from
5594:
5572:Rhythm and meter
5433:
5432:
5410:Ray Birdwhistell
5238:
5237:
5227:
5226:
5153:Broader concepts
5149:
5148:
5126:First impression
4807:
4806:
4794:
4793:
4779:
4772:
4765:
4756:
4755:
4742:
4741:
4732:
4731:
4595:Graphic notation
4259:Rehearsal letter
4183:Musical notation
4176:
4169:
4162:
4153:
4152:
4028:
4021:
4014:
4005:
4004:
3790:
3783:
3776:
3767:
3766:
3736:
3638:
3573:
3549:
3537:
3494:
3474:
3463:Woodrow, Herbert
3458:
3441:
3424:
3412:
3401:10.2307/40285634
3388:Music Perception
3381:
3359:
3346:
3339:Slatkin, Leonard
3334:
3317:
3297:
3296:(16 March 1982).
3271:
3252:
3240:
3223:
3200:
3191:
3181:
3171:
3144:
3120:Music Perception
3110:
3081:
3061:
3055:
3047:
3045:
3044:
3028:
3013:
2993:
2981:
2964:
2942:
2925:
2893:
2876:
2859:
2844:Jordania, Joseph
2839:
2826:
2823:Ballroom Dancing
2814:
2802:
2785:
2766:
2748:
2731:
2715:
2711:Music Perception
2701:
2692:
2672:
2653:Leonard B. Meyer
2647:
2638:
2618:
2605:
2596:
2575:
2569:
2563:
2553:
2547:
2541:
2535:
2529:
2523:
2517:
2511:
2505:
2499:
2493:
2487:
2481:
2475:
2469:
2463:
2457:
2451:
2445:
2436:
2430:
2424:
2418:
2412:
2406:
2400:
2394:
2388:
2382:
2376:
2370:
2364:
2358:
2352:
2346:
2340:
2334:
2328:
2322:
2313:
2307:
2301:
2288:
2282:
2276:
2265:
2259:
2253:
2247:
2241:
2235:
2226:
2220:
2214:
2208:
2202:
2201:, p. 50–52.
2196:
2190:
2184:
2178:
2172:
2163:
2157:
2151:
2145:
2139:
2133:
2127:
2121:
2115:
2109:
2103:
2093:
2087:
2081:
2075:
2069:
2063:
2057:
2051:
2045:
2032:
2026:
2013:
2007:
2001:
1995:
1989:
1983:
1977:
1971:
1965:
1959:
1953:
1947:
1941:
1935:
1929:
1923:
1914:
1908:
1902:
1896:
1890:
1884:
1878:
1872:
1866:
1860:
1833:Mandarin Chinese
1791:Conlon Nancarrow
1751:Olivier Messiaen
1633:composite rhythm
1604:composite rhythm
1593:
1581:
1556:Composite rhythm
1497:
1476:Rhythm and dance
1471:
1470:
1469:
1468:
1456:
1455:
1454:
1453:
1371:
1336:Metric structure
1322:
1321:
1319:
1232:
1231:
1219:
1218:
1208:
1207:
1193:
1192:
1186:
1185:
1179:
1178:
1168:
1167:
1161:
1160:
1154:
1153:
1145:
1144:
1138:
1137:
1131:
1130:
1114:Complete coding
1106:Complete coding
1089:
1061:
1060:
1047:
1046:
1036:
1035:
1018:
1017:
1011:
1010:
1004:
1003:
988:
987:
981:
980:
974:
973:
965:
964:
958:
957:
951:
950:
924:
921:
894:
893:
886:
763:rhythmic gesture
744:
743:
739:
734:
733:
729:
702:Duration (music)
495:may be called a
479:Unit and gesture
317:
136:performance arts
92:
91:
74:
71:
65:
45:
37:
21:
5602:
5601:
5597:
5596:
5595:
5593:
5592:
5591:
5562:
5561:
5560:
5543:
5534:Mimoplastic art
5517:
5508:Tactile signing
5491:
5424:
5398:
5362:
5326:
5299:
5232:
5217:
5193:Social behavior
5154:
5135:
5099:
5090:Microexpression
5076:
5060:One-bit message
5039:
4991:
4926:
4846:Microexpression
4801:
4788:
4783:
4753:
4748:
4720:
4684:
4558:
4549:Music publisher
4544:Music engraving
4525:
4405:
4396:Letter notation
4288:
4185:
4180:
4150:
4145:
4115:Steps and skips
4037:
4032:
4002:
3997:
3888:Harmonic rhythm
3803:
3794:
3744:
3739:
3713:
3635:
3617:
3552:
3502:
3500:Further reading
3497:
3378:
3268:
3162:(3): e1001821.
3049:
3048:
3042:
3040:
3037:
3026:
2791:Meter as Rhythm
2782:
2753:Goodall, Howard
2583:
2578:
2570:
2566:
2554:
2550:
2542:
2538:
2530:
2526:
2518:
2514:
2506:
2502:
2494:
2490:
2482:
2478:
2470:
2466:
2458:
2454:
2446:
2439:
2431:
2427:
2419:
2415:
2407:
2403:
2395:
2391:
2383:
2379:
2371:
2367:
2359:
2355:
2347:
2343:
2335:
2331:
2325:MacPherson 1930
2323:
2316:
2310:MacPherson 1930
2308:
2304:
2289:
2285:
2277:
2268:
2260:
2256:
2248:
2244:
2238:MacPherson 1930
2236:
2229:
2221:
2217:
2209:
2205:
2197:
2193:
2185:
2181:
2173:
2166:
2158:
2154:
2146:
2142:
2134:
2130:
2122:
2118:
2110:
2106:
2094:
2090:
2082:
2078:
2070:
2066:
2058:
2054:
2046:
2035:
2027:
2016:
2008:
2004:
1996:
1992:
1984:
1980:
1972:
1968:
1960:
1956:
1948:
1944:
1936:
1932:
1924:
1917:
1909:
1905:
1897:
1893:
1885:
1881:
1877:, p. 2537.
