Maury Yeston treats rhythm instead in the context of sounded music, with a view to clarifying its ambiguous and little studied, but crucial, relationship with pitch.
Author: Maury Yeston
There are many books on counterpoint and harmony, but few indeed on the theory of rhythm. Those few approach it through its graphic notation, or in terms of metrical feet, as if it were poetry. Maury Yeston treats rhythm instead in the context of sounded music, with a view to clarifying its ambiguous and little studied, but crucial, relationship with pitch. Although his work is strongly influenced by the methods of the German theorist Heinrich Schenker, it is a strikingly original contribution to musical theory in its own right. Maury Yeston begins by developing analytic procedures for understanding the rhythm of tonal music in terms of pitch levels. He then focuses on certain structures that arise from the interaction of these levels, thereby discovering some fundamental aspects of logical form in the system of musical rhythm. In the course of the inquiry, Mr. Yeston redefines traditional notions of meter, syncopation, and accent. In addition, his study provides a basis for understanding the relationships by which unique rhythmic designs are integrated aesthetically in a cohesive musical composition.
Author: Godfried T. ToussaintPublish On: 2016-04-19
PhD thesis, Department of Music, Stanford University. Wright, O. 1978. The Modal System of Arab and Persian Music AD 1250–1300. Oxford University Press, Oxford, England. Yeston, M. 1976. The Stratification of Musical Rhythm.
Author: Godfried T. Toussaint
Publisher: CRC Press
The Geometry of Musical Rhythm: What Makes a "Good" Rhythm Good? is the first book to provide a systematic and accessible computational geometric analysis of the musical rhythms of the world. It explains how the study of the mathematical properties of musical rhythm generates common mathematical problems that arise in a variety of seemingly dispara
Yeston , Maury A. The Stratification of Musical Rhythm . New Haven , Connecticut : Yale University Press , 1976 . Note : The present book was originally presented as the author's dissertation , Yale University , 1974.
Publisher: Greenwood Publishing Group
This comprehensive bibliography includes over 2000 entries for book-length works that examine questions of form and analysis in a significant way.
In J. Wright (Ed.), New perspectives on music: Essays in honor of Eileen Southern (pp. 327-338). Warren, Mich.: Harmonie Park. Yeston, M. (1976). The stratification of musical rhythm. New Haven: Yale University Press.
The Stratification of Musical Rhythm. New Haven, CT: Yale University Press. Youssefzadeh, Ameneh. 2002. Les bardes du Khorassan iranien: Le bakhshi et son répertoire. Travaux et mémoires de l'Institute d'études iraniennes, 6.
Author: Richard Wolf
Publisher: Oxford University Press
Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.
2 (1992): 171–87; Margaret Thomas, “Conlon Nancarrow's 'Temporal Dissonance': Rhythmic and Textural Stratification in the Studies for Player Piano” (PhD diss., Yale University, 1996). Maury Yeston, The Stratification of Musical Rhythm ...
Author: Ciro Scotto
The Routledge Companion to Popular Music Analysis: Expanding Approaches widens the scope of analytical approaches for popular music by incorporating methods developed for analyzing contemporary art music. This study endeavors to create a new analytical paradigm for examining popular music from the perspective of developments in contemporary art music. "Expanded approaches" for popular music analysis is broadly defined as as exploring the pitch-class structures, form, timbre, rhythm, or aesthetics of various forms of popular music in a conceptual space not limited to the domain of common practice tonality but broadened to include any applicable compositional, analytical, or theoretical concept that illuminates the music. The essays in this collection investigate a variety of analytical, theoretical, historical, and aesthetic commonalities popular music shares with 20th and 21st century art music. From rock and pop to hip hop and rap, dance and electronica, from the 1930s to present day, this companion explores these connections in five parts: Establishing and Expanding Analytical Frameworks Technology and Timbre Rhythm, Pitch, and Harmony Form and Structure Critical Frameworks: Analytical, Formal, Structural, and Political With contributions by established scholars and promising emerging scholars in music theory and historical musicology from North America, Europe, and Australia, The Routledge Companion to Popular Music Analysis: Expanding Approaches offers nuanced and detailed perspectives that address the relationships between concert and popular music.
These types of conflicts have been explored at length through the notion of rhythmic (or metrical) consonance and dissonance. See Maury Yeston, The Stratification of Musical Rhythm (New Haven and London: Yale University Press, 1976), ...
Author: Keith Waters
Category: Social Science
This title was first published in 2002. Through analyses of a number of Honegger's compositions, including extended analyses of two of Honegger's orchestral works, "Mouvement symphonique No. 2 (Rugby)" and "Symphonie pour cordes", Keith Waters examines the principles of musical organization in Honegger's music and shows how these principles are based on systematic rhythmic and contrapuntal strategies. Musical form in Honegger's work, the book argues, is articulated by contrapuntal and rhythmic structures rather than by tonal structure, and it is this that provides the source of compositional unity in Honegger's music.
In two books that became seminal for the study of meter and rhythm in American music theory of the last few decades—Th e ... and The Stratification of Musical Rhythm, by Maury Yeston (1976)—the authors follow clearly in the footsteps of ...
Author: Danuta Mirka
Publisher: Oxford University Press
Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.
It then considers the rhythmic and metric structures of Italian operatic music from Paisiello to Verdi. In addition to nineteenth- century theories, selected writings since 1950 are brought to bear on the subject.
Author: William Rothstein
Publisher: Oxford University Press
Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns--that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.
reveal. anything. significant. about. musical. rhythm. and. meter,. they are testimony ... 52–54, Maury Yeston, The Stratification of Musical Rhythm (New Haven: Yale University Press, 1976), pp. 65–67, and Fred Lerdahl and Ray ...
Author: Carl Schachter
Publisher: Oxford University Press on Demand
Introduction: A Dialogue between Author and Editor I: Rhythm and Linear Analysis.