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	Rhythm - Wikipedia, the free encyclopedia
		By comparison, a lot of Western classical music is fairly rhythmically simple; it stays in a simple meter such as 4/4 or 3/4 and makes little use of syncopation.
		At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity.
		A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et.
	en.wikipedia.org /wiki/Rhythm (683 words)

	The Polyrhythmicon Home Page: Selected Works
		The rhythmic structure is based on a transformational polyrhythmic system modeling the timbral changes in the work, and a nested polyrhythmic set similar to that used in Taruyamaarutet..
		To generate this second rhythmic system, spectral analysis and resynthesis of a tuba low F building from pianissimo to fortissimo, and a single anvil attack were used.
		The penultimate rhythm is chaos, a wild rush of stochastically generated rhythmic pulses coinciding with the introduction of acoustical noise and the high string melody of the final section.
	ccrma-www.stanford.edu /~mburtner/polyrhythmicon3.html (2867 words)

	Mahlerfest - Notes on Symphony No.6 (Site not responding. Last check: 2007-10-19)
		This first part itself is bisected by a large statement of the opening gesture in E minor before quickly returning to A. This first section is primarily based on this main theme.
		The rhythmic dissonance at the beginning gives the music the character of both the march style of the first movement and the more overt German dance, or L\xe4ndler, implied by the 3/8 meter.
		Rhythmically, this is clearly related to the lugubrious tuba them in the introduction.
	www.mahlerfest.org /notes_symphony6.htm (8947 words)

	CSI: Hatten
		The gestural performance which gave the theme such life and character was a very tangible gestalt composed of a synthesis of elements that I had heretofore considered as separable components.
		Gesture, on the other hand, is a holistic concept, synthesizing what theorists would analyze separably as melody, harmony, rhythm and meter, tempo and rubato, articulation, dynamics, and phrasing into an indivisible whole.
		Her pedagogy extends the concept of gesture beyond the muscles to the expressive intonations of the voice, and seeks to transform feeling in spoken language to the "feeling" (physical and emotional) of performance (see lecture 3).
	www.chass.utoronto.ca /epc/srb/cyber/hat1.html (2394 words)

	CSI: Hat8
		What a musical style clarifies and constrains is the identity of a gesture as a motive; its duration in a matrix of tempo, meter, and rhythm; its coherence in terms of these and other musical values, and its contextualization in terms of other musical events and cultural significance.
		Gesture (musical or otherwise) is molar, by analogy with chemistry: we cannot precisely break down the ingredients that it synthesizes (at least in our conceptual efforts), or prescribe the exact proportions of each of the elements that help achieve its effect.
		Gesture may require more right than left brain processing, and evidence of this conflict may be heard in performances that are technically proficient at reproducing notated values, while woefully deficient in capturing the continuities that provide coherence -- structurally and expressively.
	www.chass.utoronto.ca /epc/srb/cyber/hat8.html (3500 words)

	wikien.info: Main_Page (Site not responding. Last check: 2007-10-19)
		Rhythmic music and Rhythmic radio, also known as "Rhythmic Crossover" or "Rhythmic Pop", is a term used to describe a certain group of radio stations and the Billboard chart that is compiled based on airplay from those radio stations.
		A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture.
		Rhythmic units may be classified as: Metric: even-note patterns, such as steady eighth notes or pulses.Intrametric: confirming pat..
	www.alanaditescili.net /browse.php?title=R/RH/RHY (2133 words)

	Dolmetsch Online - Music & Rhythm
		There should be a rhythmic link between this first breath and what is to follow - a quick breath before a series of quick notes, a slow breath before longer notes - to focus the whole body as well as the mind on what is about to happen.
		A proposal by Lonquet-Higgins (1978), cited in Hardy, using rhythmic structures by the barlines and the beams connecting eighth and sixteenth notes, show that the most important factors in determining the metrical hypotheses are the lengths of notes and where they occur in relation to the beat.
		Rhythmics classes engage the whole body in the physical exploration of musical rhythm, melody, harmony, form, etc. This involves locomotion (moving through space) and gesture (while stationary).
	www.dolmetsch.com /musicandrhythm.htm (3738 words)

