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Figure 15. (a) Reich's signature rhythm. The rhythm as it appears in Music for Eighteen Musicians pt. 3a (marimba) with stemming added to show registral segmentation. (c) The rhythm as it appears in Sextet reh. 59 (marimba), also with alternate stemming added. (d) The spectrum of the signature rhythm with the spectrum of interval 6 (orange), the canon in the first part of Music for Pieces of Wood.

(a) Reich's signature rhythm. The rhythm as it appears in Music for Eighte...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 15. (a) Reich's signature rhythm. The rhythm as it appears in Music for Eighteen Musicians pt. 3a (marimba) with stemming added to show registral segmentation. (c) The rhythm as it appears in Sextet reh. 59 (marimba), also with alternate stemming added. (d) The spectrum More
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Figure 29. The spectra of the signature rhythm and vibraphone rhythm from Sextet iv, proportionally adjusted to compare similar periodicities.

The spectra of the signature rhythm and vibraphone rhythm from Sextet iv,...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 29. The spectra of the signature rhythm and vibraphone rhythm from Sextet iv, proportionally adjusted to compare similar periodicities. More
Journal Article

Meter as Rhythm

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Arnold Whittall
Journal of Music Theory (1999) 43 (2): 359–371.
DOI: https://doi.org/10.2307/3090666
Published: 01 October 1999
...Arnold Whittall Meter as Rhythm Christopher F. Hasty New York and Oxford; Oxford University Press, 1997 xviii, 310 pp. 1999 © Yale University, New Haven, Connecticut 06520 1999 Meter as Rhythm Christopher F. Hasty New York and Oxford; Oxford University Press, 1997 xviii, 310 pp...
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Journal Article

Banjo Transformations and Bluegrass Rhythm

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Joti Rockwell
Journal of Music Theory (2009) 53 (1): 137–162.
DOI: https://doi.org/10.1215/00222909-2009-023
Published: 01 April 2009
...Joti Rockwell Drawing ideas from transformational theory and rhythm and meter theory, this study examines bluegrass banjo music in terms of rhythm and motions of the human hand. It begins by presenting a mathematical model of the five-string banjo characterizing the gestural permutations that give...
View articletitled, Banjo Transformations and Bluegrass <span class="search-highlight">Rhythm</span> View PDF for article titled, Banjo Transformations and Bluegrass <span class="search-highlight">Rhythm</span>
Journal Article

The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form

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Nicholas Stoia
Journal of Music Theory (2023) 67 (2): 285–331.
DOI: https://doi.org/10.1215/00222909-10699727
Published: 01 October 2023
...Nicholas Stoia Abstract The transformation of blues into rhythm and blues in the mid-twentieth century mirrored the experience of migrants who traveled from the South and adapted to bustling city life in the North and Midwest. When millions of Black Americans moved to cities during the Great...
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View articletitled, The Transformation of Prewar Blues into Postwar <span class="search-highlight">Rhythm</span> and Blues: The Great Migration, Urbanization, and Form View PDF for article titled, The Transformation of Prewar Blues into Postwar <span class="search-highlight">Rhythm</span> and Blues: The Great Migration, Urbanization, and Form
Journal Article

Songs in Motion: Rhythm and Meter in the German Lied

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Patrick McCreless
Journal of Music Theory (2011) 55 (2): 253–264.
DOI: https://doi.org/10.1215/00222909-1540365
Published: 01 October 2011
...: Rhythm and Meter in the German Lied Oxford Studies in Music Theory Oxford University Press , 2010 : xxii + 229 pp., with musical examples on a companion website $49.95 cloth © 2012 by Yale University 2012 Works Cited Cone Edward T. 1968 . Musical Form and Musical Performance...
View articletitled, Songs in Motion: <span class="search-highlight">Rhythm</span> and Meter in the German Lied View PDF for article titled, Songs in Motion: <span class="search-highlight">Rhythm</span> and Meter in the German Lied
Journal Article

Exploring the Rhythm of the Palestrina Style: A Case Study in Probabilistic Grammar Induction

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Panayotis Mavromatis
Journal of Music Theory (2012) 56 (2): 169–223.
DOI: https://doi.org/10.1215/00222909-1650406
Published: 01 October 2012
... style. As a concrete illustration, this article builds a formal grammar of rhythm for the Palestrina style. The grammar’s structure and components are carefully explained, and the formalism is compared with existing approaches to style characterization. Many traditional counterpoint rules are shown...
View articletitled, Exploring the <span class="search-highlight">Rhythm</span> of the Palestrina Style: A Case Study in Probabilistic Grammar Induction View PDF for article titled, Exploring the <span class="search-highlight">Rhythm</span> of the Palestrina Style: A Case Study in Probabilistic Grammar Induction
Journal Article

Leonhard Euler’s Unfinished Theory of Rhythm

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Roger Mathew Grant
Journal of Music Theory (2013) 57 (2): 245–286.
DOI: https://doi.org/10.1215/00222909-2323479
Published: 01 October 2013
... theory of consonance to assess and explain the interaction of rhythms as well as the interaction of pitches. At several points in his 1739 Tentamen novae theoriae musicae ( Attempt at a New Theory of Music ), Euler suggests that everything he has written about consonance should also apply to duration...
View articletitled, Leonhard Euler’s Unfinished Theory of <span class="search-highlight">Rhythm</span> View PDF for article titled, Leonhard Euler’s Unfinished Theory of <span class="search-highlight">Rhythm</span>
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Figure 1. Reich's signature rhythm.

