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https://en.wikipedia.org/wiki/Rhythm

Rhythm
From Wikipedia, the free encyclopedia

Rhythm (from Greek , rhythmos, "any regular recurring

motion, symmetry" (Liddell and Scott 1996)) generally means a
"movement marked by the regulated succession of strong and
weak elements, or of opposite or different conditions" (Anon.
1971, 2537). This general meaning of regular recurrence or
pattern in time can apply to a wide variety of cyclical natural
phenomena having a periodicity or frequency of anything from
microseconds to several seconds (as with the riff in a rock
music song); to several minutes or hours, or, at the most
extreme, even over many years.
In the performance arts, rhythm is the timing of events on a
Rhythm, a sequence in time
human scale; of musical sounds and silences that occur over
repeated, featured in dance: an
time, of the steps of a dance, or the meter of spoken language
early moving picture
and poetry. In some performing arts, such as hip hop music, the
demonstrates the waltz.
rhythmic delivery of the lyrics is one of the most important
elements of the style. Rhythm may also refer to visual
presentation, as "timed movement through space" (Jirousek 1995,) and a common language of
pattern unites rhythm with geometry. In recent years, rhythm and meter have become an important
area of research among music scholars. Recent work in these areas includes books by Maury
Yeston (1976), Fred Lerdahl and Ray Jackendoff (Lerdahl and Jackendoff 1983), Jonathan Kramer,
Christopher Hasty (1997), Godfried Toussaint (2005), William Rothstein (1989), and Joel Lester
(Lester 1986).
In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of
thought expressed through the measure or movement in sound or form, or by written signs or words
(Percival 1946, 1006).

Contents
1 Anthropology
2 Terminology
2.1 Pulse, beat and measure
2.2 Unit and gesture
2.3 Alternation and repetition
2.4 Tempo and duration
2.5 Metric structure
3 Composite rhythm

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4 Rhythm notation
5 Educational literature/Advanced training courses
5.1 African music
5.2 Indian music
5.3 Western music
6 Linguistics
7 In popular culture
8 See also
9 References
10 Further reading
11 External links

Anthropology
In his television series How Music Works, Howard
Goodall presents theories that human rhythm recalls
the regularity with which we walk and the heartbeat
(Goodall 2006, 0:03:10). Other research suggests
that it does not relate to the heartbeat directly, but
rather the speed of emotional affect, which also
influences heartbeat. Yet other researchers suggest
that since certain features of human music are
widespread, it is reasonable to suspect that
beat-based rhythmic processing has ancient
evolutionary roots (Patel 2014,). Justin London
Percussion instruments have clearly defined
writes that musical metre "involves our initial
sounds that aid the creation and perception of
perception as well as subsequent anticipation of a
complex rhythms
series of beats that we abstract from the rhythm
surface of the music as it unfolds in time" (London
2004, 4). The "perception" and "abstraction" of rhythmic measure is the foundation of human
instinctive musical participation, as when we divide a series of identical clock-ticks into "ticktock-tick-tock" (Scholes 1977b; Scholes 1977c).
Joseph Jordania recently suggested that the sense of rhythm was
developed in the early stages of hominid evolution by the forces
of natural selection (Jordania 2011,). Plenty of animals walk
rhythmically and hear the sounds of the heartbeat in the womb,
but only humans have the ability to be engaged (entrained) in
rhythmically coordinated vocalizations and other activities.
According to Jordania, development of the sense of rhythm was
central for the achievement of the specific neurological state of
the battle trance, crucial for the development of the effective

A simple [quadr]duple drum

pattern, which lays a foundation
of duration common in popular
music: Play .

