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The Rhythmic Structure of Music
In this influential book on the subject of rhythm, the authors develop a theoretical framework based essentially on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm, with exercises for the student's own work.
"This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."— New York Times Book Review
"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."— Notes
". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."— Journal of Music Theory
The late GROSVENOR W. COOPER, author of Learning to Listen , was professor of music at the University of California at Santa Cruz.
"This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."— New York Times Book Review
"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."— Notes
". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."— Journal of Music Theory
The late GROSVENOR W. COOPER, author of Learning to Listen , was professor of music at the University of California at Santa Cruz.
- GenresMusicNonfiction
221 pages, Paperback
First published April 15, 1963
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Displaying 1 of 1 review
April 24, 2019
There was certainly a time when this would have been the best way to study the subject, though I suspect that the need to elaborate each variety of meter in excruciating detail would have always been boring. With all of the modern resources out there, this is probably the worst way to learn about the subject... there are a number of modern composers/performers with YouTube channels who touch on the subject (David Bruce and Adam Neeley are two examples) with enlightening examples.
For a foundation in the subject, I recommend reading the third section of Structural Functions in Music, then clicking around on YouTube.
For a foundation in the subject, I recommend reading the third section of Structural Functions in Music, then clicking around on YouTube.
Displaying 1 of 1 review