	Classical Dance Of India. (Site not responding. Last check: 2007-10-19)
		Their purpose is to create a collage of rhythmic lines, forms and shapes for the sake of their own art - to share the beauty of the abstract form.
		Rhythmic patterns of the hands and feet are interwoven with the notes of the musical instruments.
		This gesture is mostly used to symbolize the bee.
	www.danceart.com /dancerswrite/indiandance.htm (1806 words)

	Electroacoustic Music for the Flute: chapter 3
		The amount of programming required to match certain expressive gestures of a live musician is still daunting enough that it is probably fair to say that the computer tends to avoid the subtlety, the sophistication, the inconsistency, and the unexpectedness of the human expressive gesture.
		The rhythmic content in these pieces is sometimes challenging to discuss, in large part due to the lack of meter, barlines, or conventional rhythmic relationships, and also due to the large gestures in place of small, repeated gestures.
		The rhythmic unity is better described in these pieces as being defined by similarity of speed, contour, articulation, and range of the gestures, rather than of precise motives.
	www.subliminal.org /flute/dissertation/ch03.html (6332 words)

	Running head: DALCROZE AND MOVEMENT (Site not responding. Last check: 2007-10-19)
		At= one year-of-age, infants’ sung rhythmic sequences are accompanied by rhyt= hmic movements of the body—including allied breathing patterns as well as = limb and trump movements—and are closely tied to rhythmic speech patterns.
		The orchestration of the body involves the concatenation of bodily gestures, the juxtaposition and opposition of bodily movements in relation to emotional attitudes, as well as the use of immobility (i.e., rest) and silence.
		Expressive gesture in performance = is conveyed, inter alia, by head nods and shakes, upper body wiggles, a= nd forward and backward surges of the whole body (Clarke and Davidson, 1998).
	www.york.cuny.edu /~seitz/DalcrozeBody.mht (5693 words)

	An Improvisation Environment for Generating Rhythmic Structures Based on North Indian "Tal" Patterns
		A characteristic rhythmic idiom of this style is a melodic phrase which becomes increasingly complex near the end of a tal cycle and resolves on sam, followed by a beat or two of silence, and then the beginning of a new phrase around beat three or four of the next cycle.
		A tabla player might support this gesture with increasingly syncopated or complex playing at the end of the previous cycle, then a clear and strong note on sam, followed by silence or a very simple pattern at the beginning of the next cycle.
		The various ways we have attached gestural controllers to this model are beyond the scope of this short paper and described elsewhere in these proceedings [Wessel 98].
	www.cnmat.berkeley.edu /ICMC98/papers-html/wright-wessel-tal-demo.html (2389 words)

	Tracking the IMP: studies of the intrinsic motive pulse in an infantÕs feeling for musical forms
		We suggest that the rhythmic organization of mother-infant interaction is closest to the way musical rhythm is organized, and that the type of meanings derived from it is akin to musical meaning.
		Prominent among these are repetitive actions with variations, rhythmic chants, and fully musical songs, sometimes combined with synchronous moving of the baby's limbs, dandling, or dancing with the baby held in the arms.
		Deviations from the underlying rhythmic structure are central to its creative and innovative character, but rhythmic deviations or 'unlawful events' (Stern) must remain within a given range to be understood by both partners as embedded in the flow of the interaction.
	www.isisweb.org /ICIS2000Program/web_pages/group1069.html (3045 words)

	ConceptArt.org Forums - Theme - Gestures
		Gesture has an emotional meaning, it is an expression of personality, and it is movement.
		I think that in a gesture drawing you shouldn't try to establish form and values but concentrate on the way the figure is built, and most importantly the expression.
		gesture is not a study it is the beginning of the life of a drawing.
	www.conceptart.org /forums/printthread.php?t=17271 (3958 words)

	Pedro de Alcantara Alexander Technique for Musicians and Alexander Technique Teachers (Site not responding. Last check: 2007-10-19)
		This applies equally to the gestures typical of a musician's technique, such as drawing a bow across a string, strumming a chord at a guitar, or tonguing notes at a wind instrument.
		The first is that her habitual gesture (of which she may not be fully aware) tends to be limited to one choice out of many, and this habitual choice happens to be, in itself, a comparatively awkward gesture.
		Ideally, a musician should show, in his or her every gesture, a deep, precise, and preferably reflex understanding of the rhythmic construction of the musical text.
	www.pedrodealcantara.com /iambic_body.html (507 words)