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defense system of early hominids. Rhythmic war cry, rhythmic drumming by shamans, rhythmic
drilling of the soldiers and contemporary professional combat forces listening to the heavy
rhythmic rock music (Pieslak 2009,) all use the ability of rhythm to unite human individuals into a
shared collective identity where group members put the interests of the group above their individual
interests and safety.
Some types of parrots can know rhythm (Anon. 2009). Neurologist Oliver Sacks states that
chimpanzees and other animals show no similar appreciation of rhythm yet posits that human
affinity for rhythm is fundamental, so that a person's sense of rhythm cannot be lost (e.g. by stroke).
"There is not a single report of an animal being trained to tap, peck, or move in synchrony with an
auditory beat" (Patel 2006, cited in Sacks 2007, 23940, who adds, "No doubt many pet lovers will
dispute this notion, and indeed many animals, from the Lippizaner horses of the Spanish Riding
School of Vienna to performing circus animals appear to 'dance' to music. It is not clear whether
they are doing so or are responding to subtle visual or tactile cues from the humans around them.")
Human rhythmic arts are possibly to some extent rooted in courtship ritual (Mithen 2005,).
The establishment of a basic beat requires the perception of a
regular sequence of distinct short-duration pulses and, as a
subjective perception of loudness is relative to background
noise levels, a pulse must decay to silence before the next
occurs if it is to be really distinct. For this reason, the
fast-transient sounds of percussion instruments lend themselves
to the definition of rhythm. Musical cultures that rely upon such
instruments may develop multi-layered polyrhythm and
simultaneous rhythms in more than one time signature, called
polymeter. Such are the cross-rhythms of Sub-Saharan Africa
and the interlocking kotekan rhythms of the gamelan.

Compound triple drum pattern:

divides three beats into three.
Play Contains repetition on
three levels.

For information on rhythm in Indian music see Tala (music). For other Asian approaches to rhythm
see Rhythm in Persian music, Rhythm in Arabian music and UsulRhythm in Turkish music and
Dumbek rhythms.

Terminology
Pulse, beat and measure
(See main articles; Pulse (music), Beat (music))
Most music, dance and oral poetry establishes and maintains an underlying "metric level", a basic
unit of time that may be audible or implied, the pulse or tactus of the mensural level (Berry 1987,
349; Lerdahl and Jackendoff 1983; Fitch and Rosenfeld 2007, 44), or beat level, sometimes simply
called the beat. This consists of a (repeating) series of identical yet distinct periodic short-duration
stimuli perceived as points in time (Winold 1975, 213). The "beat" pulse is not necessarily the
fastest or the slowest component of the rhythm but the one that is perceived as fundamental: it has a

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tempo to which listeners entrain as they tap their foot or

dance to a piece of music (Handel 1989). It is currently
most often designated as a crotchet or quarter note in
western notation (see time signature). Faster levels are
division levels, and slower levels are multiple levels
(Winold 1975, 213). "Rhythms of recurrence" arise from
the interaction of two levels of motion, the faster providing
the pulse and the slower organizing the beats into repetitive
groups (Yeston 1976, 5052). "Once a metric hierarchy has
been established, we, as listeners, will maintain that
organization as long as minimal evidence is present" (Lester
1986, 77).

https://en.wikipedia.org/wiki/Rhythm

Metric levels: beat level shown in

middle with division levels above and
multiple levels below.

Unit and gesture

A durational pattern that synchronises with a pulse or pulses on
the underlying metric level may be called a rhythmic unit. These
may be classified as; metriceven patterns, such as steady
eighth notes or pulsesintrametricconfirming patterns, such
as dotted eighth-sixteenth note and swing patterns
contrametricnon-confirming, or syncopated patterns and
extrametricirregular patterns, such as tuplets.
Rhythmic units: division level

A rhythmic gesture is any durational pattern that, in contrast to

shown above and rhythmic units
the rhythmic unit, does not occupy a period of time equivalent
shown below Play .
to a pulse or pulses on an underlying metric level. It may be
described according to its beginning and ending or by the
rhythmic units it contains. Beginnings on a strong pulse are thetic, a weak pulse, anacrustic and
those beginning after a rest or tied-over note are called initial rest. Endings on a strong pulse are
strong, a weak pulse, weak and those that end on a strong or weak upbeat are upbeat (Winold 1975,
239).

Alternation and repetition

Rhythm is marked by the regulated succession of opposite elements, the dynamics of the strong and
weak beat, the played beat and the inaudible but implied rest beat, the long and short note. As well
as perceiving rhythm we must be able to anticipate it. This depends on repetition of a pattern that is
short enough to memorize.
The alternation of the strong and weak beat is fundamental to the ancient language of poetry, dance
and music. The common poetic term "foot" refers, as in dance, to the lifting and tapping of the foot
in time. In a similar way musicians speak of an upbeat and a downbeat and of the "on" and "off"
beat. These contrasts naturally facilitate a dual hierarchy of rhythm and depend on repeating
patterns of duration, accent and rest forming a "pulse-group" that corresponds to the poetic foot.