1873:
1869:
1861:
1857:
1853:
1809:
1803:
1747:additive rhythm
1723:Igor Stravinsky
1719:
1699:
1693:
1653:
1587:
1575:
1558:
1540:repertoire for
1520:additive rhythm
1511:measured rhythm
1507:metrical rhythm
1492:
1467:
1462:
1461:
1460:
1459:
1458:
1452:
1447:
1446:
1445:
1444:
1443:
1390:prosody (music)
1367:
1352:
1338:
1314:
1313:
1234:
1233:
1226:
1221:
1220:
1213:
1210:
1209:
1202:
1194:
1187:
1180:
1173:
1169:
1162:
1155:
1148:
1146:
1139:
1132:
1125:
1068:
1063:
1062:
1055:
1049:
1048:
1041:
1038:
1037:
1030:
1024:
1019:
1012:
1005:
998:
989:
982:
975:
968:
966:
959:
952:
945:
925:
919:
916:
895:
891:
884:
741:
737:
736:
731:
727:
726:
704:
694:
684:. According to
628:strong and weak
620:
583:
582:
581:
580:
561:
560:
559:
557:
481:
468:multiple levels
464:division levels
442:short-duration
399:
389:
384:
344:rhythms of the
333:. Such are the
311:
251:Joseph Jordania
248:
247:
246:
236:
235:
234:
232:
204:How Music Works
192:
184:Guerino Mazzola
176:Jonathan Kramer
97:, "any regular
75:
69:
66:
59:
46:
35:
28:
27:Aspect of music
23:
22:
15:
12:
11:
5:
5600:
5590:
5589:
5584:
5579:
5574:
5557:
5556:
5553:
5552:
5549:
5548:
5545:
5544:
5542:
5541:
5536:
5531:
5525:
5523:
5519:
5518:
5516:
5515:
5510:
5505:
5499:
5497:
5493:
5492:
5490:
5489:
5484:
5479:
5474:
5469:
5468:
5467:
5462:
5457:
5452:
5442:
5436:
5430:
5426:
5425:
5423:
5422:
5417:
5415:Charles Darwin
5412:
5406:
5404:
5400:
5399:
5397:
5396:
5391:
5386:
5381:
5376:
5370:
5368:
5364:
5363:
5361:
5360:
5355:
5350:
5345:
5340:
5334:
5332:
5328:
5327:
5325:
5324:
5319:
5309:
5307:
5301:
5300:
5298:
5297:
5292:
5287:
5282:
5281:
5280:
5275:
5270:
5265:
5260:
5255:
5244:
5242:
5234:
5233:
5223:
5222:
5219:
5218:
5216:
5215:
5210:
5205:
5200:
5195:
5190:
5185:
5180:
5175:
5170:
5165:
5159:
5156:
5155:
5145:
5144:
5141:
5140:
5137:
5136:
5134:
5133:
5128:
5123:
5118:
5113:
5111:Affect display
5107:
5105:
5101:
5100:
5098:
5097:
5092:
5086:
5084:
5078:
5077:
5075:
5074:
5069:
5068:
5067:
5057:
5047:
5045:
5041:
5040:
5038:
5037:
5032:
5027:
5022:
5017:
5012:
5007:
5001:
4999:
4997:Social context
4993:
4992:
4990:
4989:
4988:
4987:
4982:
4977:
4972:
4967:
4962:
4957:
4947:
4942:
4936:
4934:
4928:
4927:
4925:
4924:
4919:
4914:
4909:
4908:
4907:
4905:Pupil dilation
4902:
4892:
4887:
4882:
4877:
4872:
4871:
4870:
4865:
4855:
4854:
4853:
4848:
4843:
4833:
4828:
4819:
4813:
4811:
4803:
4802:
4790:
4789:
4782:
4781:
4774:
4767:
4759:
4750:
4749:
4747:
4746:
4736:
4725:
4722:
4721:
4719:
4718:
4713:
4708:
4703:
4698:
4692:
4690:
4686:
4685:
4683:
4682:
4677:
4672:
4667:
4662:
4657:
4652:
4647:
4642:
4637:
4632:
4627:
4622:
4617:
4612:
4607:
4602:
4597:
4592:
4587:
4582:
4577:
4572:
4566:
4564:
4560:
4559:
4557:
4556:
4551:
4546:
4541:
4535:
4533:
4527:
4526:
4524:
4523:
4518:
4513:
4508:
4503:
4498:
4493:
4492:
4491:
4486:
4481:
4476:
4471:
4466:
4456:
4451:
4446:
4441:
4436:
4431:
4426:
4421:
4415:
4413:
4407:
4406:
4404:
4403:
4398:
4393:
4388:
4383:
4378:
4373:
4368:
4363:
4358:
4357:
4356:
4351:
4346:
4336:
4331:
4326:
4321:
4320:
4319:
4314:
4309:
4298:
4296:
4290:
4289:
4287:
4286:
4281:
4276:
4274:Time signature
4271:
4266:
4261:
4256:
4251:
4246:
4241:
4236:
4231:
4226:
4221:
4216:
4211:
4206:
4201:
4195:
4193:
4187:
4186:
4179:
4178:
4171:
4164:
4156:
4147:
4146:
4144:
4143:
4138:
4133:
4128:
4122:
4117:
4112:
4107:
4102:
4097:
4092:
4087:
4086:
4085:
4075:
4070:
4068:Melodic motion
4065:
4060:
4055:
4050:
4042:
4039:
4038:
4031:
4030:
4023:
4016:
4008:
3999:
3998:
3996:
3995:
3990:
3988:Time signature
3985:
3980:
3975:
3970:
3965:
3960:
3955:
3950:
3945:
3940:
3935:
3930:
3925:
3923:Notes inégales
3920:
3915:
3910:
3905:
3900:
3895:
3890:
3885:
3880:
3875:
3868:
3867:
3866:
3856:
3851:
3850:
3849:
3839:
3834:
3829:
3824:
3819:
3814:
3808:
3805:
3804:
3793:
3792:
3785:
3778:
3770:
3764:
3763:
3755:
3750:
3743:
3742:External links
3740:
3738:
3737:
3727:(2): 286–301.
