Chapter 11: Rhythm and Meter — Read

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11.1: Notating Rhythm [crosslist]
11.2: Simple Meter and Time Signatures [crosslist]
11.3: Compound Meter and Time Signatures [crosslist]
11.4: Other Rhythmic Essentials [crosslist]
11.5: Hypermeter
This page discusses hypermeter, which involves complex accent patterns extending beyond notated meter, with examples from Beethoven's Symphony No. 9. It highlights the debate over perceived metrical levels and nested groupings in composition, referencing Gotham's "Sierpiński’s Triangle." Additionally, it mentions Charles Rosen's insights on rhythmic patterns in Schubert's Sonata in C minor, noting the relationship between dance styles and downbeat accents in music.
11.6: Metrical Dissonance
This page explores metrical dissonance in music, defining two types: displacement and grouping dissonance. It provides examples from works by Marie Jaëll, Bill Withers, Stravinsky, and Brahms, illustrating how misaligned metrical layers create tension and resolution. Techniques like ostinati are noted for inducing grouping dissonance.
11.7: Swing Rhythms [crosslist]
11.8: Rhythm and Meter in Pop Music [crosslist]
11.9: Drumbeats [crosslist]
11.10: Twentieth-Century Rhythmic Techniques [crosslist]

This page titled Chapter 11: Rhythm and Meter was last modified on Mon, 01 Jan 2024 00:07:58 GMT and is shared under a CC BY-SA 4.0 license and was authored, remixed, and/or curated by Mark Gotham, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis; Megan Lavengood, and John Peterson via source content that was edited to the style and standards of the LibreTexts platform.

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