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BK

First edition

Praha : Academy of Performing Arts in Prague, 2014

351 stran : ilustrace, noty, faksimile ; 26 cm

ISBN 978-80-7331-328-9 (brožováno)

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VLADIMÍR TICHÝ : Introduction 014 // I TIME FLOW OF MUSICAL STRUCTURE AND ITS ARTICULATION. THE TERM KINETICS 018 // I.1 Musical structure as a temporally arranged and articulated whole 018 // I.2 Musical time 020 // I.3 Orientation in temporal articulation of a musical whole. Tectonics and kinetics. 021 // II BASIC TERMS OF KINETICS 025 // II.1 Rhythm 026 // II.1.1 Definition of the term 026 // II.1.2 Order in a sequence of rhythmic impulses 028 // II.1.2.1 Application of distance hierarchy 029 // II.1.2.2 Application of centric hierarchy 037 // II.1.3 Quantification and notation of the rhythmic flow of a musical structure 038 // II.1.4 Density and motion-rate of rhythmic impulses 040 // II.1.15 Arrhythmy 048 // II.2 Meter 049 // II.2.1 Definition of the term - relation of meter and rhythm 049 // II.2.2 Basic metric formation — measure 051 // II.2.3 Inner organization of the basic metric formation 057 // II.2.4 Types of meter and their classification 059 // II.2.5 Ametry 064 // II.3 Tempo 065 // II.3.1 Definition of the term and its relationship to meter and rhythm — speed 065 // II.3.2 Types of tempos and their classification 068 // II.3.3 Atempia 071 // III INDIVIDUALIZATION OF A TEMPORAL SEQUENCE OF IMPULSES 072 // IV MORE COMPLICATED RELATIONSHIPS IN THE ORGANIZATION OF KINETIC COMPONENTS IN MUSICAL STRUCTURES 077 // IV.1 Hierarchical levels in the organization of kinetic components in musical structures 077 // IV.1.1 Basic hierarchical level of meter-rhythmic organization 078 // IV.1.2 Subordinate hierarchical level of a meter-rhythmic organization 082 // IV.1.3 The superior hierarchical level of a meter-rhythmic organization 086 // IV.2 The mutual coordination of hierarchical levels of a meter-rhythmic organization in the kinetic component of a musical structure 089 // IV.3 Meter-rhythmic transposition 094 // V POLYPHONY FROM THE VIEWPOINT OF KINETICS 099 // V.1 Polyrhythmy 099 // V.2 Polymetry 109 // A

V POLYPHONY FROM THE VIEWPOINT OF KINETICS 099 // V.1 Polyrhythmy 099 // V.2 Polymetry 109 // Appendices 119 // Conclusion 148 // Bibliography 150 // Discography 152 // //

TOMÁŠ KUHN : Introduction 156 // I METER-RHYTHMIC PHENOMENA OF AFRICAN MUSIC REFLECTED IN JAZZ 161 // I.1 Polyrhythmy 162 // I.2 Off-beat 166 // I.3 Syncope 168 // I.4 Cross-rhythms 169 // II APPLICATION OF CHARACTERISTIC RHYTHMIC PATTERNS OF AFRO-LATIN DANCE MUSIC IN RAGTIME AND THEIR STRUCTURAL VARIATIONS 171 // II.1 Principles of the formation and inner organization of characteristic patterns of Afro-Latin dance music 171 // II.1.1 Use of afro-latin patterns in ragtime 177 // II.2 Basic metric unit in afro-latin dance music 185 // II.2.1 Hierarchical levels of meter-rhythmic organization 186 // II.2.2 Basic metric unit in polyrhythmic structures 188 // III SPECIFIC FEATURES AND SCHEMES OF JAZZ MUSIC IN TERMS OF MUSICAL TIME 190 // III.1 Beat 190 // III.2 Temporal distribution of accents in jazz as a hierarchizing and singularizing principle 192 // III.3 Classification of cross-rhythms 197 // III.3.1 Classification of cross-rhythms according to the value of the basic metric unit 197 // III.3.2 Classification of cross-rhythms according to the relationships among hierarchical levels 199 // III.4 Types of irregular meter in jazz 200 // III.5 Jazz phrasing: a factor contributing to music expressiveness as a holistic, integral expression 202 // IV TEMPO 209 // V ANALYSES OF TWO JAZZ COMPOSITIONS BY WOODY SHAW 211 // V.1 Rosewood 211 // V.2 Rahsaan’s run 219 // Conclusion 223 // Bibliography 224 // Discography 225 // Introduction 228 // Ethnic music within the classifications of kinetics 229 // //