	CLASSICAL DANCES (Site not responding. Last check: 2007-10-19)
		It is pantomime in which the actors do not speak or sing, but interpret their emotions through highly sensitive medium of appropriate gestures, picturesque hand - poses and vivid facial expression perfectly intelligible even to the uninitiated.
		The mudras (hand gestures) used as a substitute for spoken language are as much suited, if not more, for the purpose of dance and drama.
		To the accompaniment of the chenda, the maddalam, the chengala and the elethalam the musicians sing the words of a dialogue from behind, the meaning of which is vividly translated by the actors into the silent language of facial expressions, bodily attitudes and poses and figurations of the hands.
	www.kalakeralam.com /visual/classicaldance3.htm (1074 words)

	CSI: Hat3
		Mapping the best gestural realization of these hierarchical pitch structures is enriched by (and made more difficult due to) the metrical and durational hierarchies in which pitch structures are embedded.
		A series of exercises enables the performer to explore, gesturally, the background coherence and foreground configuration of a work and to sense kinesthetically the pulls and releases implied by organic phrases in their unique combinations of tonal and rhythmic forces.
		Just as one must negotiate the gestural projection of regularly occurring events with the aperiodicities that constitute the unique dynamic shape of a work, one must in performing physically negotiate the complementary claims of, for example, a chord's vital presence and its subsumed role as part of a temporal sequence.
	www.chass.utoronto.ca /epc/srb/cyber/hat3.html (2590 words)

	Running head: DALCROZE AND MOVEMENT (Site not responding. Last check: 2007-10-19)
		This last comment by Dalcroze is most intriguing because he was, in essence, arguing that physical movement formed the basis of musical consciousness, that is, tonal and rhythmic imagery.
		The latter is dependent on the body and gesture since eurthymia originates in continuous or “harmonized gestures.” The Dalcroze method accomplishes this by harnessing the inherent rhythm of the body.
		Human gesture and its orchestration conform to elementary principles of nature--dynamic, rhythmic, and agogic (Jaques-Dalcroze, 1921/1967, p.
	www.york.cuny.edu /~seitz/Dalcroze.htm (3419 words)

	Jan Müller-Wieland
		He has never been attracted by introverted sectarian views or by the kind of art propagated in certain avantgarde circles which is primarily based on intellectual calculation.
		It was Hans Werner Henze, himself rooted in the great tradition of music theatre, and in the strand of music history which represents a creative dialogue with reality, who introduced him to the world of opera, the aesthetics of vocal gestures, and the various kinds of effective dramaturgical design.
		Sheer joyfulness and humorous double-talk are at times delineated with unsentimental and expressive gestures, as are phantasmagorias of destruction or concrete images of evil.
	www.sikorski.de /composers/composer13.html (751 words)

	Week12
		As I understand, beats are small movements that are performed more rapidly than gesture at or near the rest positions of the hands and are often produced by the speakers non-dominant hand.
		I was amused by how easily he was able to assert a definition for gesture and body language, while we in class are constatnly at odds over terms.
		The discussion on the possible roles of gesture with speech is a nice segue into my topic which is a discussion of the theories of relationship of speech and gesture and some studies which explore the various theories.
	www.unm.edu /~morford/Week12.html (1636 words)

	Defended Dissertations (Site not responding. Last check: 2007-10-19)
		The development of a vocabulary for a structural and stylistic analysis is further complicated when electronic sounds are combined with acoustic instruments in the same composition.
		Davidovsky created the unique rhythmic, melodic, and timbral qualities of the acoustical components of these pieces by manipulating the attack, sustain and decay time continuum of the acoustic instruments as if using analog tape techniques.
		The operative metaphor of this thesis is that the reordering of melodic and rhythmic gesture by the splicing of reel-to-reel tape acts as a basic organizing agent of both the stylistic details and the overall form of the piece.
	www.music.columbia.edu /dissertations/dissdef/Susser1994.html (327 words)

	Page 3 of article
		For example, Mozart's Allegro from his Sonata in F major, K. 332 abounds in examples of gestures, postures and dances; the hunting-horn call motif in F major (beginning with the pick-up to m.
		Dance form is as present in 20th century compositions as it was in the repertoire of the 18th and 19th centuries.
		The timing of this dance step is crucial in establishing the elasticity of the "take-off" (and its gesture at the piano), the suspension, the "landing" on the third unit of the measure, and the feeling for the quality of the time between these units - avoiding, again, a mere mechanical division.
	www.keyboardcompanion.com /LudmilaArticle/Ludmila3.html (790 words)

