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The Rhythmic Structure of Music (Phoenix Books)
Get Free Ebook The Rhythmic Structure of Music (Phoenix Books)
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Product details
Series: Phoenix Books
Paperback: 224 pages
Publisher: University of Chicago Press (April 15, 1963)
Language: English
ISBN-10: 0226115224
ISBN-13: 978-0226115221
Product Dimensions:
6 x 0.6 x 9 inches
Shipping Weight: 14.1 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#341,905 in Books (See Top 100 in Books)
Why does such a scholarly book, intended for a whole semester of use, have to be in fall-apart paperback. Barely a few days into this book's life pages were falling out. I've had to re-glue several already, and I've had this book only since January this year. Open the book normally a few times and at least one page has come unglued. I'm going to have to see a book binder about a way to save this book.I realize this review about the physical book, if review is what we shall call it, isn't helpful, since readers of a review want to know if a book is worth purchasing, so I should say something about its contents. The authors' use of the rhythms of prosody is extremely helpful to someone looking for solid reasons for the phrasing of a passage and to understand the inter-relations of phrases and therefore the structure of a long stretch of music, even a whole piece of music, through the architectonic analysis techniques furnished by the authors. Understanding rhythmic structure as taught in this book, a musician can reliably produce a musical performance that can affect an audience the way it should. I regard this book' insights as indispensable for the music I play.With just about any other book that fell apart like this one has been doing, I wouldn't bother struggling to keep it together. With this one, every page is precious, and the effort to keep it together is worth it.
This book was on the short list for the tonal composers at UIUC when it first came out as well, and I know of nothing better to this day. It is invaluable for the analytic framework it proposes. In fact it's one of few contemporary analytic approaches where the output of the analytic apparatus isn't more complicated than the original piece. In the end though, I think of it as a type of Schenkerian analysis for rhythm. That is, if I were to fault it for anything, it would be for not going far enough in exploring the different types of relations between levels of a hierarchy. Could be that thsi is left as an eercise to the student ? The ramifications for algorithmic composition (especially context-sensitive recursive rules) and the interrelation of rhythm and pitch are simply staggering. I've also successfully used it (albeit with lots of caveats regarding articulation and agogic accents) to develop a sense of phrasing when teaching beginning piano. I've particularly found that the use of poetic feet as a analog to meter was readily accessible to most adults.
Here Cooper and Meyer take on the nature of rhythm in music, using a system of relationships between accents and unaccented or lesser accented notes based on poetic feet. It is one of the very few attempts to discuss rhythm (beyond a basic categorization such as simple/compound; duple/triple)--that it is not, perhaps, completely successful should not entirely invalidate the effort, or indeed, the achievement. Certain topics are not entirely well-explained. I remember that as a student I asked Professor Meyer the difference between two particular terms used in the book--his answer was that he could no longer remember (this was probably 15 years after the book was written) and that the distinction no longer seemed important to him. True, the book was jointly authored and perhaps this distinction was never fully convincing to Meyer--I don't know. In spite of this, the book is truly important for introducing and discussing the concept of form as a rhythmic idea. That rhythm, like pitch, can have hierarchic structures may at first seem counterintuitive; but Cooper and Meyer make a convincing arguement. And that after some 35 years this book is still in print and has not been superceded speaks volumes.
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