3711:
3692:
3685:
3670:Scholes, Percy
3667:
3653:
3639:
3633:
3615:
3600:
3581:
3574:
3572:on 2012-12-08.
3550:
3540:Chisholm, Hugh
3535:"Rhythm"
3522:
3503:
3501:
3498:
3496:
3495:
3475:
3459:
3442:
3425:
3413:
3395:(4): 465–502.
3382:
3376:
3360:
3348:
3335:
3318:
3302:Scholes, Percy
3298:
3272:
3266:
3241:
3224:
3201:
3192:
3145:
3111:
3082:
3062:
3035:
3018:Mithen, Steven
3014:
2994:
2982:
2965:
2943:
2929:Lester, Joel.
2926:
2902:Ray Jackendoff
2894:
2877:
2860:
2840:
2827:
2815:
2803:
2786:
2780:
2767:
2749:
2732:
2716:
2702:
2693:
2673:
2648:
2639:
2623:Berry, Wallace
2619:
2606:
2597:
2584:
2582:
2579:
2577:
2576:
2572:Middleton 1990
2564:
2548:
2546:, p. 257.
2536:
2524:
2512:
2500:
2488:
2486:, p. 136.
2476:
2464:
2460:Karpinski 2000
2452:
2437:
2425:
2413:
2401:
2389:
2387:, p. 480.
2385:Tanguiane 1994
2377:
2365:
2361:Tanguiane 1994
2353:
2349:Tanguiane 1993
2341:
2329:
2314:
2302:
2283:
2281:, p. 114.
2279:Moravcsik 2002
2266:
2264:, p. 237.
2254:
2242:
2227:
2225:, p. 239.
2215:
2203:
2191:
2179:
2177:, p. 213.
2164:
2152:
2150:, p. 349.
2140:
2128:
2116:
2104:
2088:
2076:
2064:
2052:
2033:
2014:
2002:
1990:
1978:
1966:
1962:Rothstein 1989
1954:
1950:Toussaint 2005
1942:
1930:
1915:
1903:
1891:
1879:
1867:
1854:
1852:
1849:
1845:transformation
1805:Main article:
1802:
1799:
1793:wrote for the
1787:rhythm machine
1781:to invent the
1767:La Monte Young
1759:New Complexity
1718:
1715:
1703:Sheila Chandra
1692:
1689:
1681:cross-rhythmic
1652:
1649:
1595:With composite
1557:
1554:
1463:
1448:
1406:meter or metre
1358:Notation of a
1350:Metre (poetry)
1337:
1334:
1294:
1293:
1290:
1287:
1285:
1282:
1279:
1275:
1274:
1271:
1268:
1266:
1263:
1260:
1256:
1255:
1252:
1249:
1247:
1244:
1241:
1237:
1236:
1225:
1224:
1222:
1212:
1211:
1201:
1200:
1198:
1196:
1172:
1170:
1147:
1124:
1122:
1119:
1118:
1115:
1112:
1110:
1107:
1104:
1101:
1100:
1097:
1095:
1092:
1064:
1054:
1053:
1040:
1039:
1029:
1028:
1020:
997:
967:
944:
927:
926:
911:. Discuss and
898:
896:
889:
883:
880:
821:
820:
817:
798:
766:
750:
693:
690:
619:
616:
579:rhythmic units
562:
551:
548:
545:
544:
543:
542:
541:
540:
533:
526:
519:sixteenth note
508:
480:
477:
460:time signature
428:mensural level
388:
385:
383:
380:
376:Dumbek rhythms
297:horses of the
237:
226:
223:
220:
219:
218:
208:Howard Goodall
191:
188:
172:Ray Jackendoff
77:
76:
56:counter-rhythm
49:
47:
40:
26:
18:Rhythm (music)
9:
6:
4:
3:
2:
5599:
5588:
5585:
5583:
5580:
5578:
5575:
5573:
5570:
5569:
5567:
5540:
5537:
5535:
5532:
5530:
5527:
5526:
5524:
5520:
5514:
5511:
5509:
5506:
5504:
5503:Sign language
5501:
5500:
5498:
5494:
5488:
5485:
5483:
5480:
5478:
5475:
5473:
5470:
5466:
5463:
5461:
5458:
5456:
5453:
5451:
5448:
5447:
5446:
5443:
5441:
5438:
5437:
5434:
5431:
5427:
5421:
5418:
5416:
5413:
5411:
5408:
5407:
5405:
5401:
5395:
5392:
5390:
5387:
5385:
5382:
5380:
5377:
5375:
5372:
5371:
5369:
5365:
5359:
5356:
5354:
5351:
5349:
5348:Freudian slip
5346:
5344:
5343:Lie detection
5341:
5339:
5336:
5335:
5333:
5329:
5323:
5322:Mirror neuron
5320:
5318:
5314:
5313:Limbic system
5311:
5310:
5308:
5306:
5302:
5296:
5293:
5291:
5288:
5286:
5283:
5279:
5278:Rett syndrome
5276:
5274:
5271:
5269:
5266:
5264:
5261:
5259:
5256:
5254:
5251:
5250:
5249:
5246:
5245:
5243:
5239:
5235:
5228:
5224:
5214:
5211:
5209:
5208:Social skills
5206:
5204:
5201:
5199:
5196:
5194:
5191:
5189:
5186:
5184:
5183:People skills
5181:
5179:
5176:
5174:
5171:
5169:
5168:Communication
5166:
5164:
5161:
5160:
5157:
5150:
5146:
5132:
5129:
5127:
5124:
5122:
5119:
5117:
5114:
5112:
5109:
5108:
5106:
5104:Multi-faceted
5102:
5096:
5093:
5091:
5088:
5087:
5085:
5083:
5079:
5073:
5070:
5066:
5063:
5062:
5061:
5058:
5056:
5052:
5049:
5048:
5046:
5042:
5036:
5033:
5031:
5028:
5026:
5023:
5021:
5018:
5016:
5015:Display rules
5013:
5011:
5008:
5006:
5003:
5002:
5000:
4998:
4994:
4986:
4985:Voice quality
4983:
4981:
4978:
4976:
4973:
4971:
4968:
4966:
4963:
4961:
4958:
4956:
4953:
4952:
4951:
4948:
4946:
4943:
4941:
4938:
4937:
4935:
4933:
4929:
4923:
4920:
4918:
4915:
4913:
4910:
4906:
4903:
4901:
4898:
4897:
4896:
4893:
4891:
4888:
4886:
4883:
4881:
4878:
4876:
4873:
4869:
4866:
4864:
4861:
4860:
4859:
4856:
4852:
4849:
4847:
4844:
4842:
4839:
4838:
4837:
4834:
4832:
4829:
4827:
4823:
4822:Body language
4820:
4818:
4815:
4814:
4812:
4808:
4804:
4800:
4795:
4791:
4787:
4780:
4775:
4773:
4768:
4766:
4761:
4760:
4757:
4745:
4737:
4735:
4727:
4726:
4723:
4717:
4716:Transcription
4714:
4712:
4711:Sight-reading
4709:
4707:
4706:Perfect pitch
4704:
4702:
4699:
4697:
4694:
4693:
4691:
4687:
4681:
4678:
4676:
4673:
4671:
4668:
4666:
4663:
4661:
4658:
4656:
4653:
4651:
4648:
4646:
4643:
4641:
4640:Ancient Greek
4638:
4636:
4633:
4631:
4628:
4626:
4623:
4621:
4618:
4616:
4613:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4591:
4588:
4586:
4583:
4581:
4580:Chord diagram
4578:
4576:
4573:
4571:
4570:Braille music
4568:
4567:
4565:
4563:Other systems
4561:
4555:
4552:
4550:
4547:
4545:
4542:
4540:
4537:
4536:
4534:
4532:
4528:
4522:
4519:
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4514:
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4509:
4507:
4504:
4502:
4499:
4497:
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4490:
4487:
4485:
4482:
4480:
4477:
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4470:
4467:
4465:
4462:
4461:
4460:
4457:
4455:
4452:
4450:
4447:
4445:
4442:
4440:
4437:
4435:
4432:
4430:
4427:
4425:
4422:
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4417:
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4412:
4408:
4402:
4399:
4397:
4394:
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4389:
4387:
4384:
4382:
4379:
4377:
4374:
4372:
4369:
4367:
4364:
4362:
4359:
4355:
4352:
4350:
4347:
4345:
4342:
4341:
4340:
4337:
4335:
4332:
4330:
4327:
4325:
4322:
4318:
4315:
4313:
4310:
4308:
4305:
4304:
4303:
4300:
4299:
4297:
4295:
4294:Musical notes
4291:
4285:
4282:
4280:
4279:Transposition
4277:
4275:
4272:
4270:
4267:
4265:
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4245:
4242:
4240:
4237:
4235:
4234:Key signature
4232:
4230:
4227:
4225:
4222:
4220:
4217:
4215:
4212:
4210:
4207:
4205:
4202:
4200:
4197:
4196:
4194:
4192:
4188:
4184:
4177:
4172:
4170:
4165:
4163:
4158:
4157:
4154:
4142:
4141:Voice leading
4139:
4137:
4134:
4132:
4129:
4126:
4123:
4121:
4118:
4116:
4113:
4111:
4108:
4106:
4103:
4101:
4098:
4096:
4093:
4091:
4088:
4084:
4081:
4080:
4079:
4076:
4074:
4071:
4069:
4066:
4064:
4061:
4059:
4056:
4054:
4051:
4049:
4048:
4044:
4043:
4040:
4036:
4029:
4024:
4022:
4017:
4015:
4010:
4009:
4006:
3994:
3991:
3989:
3986:
3984:
3981:
3979:
3976:
3974:
3971:
3969:
3966:
3964:
3961:
3959:
3956:
3954:
3953:Rhythmic mode
3951:
3949:
3946:
3944:
3941:
3939:
3936:
3934:
3931:
3929:
3926:
3924:
3921:
3919:
3916:
3914:
3911:
3909:
3906:
3904:
3901:
3899:
3896:
3894:
3891:
3889:
3886:
3884:
3881:
3879:
3876:
3874:
3873:
3869:
3865:
3862:
3861:
3860:
3857:
3855:
3852:
3848:
3845:
3844:
3843:
3840:
3838:
3835:
3833:
3832:Canter rhythm
3830:
3828:
3825:
3823:
3820:
3818:
3815:
3813:
3810:
3809:
3806:
3802:
3798:
3791:
3786:
3784:
3779:
3777:
3772:
3771:
3768:
3762:
3761:
3756:
3754:
3751:
3749:
3746:
3745:
3734:
3730:
3726:
3722:
3721:
3716:
3715:Yeston, Maury
3712:
3709:
3708:9789491906008
3705:
3701:
3697:
3696:Maat en Ritme
3693:
3690:
3686:
3683:
3682:0-19-311306-6
3679:
3675:
3671:
3668:
3666:
3662:
3658:
3654:
3651:
3647:
3643:
3640:
3636:
3630:
3626:
3625:
3620:
3616:
3613:
3609:
3605:
3601:
3598:
3594:
3590:
3586:
3582:
3579:
3575:
3571:
3567:
3563:
3559:
3555:
3551:
3547:
3546:
3541:
3536:
3531:
3527:
3523:
3521:
3517:
3513:
3509:
3505:
3504:
3492:
3491:0-300-01884-3
3488:
3484:
3480:
3479:Yeston, Maury
3476:
3472:
3468:
3464:
3460:
3456:
3455:0-13-049346-5
3452:
3448:
3443:
3439:
3438:0-13-033233-X
3435:
3431:
3426:
3422:
3418:
3414:
3410:
3406:
3402:
3398:
3394:
3390:
3389:
3383:
3379:
3373:
3369:
3365:
3361:
3357:
3353:
3349:
3344:
3340:
3336:
3332:
3331:0-19-311306-6
3328:
3324:
3319:
3315:
3314:0-19-311306-6
3311:
3307:
3303:
3299:
3295:
3294:
3289:
3288:1-58046-143-3
3285:
3281:
3277:
3273:
3269:
3263:
3259:
3257:
3251:
3246:
3245:Sacks, Oliver
3242:
3238:
3237:9780028721910
3234:
3230:
3225:
3222:
3218:
3214:
3210:
3206:
3205:Roads, Curtis
3202:
3198:
3193:
3189:
3185:
3180:
3175:
3170:
3165:
3161:
3157:
3156:
3151:
3146:
3142:
3138:
3134:
3130:
3126:
3122:
3121:
3116:
3112:
3108:
3104:
3100:
3096:
3092:
3090:
3083:
3079:
3075:
3071:
3067:
3063:
3059:
3053:
3038:
3036:0-297-64317-7
3032:
3025:
3024:
3019:
3015:
3011:
3010:0-335-15275-9
3007:
3003:
2999:
2995:
2991:
2990:Form in Music
2987:
2983:
2979:
2978:0-19-516081-9
2975:
2971:
2966:
2962:
2961:
2956:
2952:
2948:
2944:
2940:
2936:
2932:
2927:
2923:
2919:
2915:
2911:
2907:
2903:
2899:
2898:Lerdahl, Fred
2895:
2891:
2890:0-19-866212-2
2887:
2883:
2878:
2874:
2870:
2866:
2861:
2857:
2856:
2851:
2850:
2845:
2841:
2837:
2833:
2828:
2824:
2820:
2816:
2812:
2808:
2807:Holst, Imogen
2804:
2800:
2799:0-19-510066-2
2796:
2792:
2787:
2783:
2781:9780262081795
2777:
2774:. MIT Press.
2773:
2768:
2764:
2760:
2759:
2754:
2750:
2746:
2742:
2738:
2733:
2729:
2725:
2721:
2720:Fraisse, Paul
2717:
2713:
2712:
2707:
2703:
2699:
2694:
2690:
2689:0-396-06752-2
2686:
2682:
2678:
2674:
2670:
2669:0-226-11522-4
2666:
2665:0-226-11521-6
2662:
2658:
2654:
2649:
2645:
2640:
2636:
2632:
2628:
2624:
2620:
2616:
2612:
2609:Anon. 2009. "
2607:
2603:
2598:
2594:
2590:
2586:
2585:
2573:
2568:
2561:
2557:
2552:
2545:
2540:
2533:
2532:Chernoff 1979
2528:
2521:
2520:Chernoff 1979
2516:
2510:, p. 52.
2509:
2504:
2497:
2492:
2485:
2480:
2473:
2468:
2462:, p. 19.
2461:
2456:
2450:, p. 30.
2449:
2444:
2442:
2434:
2429:
2423:, p. 17.
2422:
2417:
2410:
2405:
2398:
2393:
2386:
2381:
2374:
2373:Skrjabin 1960
2369:
2362:
2357:
2350:
2345:
2338:
2333:
2326:
2321:
2319:
2311:
2306:
2300:
2296:
2292:
2287:
2280:
2275:
2273:
2271:
2263:
2258:
2251:
2246:
2239:
2234:
2232:
2224:
2219:
2213:, p. 77.
2212:
2207:
2200:
2195:
2188:
2183:
2176:
2171:
2169:
2162:, p. 44.