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Normally such pulse-groups are defined by taking the most accented beat as the first and counting
the pulses until the next accent (MacPherson 1930, 5; Scholes 1977b). A rhythm that accents
another beat and de-emphasises the downbeat as established or assumed from the melody or from a
preceding rhythm is called syncopated rhythm.
Normally, even the most complex of meters may be broken down into a chain of duple and triple
pulses (MacPherson 1930, 5; Scholes 1977b) either by addition or division. According to Pierre
Boulez, beat structures beyond four, in western music, are "simply not natural" (Slatkin n.d., at
5:05).

Tempo and duration

(See main articles; Duration (music), Tempo)
The tempo of the piece is the speed or frequency of the tactus, a measure of how quickly the beat
flows. This is often measured in 'beats per minute' (bpm): 60 bpm means a speed of one beat per
second, a frequency of 1 Hz. A rhythmic unit is a durational pattern that has a period equivalent to
a pulse or several pulses (Winold 1975, 237). The duration of any such unit is inversely related to
its tempo.
Musical sound may be analyzed on five different time scales, which Moravscik has arranged in
order of increasing duration (Moravcsik 2002, 114).
Supershort: a single cycle of an audible wave, approximately 130110,000 second
(3010,000 Hz or more than 1,800 bpm). These, though rhythmic in nature, are not perceived
as separate events but as continuous musical pitch.
Short: of the order of one second (1 Hz, 60 bpm, 10100,000 audio cycles). Musical tempo is
generally specified in the range 40 to 240 beats per minute. A continuous pulse cannot be
perceived as a musical beat if it is faster than 810 per second (810 Hz, 480600 bpm) or
slower than 1 per 1.52 seconds (0.60.5 Hz, 4030 bpm). Too fast a beat becomes a drone,
too slow a succession of sounds seems unconnected (Fraisse 1956; Woodrow 1951, both
quoted in Covaciu-Pogorilowski n.d.). This time-frame roughly corresponds to the human
heart rate and to the duration of a single step, syllable or rhythmic gesture.
Medium: few seconds, This median durational level "defines rhythm in music" (Moravcsik
2002, 114) as it allows the definition of a rhythmic unit, the arrangement of an entire
sequence of accented, unaccented and silent or "rest" pulses into the cells of a measure that
may give rise to the "briefest intelligible and self-existent musical unit" (Scholes 1977c), a
motif or figure. This may be further organized, by repetition and variation, into a definite
phrase that may characterise an entire genre of music, dance or poetry and that may be
regarded as the fundamental formal unit of music (MacPherson 1930,).
Long: many seconds or a minute, corresponding to a durational unit that "consists of
musical phrases" (Moravcsik 2002, 114)which may make up a melody, a formal section, a
poetic stanza or a characteristic sequence of dance moves and steps. Thus the temporal
regularity of musical organisation includes the most elementary levels of musical form

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(MacPherson 1930, 3).

Very long: minutes or many hours, musical compositions or subdivisions of compositions.
Curtis Roads (Roads 2001) takes a wider view by distinguishing nine-time scales, this time in order
of decreasing duration. The first two, the infinite and the supra musical, encompass natural
periodicities of months, years, decades, centuries, and greater, while the last three, the sample and
subsample, which take account of digital and electronic rates "too brief to be properly recorded or
perceived", measured in millionths of seconds (microseconds), and finally the infinitesimal or
infinitely brief, are again in the extra-musical domain. Roads' Macro level, encompassing "overall
musical architecture or form" roughly corresponds to Moravcsik's "very long" division while his
Meso level, the level of "divisions of form" including movements, sections, phrases taking seconds
or minutes, is likewise similar to Moravcsik's "long" category. Roads' Sound object (Schaeffer
1959; Schaeffer 1977): "a basic unit of musical structure" and a generalization of note (Xenakis'
mini structural time scale); fraction of a second to several seconds, and his Microsound (see
granular synthesis) down to the threshold of audible perception; thousands to millionths of seconds,
are similarly comparable to Moravcsik's "short" and "supershort" levels of duration.

