Current definitions for rhythmic and metrical terminology generally focus on the relationship of rhythm and pitch. In the world of non-pitched percussion music, these definitions become impractical by virtue of the absence of the key element of pitch. This study presents clear definitions for terms related to the theories of rhythm and meter as they combine to create phrase rhythm within a piece of music. Included are definitions of the following terms: intrinsic and extrinsic rhythmic accents, metrical accents, metrical hierarchy and the metrical grid, metrical consonance and dissonance, complex meter, irregular meter, changing meter, hypermeter, phrase expansion, metric modulation, and durational rhythm. While some of the definitions quote directly from the original sources, the author also develops his own definitions, relying on previous scholarship.
Excerpts from non-pitched percussion repertoire provide unambiguous examples of each concept. Once the concepts and terminology are familiar, they may be applied in the private studio and in the rehearsal hall. The study concludes with a pedagogical application of these terms and concepts to the analysis of all four movements of William Kraft’s French Suite.
|Advisor:||Jenkins, J. Daniel|
|Commitee:||Bain, Reginald, Herring, Scott, Phillips, Rebecca|
|School:||University of South Carolina|
|School Location:||United States -- South Carolina|
|Source:||DAI-A 72/08, Dissertation Abstracts International|
|Subjects:||Music, Music education|
|Keywords:||Accent, French Suite, Kraft, William, Meter, Percussion, Phrase, Rhythm, Theory|
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