2161:
2156:
2149:
2144:
2137:
2132:
2125:
2120:
2113:
2108:
2101:
2097:
2092:
2085:
2080:
2073:
2068:
2061:
2060:Jordania 2011
2056:
2049:
2048:Scholes 1977c
2044:
2042:
2040:
2038:
2030:
2029:Scholes 1977b
2025:
2023:
2021:
2019:
2011:
2006:
1999:
1994:
1987:
1982:
1975:
1970:
1963:
1958:
1951:
1946:
1939:
1934:
1927:
1922:
1920:
1912:
1907:
1900:
1899:Jirousek 1995
1895:
1888:
1883:
1876:
1871:
1864:
1859:
1855:
1848:
1846:
1842:
1836:
1834:
1830:
1826:
1822:
1819:, along with
1818:
1814:
1808:
1798:
1796:
1792:
1788:
1784:
1780:
1779:Leon Theremin
1776:
1772:
1768:
1764:
1760:
1756:
1752:
1748:
1744:
1740:
1736:
1732:
1728:
1724:
1717:Western music
1714:
1712:
1708:
1704:
1698:
1688:
1686:
1682:
1677:
1672:
1670:
1666:
1657:
1651:African music
1648:
1646:
1642:
1638:
1634:
1630:
1626:
1622:
1618:
1615:of a musical
1614:
1610:
1606:
1605:
1572:
1571:
1566:
1562:
1553:
1551:
1547:
1543:
1539:
1534:
1532:
1531:
1525:
1521:
1516:
1512:
1508:
1489:
1484:
1480:
1478:
1477:
1466:
1451:
1441:
1433:
1429:
1424:
1420:
1418:
1414:
1409:
1407:
1403:
1399:
1395:
1391:
1387:
1383:
1379:
1370:
1365:
1361:
1356:
1351:
1347:
1343:
1342:Metre (music)
1332:
1330:
1326:
1318:
1311:
1307:
1300:
1291:
1288:
1286:
1283:
1280:
1277:
1276:
1272:
1269:
1267:
1264:
1261:
1258:
1257:
1253:
1250:
1248:
1245:
1242:
1239:
1238:
1230:
1223:
1217:
1206:
1199:
1197:
1191:
1184:
1177:
1171:
1166:
1159:
1152:
1143:
1136:
1129:
1123:
1121:
1120:
1116:
1113:
1111:
1108:
1105:
1103:
1102:
1096:
1091:
1090:
1084:
1081:
1075:
1073:
1067:
1059:
1052:
1045:
1034:
1027:
1023:
1016:
1009:
1002:
996:
994:
986:
979:
972:
963:
956:
949:
943:
941:
940:
935:
923:
914:
910:
906:
904:
897:
888:
887:
879:
877:
873:
869:
865:
861:
857:
853:
849:
845:
841:
840:infinitesimal
837:
833:
829:
825:
818:
815:
811:
807:
803:
799:
796:
792:
791:
786:
785:
780:
776:
772:
767:
764:
760:
756:
751:
748:
747:musical pitch
724:
723:
722:
719:
717:
716:rhythmic unit
713:
709:
703:
699:
689:
687:
686:Pierre Boulez
683:
678:
676:
672:
671:Scholes 1977b
668:
664:
660:
656:
652:
648:
644:
639:
637:
633:
629:
625:
615:
613:
609:
605:
601:
597:
593:
588:
578:
574:
570:
566:
555:
538:
534:
532:patterns; and
531:
527:
524:
520:
516:
513:
509:
506:
502:
501:
500:
498:
497:rhythmic unit
494:
490:
486:
476:
475:is present".
473:
469:
465:
461:
457:
453:
449:
445:
441:
437:
433:
429:
425:
421:
415:
407:
406:Metric levels
403:
398:
394:
393:Pulse (music)
379:
377:
373:
371:
366:
362:
358:
354:
349:
347:
343:
342:
339:interlocking
336:
332:
328:
307:
303:
300:
296:
291:
287:
282:
280:
276:
272:
268:
264:
260:
256:
252:
244:
241:
230:
217:
214:
209:
205:
196:
187:
185:
181:
177:
173:
169:
165:
161:
157:
153:
149:
148:hip hop music
145:
141:
137:
131:
126:
123:
121:
117:
113:
108:
104:
100:
96:
87:
83:
73:
63:
57:
53:
50:This article
48:
44:
39:
38:
33:
19:
5338:Cold reading
5331:Applications
5305:Neuroanatomy
4969:
4950:Paralanguage
4615:Klavarskribo
4590:Figured bass
4464:Appoggiatura
4411:Articulation
4209:Abbreviation
4104:
4045:
3870:
3796:
3759:
3724:
3718:
3695:
3688:
3673:
3656:
3646:Rhythm to Go
3645:
3642:Palmer, John
3623:
3603:
3589:RhythmSource
3584:
3570:the original
3565:
3561:
3543:
3512:Schott Music
3507:
3482:
3469:, edited by
3466:
3446:
3429:
3420:
3392:
3386:
3367:
3355:
3322:
3305:
3291:
3279:
3276:Sandow, Greg
3256:Musicophilia
3254:
3228:
3208:
3196:
3159:
3155:PLOS Biology
3153:
3124:
3118:
3109:(paperback).
3086:
3069:
3041:. Retrieved
3022:
3001:
2989:
2969:
2958:
2951:Robert Scott
2930:
2905:
2881:
2864:
2853:
2847:
2835:
2822:
2810:
2790:
2771:
2756:
2736:
2723:
2709:
2680:
2677:Cooper, Paul
2656:
2643:
2626:
2614:
2601:
2592:
2567:
2556:Narmour 1977
2551:
2539:
2527:
2515:
2503:
2491:
2479:
2467:
2455:
2428:
2416:
2404:
2392:
2380:
2368:
2356:
2344:
2332:
2327:, p. 3.
2305:
2295:Woodrow 1951
2291:Fraisse 1956
2286:
2257:
2250:Slatkin n.d.
2245:
2240:, p. 5.
2218:
2206:
2194:
2182:
2155:
2143:
2138:, p. 2.
2131:
2119:
2107:
2091:
2079:
2072:Pieslak 2009
2067:
2055:
2012:, p. 4.
2005:
2000:, p. 1.
1993:
1986:Goodall 2006
1981:
1969:
1957:
1945:
1933:
1906:
1894:
1889:, p. 6.