Metric structure
(See main articles; Metre (music), Bar (music), Metre (poetry))

Notation of a clave rhythm pattern? Each cell

of the grid corresponds to a fixed duration of
time with a resolution fine enough to capture
the timing of the pattern, which may be
counted as two bars of four beats in divisive
(metrical or symmetrical) rhythm, each beat
divided into two cells. The first bar of the
pattern may also usefully be counted
additively (in measured or asymmetrical
rhythm) as 3 + 3 + 2

The study of rhythm, stress, and pitch in speech is

called prosody: it is a topic in linguistics and poetics,
where it means the number of lines in a verse, the
number of syllables in each line and the arrangement
of those syllables as long or short, accented or
unaccented. Music inherited the term "meter or
metre" from the terminology of poetry (Scholes
1977b; Scholes 1977c; Latham 2002).

The metric structure of music includes meter, tempo

and all other rhythmic aspects that produce temporal
regularity against which the foreground details or
durational patterns of the music are projected
(Winold 1975,). The terminology of western music is
notoriously imprecise in this area (Scholes 1977b).
MacPherson 1930, 3 preferred to speak of "time" and
"rhythmic shape", Imogen Holst (Holst 1963, 17) of "measured rhythm".
Dance music has instantly recognizable patterns of beats built upon a characteristic tempo and
measure. The Imperial Society of Teachers of Dancing defines the tango, for example, as to be
2 time at approximately 66 beats per minute. The basic slow step forwards or backwards,
danced in 4
lasting for one beat, is called a "slow", so that a full "rightleft" step is equal to one 2
4 measure
(Imperial Society of Teachers of Dancing 1977,) (See Rhythm and dance).

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The general classifications of metrical rhythm,

measured rhythm, and free rhythm may be
distinguished (Cooper 1973, 30). Metrical or divisive
Notation of three measures of a clave pattern
rhythm, by far the most common in Western music
preceded by one measure of steady quarter
calculates each time value as a multiple or fraction
notes. This pattern is noted in double time
of the beat. Normal accents re-occur regularly
relative to the one above, in one instead of
providing systematical grouping (measures).
two four-beat measures Four beats followed
Measured rhythm (additive rhythm) also calculates
by three Clave patterns .
each time value as a multiple or fraction of a
specified time unit but the accents do not recur
regularly within the cycle. Free rhythm is where there is neither (Cooper 1973, 30), such as in
Christian chant, which has a basic pulse but a freer rhythm, like the rhythm of prose compared to
that of verse (Scholes 1977c). See Free time (music).
Finally some music, such as some graphically scored works since the 1950s and non-European
music such as Honkyoku repertoire for shakuhachi, may be considered ametric (Karpinski 2000,
19). Senza misura is an Italian musical term for "without meter", meaning to play without a beat,
using time to measure how long it will take to play the bar (Forney and Machlis 2007).

Composite rhythm
A composite rhythm is the durations and
patterns (rhythm) produced by amalgamating
all sounding parts of a musical texture. In
music of the common practice period, the
composite rhythm usually confirms the meter,
often in metric or even-note patterns identical
to the pulse on a specific metric level. White
defines composite rhythm as, "the resultant
overall rhythmic articulation among all the
voices of a contrapuntal texture" (White 1976,
136.).

Bach's Sinfonia in F minor BWV 795, mm. 1-3

Play original Play with composite .

Rhythm notation
Worldwide there are many different approaches to passing on rhythmic phrases and patterns, as
they exist in traditional music, from generation to generation.

Educational literature/Advanced training courses

In the western academic world several schools and training courses have been developed since the
1960s according to national tradition and educational policy. Amongst the few methods and

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learning programmes for music colleges, universities and conservatoires that are employed on an
international scale it is worthy mentioning the following books:
Maat en Ritme, by Horst F. Van Der (1963), published by Broekmans & van Poppel
(https://www.broekmans.com/NL/Bladmuziek/Resultaat), ISBN 9789491906008. A
collection of graded exercises in two volumes, from elementary to advanced level.
Die Kunst des Rhythmus, by Peter Giger (1993), published by Schott (https://de.schottmusic.com/shop/die-kunst-des-rhythmus.html), ISBN 978-3-7957-1862-6. A theoretical
approach to western and non-western rhythms.
Rhythm to go, by John Palmer (2013), published by Vision Edition (https://visionedition.com
/index.php/en/rhythm-to-go) and distributed by CE Books (http://composersedition.com/johnpalmer-rhythm-to-go), ISMN 979-0-9002315-1-2. A fast-track collection of graded exercises
from elementary to advanced level divided in four sections and including an additional
chapter with rhythmic structures used in contemporary music.

