New Musical Rhythm: Toward a Reductive Analytical Method for Music since 1900 complements existing theories by examining modes of composition that exploit non-metrical structures. Rhythmic identities that avoid or reorient the emphasis of the barline constitute the material for investigation, whether asymmetrical or tempo affecting in nature. Analyses of the works in question function simultaneously as indicators of composer ingenuity and as laboratories for the methods of examination. Following descriptions and definitions of my analytical approach, I explore excerpts from works by Stravinsky, Varese, Lutoslawski, and Carter. These examples encompass various rhythmic techniques, and follow a process of abstraction - beginning with surface (foreground) activity, then toward phrase structure (middleground), then to other large-scale temporal proportions (background). Brian Ferneyhough's Adagissimo entails a complete analysis, illustrating fore-, middle- and background levels for the entire work. This analysis synthesizes and exemplifies the types of rhythmic activity present in earlier examples, as an extensive application of both additive and tempo-fluctuating techniques.
展开▼
机译：新的音乐节奏：自1900年以来的音乐还原分析方法，通过研究利用非度量结构的作曲方式对现有理论进行了补充。避免或改变条条框框强调重点的节奏特征构成了研究的素材，无论是不对称的还是节奏上影响自然的。有关作品的分析同时充当作曲家创造力的指标和检验方法的实验室。根据对我的分析方法的描述和定义，我探究了Stravinsky，Varese，Lutoslawski和Carter的作品摘录。这些示例包含各种节奏技术，并遵循抽象的过程-从表面（前景）活动开始，然后到短语结构（中间背景），然后到其他大规模时间比例（背景）。 Brian Ferneyhough的Adagissimo进行了完整的分析，阐明了整个作品的前，中和背景水平。该分析综合并举例说明了先前示例中存在的节奏活动类型，这是加法和速度波动技术的广泛应用。
展开▼
