The text contextualizes the synthesis of music within the passage of time. This approach describes music as a collection of simple building blocks, subject to multiple views of analysis. The text describes how a set of phrases can be interpreted as two six-measure phrases or three four-measure phrases. Rhythmic modes seem to provide frameworks for pieces to create rhythms as can be seen in “Plus Dure.” The varying durations of notes works with the meaning of the lyrics to create stress. Machaut’s “Amen” exhibits high rhythmic complexity in its multiple overlapping voices that accentuate certain portions of the piece with simultaneous attacks. The discussion on beats presents an interesting and unexpected perspective on how beats are not totally consistent and are reliant on accents created by frequent regular pulsations. Impulses are distinguished from pulsations because of their relative irregularity. It is interesting how the text dissects the construction of a measure from repeating occurrences and relative time durations. The concept of relegating faster, more active beats to the upper voices and slower beats to the lower voices as described in the text is also applied to contemporary music today.
The text introduces the uncertainty of the perception of time. It cites Creelman, whose research involved discretized time intervals and attenuating them to see when the change would be perceptible. This experiment was conducted in the context of rhythm and did not yield thoroughly conclusive results. There are certain durations that, in the context of a larger duration, are imperceptible. There is also research relating pitch and duration. There is an inverse relationship between duration at which pitch is perceived and pitch frequency. The complex arrangement of modules into phrases in “Amen” creates balance while allowing for rhythmic freedom. It is both encouraging and intimidating that only simple ideas are needed to create sophisticated musical structures. Phrases are comprised of modules and comprise sections. As one moves up the hierarchy in terms of duration, the musical significance of a break increases. There seems to be an implicit rule regarding these breaks that only experienced musicians can understand.
Questions: Is there any research on the reason humans find complex patterns in rhythm appealing?
How does the brain extract the underlying modules of manipulated rhythm schemes such as a heavy diminution?
Do composers always resort to using the basic modules for rhythm composition? Are there unique patterns yet to be executed?
Is it possible for a piece to not follow the conventions of any form of concrete rhythm?
Music 26 Blog: Ryan Hyun 