African music
In the Griot tradition of Africa everything related to music has been
passed on orally. Babatunde Olatunji (19272003) developed a simple
series of spoken sounds for teaching the rhythms of the hand-drum,
using six vocal sounds, "Goon, Doon, Go, Do, Pa, Ta", for three basic
sounds on the drum, each played with either the left or the right hand.
The debate about the appropriateness of staff notation for African
music is a subject of particular interest to outsiders while African
scholars from Kyagambiddwa to Kongo have, for the most part,
accepted the conventions and limitations of staff notation, and
produced transcriptions to inform and enable discussion and debate
(Agawu 2003, 52)
John Miller Chernoff 1979 has argued that West African music is
A Griot performs at
based on the tension between rhythms, polyrhythms created by the
Diffa, Niger, West Africa.
simultaneous sounding of two or more different rhythms, generally one
The Griot is playing a
dominant rhythm interacting with one or more independent competing
Ngoni or Xalam.
rhythms. These often oppose or complement each other and the
dominant rhythm. Moral values underpin a musical system based on
repetition of relatively simple patterns that meet at distant crossrhythmic intervals and on call-and-response form. Collective utterances such as proverbs or
lineages appear either in phrases translated into "drum talk" or in the words of songs. People expect
musicians to stimulate participation by reacting to people dancing. Appreciation of musicians is
related to the effectiveness of their upholding community values (Chernoff 1979).

Indian music
Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm

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patterns and phrases before attempting to play them. Sheila Chandra, an English pop singer of
Indian descent, made performances based on her singing these patterns. In Indian Classical music,
the Tala of a composition is the rhythmic pattern over which the whole piece is structured.

Western music
In the 20th century, composers like Igor Stravinsky, Bla Bartk, Philip Glass, and Steve Reich
wrote more rhythmically complex music using odd meters, and techniques such as phasing and
additive rhythm. 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. This use may be explained by a comment of John Cage's
where he notes that regular rhythms cause sounds to be heard as a group rather than individually;
the irregular rhythms highlight the rapidly changing pitch relationships that would otherwise be
subsumed into irrelevant rhythmic groupings (Sandow 2004, 257). LaMonte Young also wrote
music in which the sense of a regular beat is absent because the music consists only of long
sustained tones (drones). In the 1930s, Henry Cowell wrote music involving multiple simultaneous
periodic rhythms and collaborated with Lon Thrmin to invent the Rhythmicon, the first
electronic rhythm machine, in order to perform them. Similarly, Conlon Nancarrow wrote for the
player piano.

Linguistics
In linguistics, rhythm or isochrony is one of the three aspects of prosody, along with stress and
intonation. Languages can be categorized according to whether they are syllable-timed,
mora-timed, or stress-timed. Speakers of syllable-timed languages such as Spanish and Cantonese
put roughly equal time on each syllable; in contrast, speakers of stressed-timed languages such as
English and Mandarin Chinese put roughly equal time lags between stressed syllables, with the
timing of the unstressed syllables in between them being adjusted to accommodate the stress
timing.
Narmour 1977 (cited in Winold 1975,) describes three categories of prosodic rules that create
rhythmic successions that are additive (same duration repeated), cumulative (short-long), or
countercumulative (long-short). Cumulation is associated with closure or relaxation,
countercumulation with openness or tension, while additive rhythms are open-ended and repetitive.
Richard Middleton points out this method cannot account for syncopation and suggests the concept
of transformation (Middleton 1990,).

In popular culture
In day-to-day, figurative language, there are several non-music related uses of the word "rhythm".
For example, a person may describe the rhythm of the workday in a certain company or occupation,
or the rhythm of life in a certain country or region. In these contexts, the meaning of rhythm is
often confused with the concept of "tempo", with people erroneously referring to a certain rhythm

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as being "slow" or "fast". Speed (tempo) cannot be a specification for a certain rhythm, as the same
rhythm can occur at any tempo. A certain tempo compares to other tempi by the difference in
speed, whereas a certain rhythm compares to other rhythms by the difference in structure.