VLASTISLAV MATOUŠEK : Intoduction 228 // Ethnic music within the classifications of kinetics 229 // Ethnic music and europe-centrism 230 // I. ON METHOD 232 // I.1 An introduction to the realization of rhythm 234 // I.2 Alternatives in expression and the realization of rhythm 236 // I.2.1. Differentiation of time intervals 237 // I.2-2- Differentiation of tempo — sense for a regular pulse 239 // I.2.3 Rhythmic abilities — the inner representation of rhythm 240 // I.2.4 Motor skill 242 // I.3 Problems in analyzing ethnic music 245 // I.4 Ethnic music — oral tradition 246 // I.5 Issues of music fixation 247 // I.6 Alternatives of music fixation 248 // I.7 Problems in transcribing ethnic music 250 // I.8 What can be objectively determined from a recording 252 // I.8.1 Ambiguities in interpreting structural arrangements in ethnic music 253 // I.8.2 Criteria that can provide direction when deciding 254 // I.9 Problems in transcriptions of conceptual compositions 257 // II TECTONICS AND KINETICS IN ETHNIC MUSIC 260 // II.1 Linkages with extra-aesthetic functions 261 // II.2 Time in ethnic music 261 // II.3 The "third" time 262 // II.4 Ethnic music and tectonics 264 // II.5 More complicated kinetic phenomena are not very frequent even in ethnic music 266 // II.6 Kinetic phenomena in music do not usually exceed the european framework 267 // II.7 Structural principles are universal and common 267 // II.8 Ethnic music — open forms 268 // II.9 Hierarchical levels of segmentation 268 // III ETHNIC MUSIC IN EUROPE 271 // IV KINETICS IN THE MUSIC OF THE ARABIAN REGION 274 // IV.1 Basic principle of rhythm — dum and tak sonorities 275 // IV.2 Arabian rhythmic instruments 276 // IV.3 Rhythmization in practice 277 // IV.4 The specifics of folk music rhythm 277 // IV.5 Marbu 278 //

V TALA: KINETIC CONCEPT OF CLASSICAL MUSIC IN INDIA 279 // V.1 Vedas 279 // V.2 Classical music 280 // V.3 Rhythm 281 // V.3.1 Matra and the laya tempo 281 // V.3.2 Tal 282 // V.3.3 Tin tal 283 // V.3.4 Bol and theka 285 // V.3.5 Theka — a summary of the most used tals 286 // V.3.6 Tabla 287 // V.3.6.1 Khaida 288 // V.3.7 Some further important formalized structural formations 289 // V.4 Tal and its place in the kinetics system 289 // V.5 A brief summary 289 // VI KINETICS IN THE TRADITIONAL MUSIC OF AUSTRALIA 291 // VI.1 Characteristic features of musical expressions 292 // VI.2 Rhythmic instruments 292 // VI.3 More complicated kinetics are rare 294 // VI.4 Acculturation 296 // VII KINETICS IN THE TRADITIONAL MUSIC OF JAPAN 297 // VIII THE RATTLE - AN INSTRUMENT OF FIVE CONTINENTS 301 // VIII.1 Kesh-kesh 302 // IX LULLABY FROM CENTRAL AFRICA 305 // X KINETICS IN ETHNIC MUSIC FROM THE VIEWPOINT OF KINETIC PHENOMENA SYSTEMATICS 307 // XI CONCLUSION 312 // Bibliography 317 // Discography 319 // List of appendices 321 // Subject index 346

(OCoLC)900137457

cnb002639122