1882:
1870:
1858:
1837:
1810:
1795:player piano
1775:Henry Cowell
1731:Philip Glass
1720:
1700:
1691:Indian music
1673:
1662:
1645:Maury Yeston
1641:contrapuntal
1637:articulation
1632:
1603:
1602:
1600:
1568:
1550:Senza misura
1549:
1545:
1535:
1527:
1514:
1510:
1506:
1504:
1473:
1464:
1449:
1437:
1417:Imogen Holst
1410:
1375:
1368:
1328:
1324:
1309:
1302:
1297:
1094:Rhythm only
1079:
1076:
1069:
1065:
1050:
1025:
1021:
992:
990:
937:
930:
920:January 2021
917:
903:undue weight
900:
860:Sound object
836:microseconds
824:Curtis Roads
822:
814:musical form
794:
788:
782:
778:
720:
707:
705:
679:
640:
621:
611:
607:
603:
600:initial rest
599:
595:
591:
584:
576:
573:contrametric
572:
568:
564:
505:eighth notes
496:
493:metric level
482:
472:Maury Yeston
467:
463:
456:quarter note
431:
423:
417:
412:
397:Beat (music)
369:
357:Tala (music)
353:Indian music
350:
340:
323:
288:states that
286:Oliver Sacks
283:
249:
243:drum pattern
203:
201:
190:Anthropology
168:Fred Lerdahl
164:Maury Yeston
133:
128:
124:
94:
81:
80:
67:
51:
5317:Limbic lobe
5082:Unconscious
5065:Missed call
5035:Social norm
5010:Conventions
4900:Eye contact
4701:Music stand
4575:Chord chart
4554:Scorewriter
4531:Sheet music
4329:Dotted note
4264:Repeat sign
4239:Ledger line
3968:Syncopation
3089:Schenkerism
2728:A. Michotte
2617:(April 30).
2589:Agawu, Kofi
2574:, p. .
2560:Winold 1975
2558:, cited in
2544:Sandow 2004
2534:, p. .
2496:Yeston 1976
2474:, p. .
2448:Cooper 1973
2435:, p. .
2409:Winold 1975
2397:Latham 2002
2312:, p. .
2262:Winold 1975
2223:Winold 1975
2211:Lester 1986
2199:Yeston 1976
2187:Handel 1989
2175:Winold 1975
2126:, p. .
2124:Mithen 2005
2098:, cited in
2074:, p. .
2010:London 2004
1974:Lester 1986
1911:Yeston 1976
1841:syncopation
1813:linguistics
1801:Linguistics
1735:Steve Reich
1727:Béla Bartók
1697:Bol (music)
1676:polyrhythms
1515:free rhythm
1488:double time
1394:linguistics
1388:(see also:
1346:Bar (music)
1325:accelerando
934:Moussorgsky
663:poetic foot
657:and of the
577:extrametric
569:intrametric
382:Terminology
290:chimpanzees
273:, rhythmic
112:periodicity
5566:Categories
5450:Aggressive
5420:Paul Ekman
5403:Key people
5367:Technology
5353:Poker tell
5198:Social cue
5005:Chronemics
4955:Intonation
4799:Modalities
4675:Shakuhachi
4650:Ekphonetic
4635:Simplified
4600:Lead sheet
4474:Grace note
4339:Note value
4334:Grace note
4302:Accidental
3983:Time point
3933:Polyrhythm
3928:Note value
3898:Homorhythm
3864:Note value
3854:Cross-beat
3554:Honing, H.
3209:Microsound
3043:2008-02-25
2562:, p.
2508:Agawu 2003
2484:White 1976
2421:Holst 1963
2337:Roads 2001
2252:, at 5:05.
2148:Berry 1987
2112:Sacks 2007
2100:Sacks 2007
2096:Patel 2006
2084:Anon. 2009
1998:Patel 2014
1988:, 0:03:10.
1938:Hasty 1997
1875:Anon. 1971
1851:References
1825:intonation
1783:rhythmicon
1739:odd meters
1695:See also:
1542:shakuhachi
1472:measure. (
1384:is called
1329:ritardando
1072:Kolmogorov
872:Microsound
759:heart rate
675:syncopated
636:repetition
596:anacrustic
530:syncopated
507:or pulses;
432:beat level
327:polyrhythm
295:Lipizzaner
213:perception
156:architects
5455:Assertive
5263:Fragile X
5248:Aprosodia
5241:Disorders
5188:Semiotics
5116:Deception
4922:Proxemics
4912:Olfaction
4895:Oculesics
4880:Imitation
4670:Swaralipi
4660:Kunkunshi
4620:Tablature
4585:Eye music
4469:Glissando
4444:Fingering
4229:Dal segno
4131:Ululation
3958:Stop-time
3908:Isorhythm
3883:Half-time
3847:Count off
3817:Anacrusis
3141:0730-7829
3101:(cloth);
3052:cite book
2763:Channel 4
1829:Cantonese
1807:Isochrony
1763:John Cage
1609:durations
1369:3 + 3 + 2
1292:10 bytes
848:movements
632:rest beat
525:patterns;
331:polymeter
263:entrained
238:A simple
116:frequency
99:recurring
70:June 2024
62:talk page
5587:Patterns
5285:Dyssemia
5131:Intimacy
5051:Emoticon
4960:Loudness
4890:Laughter
4826:Kinesics
4817:Blushing
4810:Physical
4680:Znamenny
4521:Tonguing
4506:Staccato
4459:Ornament
4434:Dynamics
4386:Interval
4349:Notehead
4324:Cue note
4127:(figure)
4110:Sequence
4095:Phrasing
4078:Ornament
4058:Interval
4047:Balungan
3859:Duration
3842:Counting
3837:Colotomy
3644:(2013).
3621:(1946).
3556:(2002).
3532:(1911).
3481:. 1976.
3409:40285634
3366:(1993).
3354:(1960).
3341:. n.d. "
3247:(2007).
3207:(2001).
3188:24667562
3068:(2002).
3020:(2005).
3000:(1990).
2904:. 1983.
2846:. 2011.
2821:(1977).
2722:(1956).
2679:(1973).
2655:(1960).
2625:(1987).
2591:. 2003.