See also
Meter (music)
Drumming
Polyrhythm
Cross-beat

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Pieslak, Jonathan (2009). Sound Targets: American Soldiers and Music in the Iraq War.
Bloomington and London: Indiana University Press.
Roads, Curtis (2001). Microsound. Cambridge, MA: MIT Press. ISBN 978-0-262-18215-7;
ISBN 978-0-262-68154-4
Rothstein, William (1989). Phrase Rhythm in Tonal Music. New York: Schirmer Books. ISBN
9780028721910.
Sacks, Oliver (2007). "Keeping Time: Rhythm and Movement". Musicophilia, Tales of Music
and the Brain. New York and Toronto: Alfred A. Knopf. ISBN 978-1-4000-4081-0.
Sandow, Greg (2004). "A Fine Madness". In The Pleasure of Modernist Music: Listening,
Meaning, Intention, Ideology, edited by Arved Mark Ashby, 25358. ISBN 1-58046-143-3.
Reprinted from The Village Voice (16 March 1982).
Scholes, Percy (1977a). "Form", in The Oxford Companion to Music, 6th corrected reprint of
the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York:
Oxford University Press. ISBN 0-19-311306-6.
Scholes, Percy (1977b). "Metre", in The Oxford Companion to Music, 6th corrected reprint of
the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York:
Oxford University Press. ISBN 0-19-311306-6.
Scholes, Percy (1977c). "Rhythm", in The Oxford Companion to Music, 6th corrected reprint
of the 10th ed. (1970), revised and reset, edited by John Owen Ward. London and New York:
Oxford University Press. ISBN 0-19-311306-6.
Slatkin, Leonard. n.d. "Discovering Music: Rhythm (http://www.bbc.co.uk/radio3
/discoveringmusic/ram/cdm0401slat1of4.ram) with Leonard Slatkin".
Toussaint, Godfried T., The Geometry of Musical Rhythm, In J. Akiyama, M. Kano, and X.
Tan, editors, Proceedings of the Japan Conference on Discrete and Computational Geometry,
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White, John D. (1976). The Analysis of Music. Englewood Cliffs, NJ: Prentice-Hall. ISBN
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Winold, Allen (1975). "Rhythm in Twentieth-Century Music". In Aspects of TwentiethCentury Music, edited by Gary Wittlich, Chapter 3. Englewood Cliffs, New Jersey:
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Woodrow, Herbert. "Time Perception". In A Handbook of Experimental Psychology, edited by
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Yeston, Maury. 1976. The Stratification of Musical Rhythm. New Haven and London: Yale
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Further reading
Honing, H. (2002). "Structure and interpretation of rhythm and timing."
(http://www.hum.uva.nl/mmm/abstracts/mmm-TvM.html) Tijdschrift voor Muziektheorie
[Dutch Journal of Music Theory] 7(3): 227232.
Humble, M. (2002). The Development of Rhythmic Organization in Indian Classical Music
(http://www.scribd.com/doc/25227226/The-Development-of-Rhythmic-Organization-

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in-Indian-Classical-Music), MA dissertation, School of Oriental and African Studies,

University of London.
Lewis, Andrew (2005). RhythmWhat it is and How to Improve Your Sense of It. San
Francisco: RhythmSource (http://rhythmsource.com/dev/books/) Press. ISBN
978-0-9754667-0-4.
Williams, C. F. A., The Aristoxenian Theory of Musical Rhythm, (Cambridge Library
CollectionMusic), Cambridge University Press; first edition, 2009.

External links
'Rhythm of Prose', William Morrison Patterson ,Columbia
Look up rhythm in
University Press 1917 (https://archive.org/stream
Wiktionary, the free
/rhythmofproseexp00pattiala
dictionary.
/rhythmofproseexp00pattiala_djvu.txt)
Melodyhound has a "Query by Tapping" search that allows users to identify music based on
rhythm (http://www.melodyhound.com/query_by_tapping.0.html)
Louis Hbert, "A Little Semiotics of Rhythm. Elements of Rhythmology", in Signo
(http://www.signosemio.com/semiotics-of-rhythm.asp)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rhythm&oldid=759983994"
Categories: Cognitive musicology Musical terminology Rhythm and meter Patterns
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