	[No title]
		For all eight stanzas of the poem, the chosen rhythmic pattern (the last of the essays) is repeated unchanged, while the melodic patterns vary freely.
		We have seen how the rhythmic cell migrates from upbeat to downbeat in order to bring out semantic nuances of the text; the upbeat/downbeat conflict also participates in a musical structure whose evolution strays far from the poetic—and yet continues to influence our interpretation of the text.
		This mischievous rhythmic clash is the musically logical consequence of phrasing both with and against the prevailing meter.
	www.sullivan-forschung.de /fink.htm (7435 words)

	Wards ~ Road to Enochiana
		The counter-clock-wise movement, is a gesture of banishment.
		Giving the Gesture of Rending the Veil, opens the door for the power you are calling upon.
		Giving the Gesture of the Tau, establishes a focal point for the powers you have called.
	www.geocities.com /Athens/Delphi/5577/wards.html (446 words)

	Untitled Document (Site not responding. Last check: 2007-10-19)
		Industrial in the truest sense of the term, "Gesture" is an assemblage of extremey dense and noisy layers of samples, beats, disttortion and weird sounds.
		The tracks are quite varied, some being more rhythmic than others, and a few being almost calm, but the whole thing bathes in a sheer energy that drives all the compositions and arrangements.
		On the contrary, the "noise" side of this album comes more from the sheer quantity of sounds and samples used, and from their gritty nature (quite a lot of accoustic recordings are to be heard here) than from plain distortion.
	www.neovoid.org /recant/recyclereview.htm (331 words)

	Music 43805 \| Seminar: Music and Dance
		Haydn's exploitation is subtle and ingenious: the bourrée gesture marks out the theme of the movement and also gives the opening statement of the tonic area a rather too-tightly wound character, which consistently takes it past the point of repose associated with tonal closure.
		This was clear in the introductory gestures, and in the two-bar phrases that predominate in the A and B sections.
		If one is interested in developing an account of how rhythmic patterns are organized and how patterns from different musical practices relate to one another, focusing on a 3+3+2+4+4 grouping in a swatch of EDM may be perfectly appropriate.
	humanities.uchicago.edu /classes/zbikowski/43805.html (4051 words)

	Teaching Strategies for Music and Piano - Teaching Rhythm (Site not responding. Last check: 2007-10-19)
		(This gesture is a preliminary gesture for conducting two beats to the measure.) Say White Note evenly and with the gesture.
		Then comes the whole note which is taught as 1 - 2 - 3 - 4, with the conducting gesture of: clap - in - out - up.
		When C scale is taught, use Black, Black, White Note as a rhythm pattern to repeat each note in the scale.
	www.manducamusic.com /tina_99nov.html (955 words)

	Classical Net - Scelsi - Chukrum
		The first and fourth movements are the longest of the set: the first is a strict palindrome beginning on A and reaching to the fifth, complete with dramatic rhythmic elements; the fourth movement is a repetition and recapitulation of the first, not exactly the same, in a way such that an asymmetric form is introduced.
		The second movement is limited almost entirely to the major third, with a luminous rise to the fifth in its last moments; it contains several percussive effects, interspersed with ethereal microtonal and resonant writing.
		The third movement, the shortest of the four, is a violent rhythmic surge from the minor third to the fourth, largely obliterating the preceding harmonic references, and ending in an emphatic rhythmic gesture.
	www.classical.net /~music/comp.lst/works/scelsi/chukrum.html (344 words)

	Peter Clothier, Author, Mentor, Consultant
		Using an oversized draft excluder as a "brush," Martin works the medium with vigorous, whole-body motion, and the scored surfaces combine the spontaneous immediacy of a child's fingerpainting with the sophisticated gestural authority of a Jackson Pollock.
		For this reason the works have an edgy, even vertiginous quality that contrasts pleasingly with their huge scale and solid presence.
		Combining the playful flash and dazzle of Op Art with the gestural spontaneity of Abstract Expressionism and the physical immediacy of action painting, Martin has come up with a welcome fresh approach that exudes the joy of pure creative energy.
	www.peterclothier.com /1_1_martin.html (257 words)

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