1583:Original
1538:Honkyoku
1306:Skrjabin
1289:12 bytes
1273:4 bytes
1254:6 bytes
1251:12 bytes
868:Xenakis'
852:sections
828:infinite
806:sequence
677:rhythm.
667:counting
655:downbeat
624:dynamics
440:periodic
337:and the
275:drilling
144:language
107:movement
103:symmetry
101:motion,
95:rhythmos
5539:Subtext
5460:Passive
5429:Related
5020:Habitus
4965:Prosody
4917:Posture
4858:Gesture
4689:Related
4655:Gamelan
4645:Chinese
4625:Parsons
4496:Portato
4479:Mordent
4454:Marcato
4439:Fermata
4429:Damping
4424:Caesura
4381:Tremolo
4312:natural
4224:Da capo
4090:Pattern
4063:Melisma
4053:Cadence
3943:Prosody
3893:Hemiola
3591:Press.
3542:(ed.).
3179:3965380
3087:Beyond
2581:Sources
1817:prosody
1743:phasing
1663:In the
1617:texture
1607:is the
1546:ametric
1398:poetics
1386:prosody
1284:7 bytes
1281:6 bytes
1270:0 bytes
1265:4 bytes
1262:0 bytes
1246:3 bytes
1243:6 bytes
913:resolve
856:phrases
779:measure
740:⁄
730:⁄
626:of the
537:tuplets
452:entrain
444:stimuli
426:of the
346:gamelan
341:kotekan
271:shamans
267:war cry
255:hominid
152:pattern
134:In the
5513:Tadoma
5258:Autism
5213:Unsaid
5178:Nunchi
5055:Smiley
4975:Stress
4970:Rhythm
4940:Affect
4932:Speech
4511:Tenuto
4449:Legato
4419:Accent
4376:Tuplet
4120:Timbre
4105:Rhythm
4035:Melody
3993:Tuplet
3878:Groove
3797:Rhythm
3733:843592
3731:
3706:
3680:
3663:
3631:
3610:
3595:
3518:
3489:
3453:
3436:
3407:
3374:
3329:
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3186:
3176:
3139:
3105:
3097:
3076:
3033:
3008:
2976:
2957:", in
2955:ῥυθμός
2949:, and
2937:
2912:
2900:, and
2888:
2871:
2834:". In
2832:Rhythm
2797:
2778:
2743:
2687:
2663:
2633:
2600:Anon.
1821:stress
1771:drones
1733:, and
1709:, the
1513:, and
1382:speech
1348:, and
832:sample
802:stanza
795:phrase
790:figure
742:10,000
708:tactus
653:and a
651:upbeat
612:upbeat
604:strong
592:thetic
575:, and
565:metric
515:eighth
512:dotted
424:tactus
160:façade
90:ῥυθμός
84:(from
82:Rhythm
54:about
5044:Other
4665:Neume
4489:Trill
4484:Slide
4371:Tacet
4361:Pitch
4317:sharp
4269:Tempo
4254:Scale
4249:Ossia
4191:Staff
4136:Voice
4100:Pitch
4083:Trill
4073:Motif
3978:Tempo
3963:Swing
3948:Pulse
3872:Gatra
3801:meter
3760:Signo
3729:JSTOR
3538:. In
3405:JSTOR
3027:(PDF)
1665:Griot
1629:pulse
1625:meter
1613:parts
1524:chant
1440:tango
1432:waltz
1402:verse
1378:pitch
1366:) as
1235:R012
1195:R012
901:lend
874:(see
784:motif
777:of a
775:cells
755:drone
698:Tempo
523:swing
489:pulse
448:tempo
430:, or
420:pulse
240:duple
86:Greek
5529:Mime
4980:Tone
4863:List
4501:Slur
4366:Rest
4354:stem
4344:beam
4307:flat
4244:Mode
4219:Clef
4125:Type
3973:Tala
3903:Iqa'
3827:Beat
3799:and
3704:ISBN
3678:ISBN
3661:ISBN
3650:ISMN
3629:ISBN
3608:ISBN
3593:ISBN
3516:ISBN
3487:ISBN
3451:ISBN
3434:ISBN
3372:ISBN
3327:ISBN
3310:ISBN
3284:ISBN
3262:ISBN
3233:ISBN
3213:ISBN
3184:PMID
3137:ISSN
3103:ISBN
3095:ISBN
3074:ISBN
3058:link
3031:ISBN
3006:ISBN
2974:ISBN
2935:ISBN
2910:ISBN
2886:ISBN
2869:ISBN
2795:ISBN
2776:ISBN
2741:ISBN
2685:ISBN
2661:ISBN
2631:ISBN
1823:and
1745:and
1711:Tala
1565:Bach
1528:See
1474:See
1396:and
1310:Poem
1080:R012
1066:R012
1022:R012
993:R012
864:note
844:form
771:rest
700:and
608:weak
521:and
436:beat
395:and
374:and
370:Usul
367:and
355:see
170:and
120:riff
4516:Tie
4214:Bar
3822:Bar
3397:doi
3174:PMC
3164:doi
3129:doi
2953:. "
2855:sic
2613:",
1811:In
1757:in
1567:'s
1479:.)
1426:An
1380:in
1327:or
942::(
936:'s
808:of
787:or
712:bpm
422:or
114:or
5568::
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5053:/
4824:/
4204:15
3725:19
3723:.
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3698:,
3564:.
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3403:.
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3125:24
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3054:}}
3050:{{
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2809:.
2667:,
2440:^
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2293:;
2269:^
2230:^
2167:^
2036:^
2017:^
1918:^
1847:.
1797:.
1729:,
1725:,
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1548:.
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850:,
732:30
614:.
571:,
567:,
483:A
470:.
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206:,
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174:,
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