Reich's signature rhythm.

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 1. Reich's signature rhythm. More
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Figure 2. (a) Coefficients 1–11 of the DFT of the signature rhythm. (b) A sinusoid of frequency 12, equivalent to the zeroth coefficient (constant function) of the DFT for the signature rhythm. (c) Coefficients 1–6 superimposed. (d) The sum of coefficients 1–6. This is half of the sum for the complete DFT, not including the constant (zeroth term). To recover the signature rhythm, double the values at each discrete location on the x-axis, add 8, and divide by 12.

(a) Coefficients 1–11 of the DFT of the signature rhythm. (b) A sinusoid of...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 2. (a) Coefficients 1–11 of the DFT of the signature rhythm. (b) A sinusoid of frequency 12, equivalent to the zeroth coefficient (constant function) of the DFT for the signature rhythm. (c) Coefficients 1–6 superimposed. (d) The sum of coefficients 1–6. This is half of the sum More
Image
Figure 2. (a) Coefficients 1–11 of the DFT of the signature rhythm. (b) A sinusoid of frequency 12, equivalent to the zeroth coefficient (constant function) of the DFT for the signature rhythm. (c) Coefficients 1–6 superimposed. (d) The sum of coefficients 1–6. This is half of the sum for the complete DFT, not including the constant (zeroth term). To recover the signature rhythm, double the values at each discrete location on the x-axis, add 8, and divide by 12.

(a) Coefficients 1–11 of the DFT of the signature rhythm. (b) A sinusoid of...

Available to Purchase
in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 2. (a) Coefficients 1–11 of the DFT of the signature rhythm. (b) A sinusoid of frequency 12, equivalent to the zeroth coefficient (constant function) of the DFT for the signature rhythm. (c) Coefficients 1–6 superimposed. (d) The sum of coefficients 1–6. This is half of the sum More
Image
Figure 5. (a) The full spectrum of Reich's signature rhythm (Figures 1 and 4a). (b–c) The abbreviated spectrum of Reich's signature rhythm compared to those of Figure 4, b and c.

(a) The full spectrum of Reich's signature rhythm (Figures 1 and 4a). (b–c)...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 5. (a) The full spectrum of Reich's signature rhythm (Figures 1 and 4a). (b–c) The abbreviated spectrum of Reich's signature rhythm compared to those of Figure 4 , b and c . More
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Figure 12. (a) The spectrum of the basic rhythm of Phase Patterns (see Figure 10). (b) The phase space for coefficient 3 and different rotations of the rhythm in this space.

(a) The spectrum of the basic rhythm of Phase Patterns (see Figure 10). (...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 12. (a) The spectrum of the basic rhythm of Phase Patterns (see Figure 10). (b) The phase space for coefficient 3 and different rotations of the rhythm in this space. More
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Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17).

Canons on the signature rhythm in the third movement of Electric Counterpo...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 18. Canons on the signature rhythm in the third movement of Electric Counterpoint (mm. 116–17). More
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Figure 24. Rhythm and canons in Cartesian spaces for the eighth (a) and fourth (b) coefficients.

Rhythm and canons in Cartesian spaces for the eighth (a) and fourth (b) coe...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 24. Rhythm and canons in Cartesian spaces for the eighth (a) and fourth (b) coefficients. More
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Figure 33. Spectra for the signature rhythm and rhythms from Six Pianos, Eight Lines, Sextet iv, Electric Counterpoint ii, and the “Difficult” canon from The Desert Music, proportionally scaled. Values are normalized by power (the sum of squared magnitudes).

Spectra for the signature rhythm and rhythms from Six Pianos , Eight Line...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 33. Spectra for the signature rhythm and rhythms from Six Pianos , Eight Lines , Sextet iv, Electric Counterpoint ii, and the “Difficult” canon from The Desert Music , proportionally scaled. Values are normalized by power (the sum of squared magnitudes). More
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Figure 36. Spectra of the “It is a principle” canon: the full rhythm and split into odd and even eighth-note subsets.

Spectra of the “It is a principle” canon: the full rhythm and split into od...

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 36. Spectra of the “It is a principle” canon: the full rhythm and split into odd and even eighth-note subsets. More
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Figure 1. Rhythm and blues songs with a single couplet per twelve-bar verse but greater phrase-rhythmic density than the standard form.

Rhythm and blues songs with a single couplet per twelve-bar verse but great...

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in The Transformation of Prewar Blues into Postwar Rhythm and Blues: The Great Migration, Urbanization, and Form > Journal of Music Theory
Published: 01 October 2023
Figure 1. Rhythm and blues songs with a single couplet per twelve-bar verse but greater phrase-rhythmic density than the standard form. More
Journal Article

Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style

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Jason Yust
Journal of Music Theory (2021) 65 (2): 325–374.
DOI: https://doi.org/10.1215/00222909-9143211
Published: 01 October 2021
...Figure 15. (a) Reich's signature rhythm. The rhythm as it appears in Music for Eighteen Musicians pt. 3a (marimba) with stemming added to show registral segmentation. (c) The rhythm as it appears in Sextet reh. 59 (marimba), also with alternate stemming added. (d) The spectrum...
FIGURES | View All (38)
View articletitled, Periodicity-Based Descriptions of <span class="search-highlight">Rhythms</span> and Steve Reich&#x27;s Rhythmic Style View PDF for article titled, Periodicity-Based Descriptions of <span class="search-highlight">Rhythms</span> and Steve Reich&#x27;s Rhythmic Style
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Figure 3. Prototype rhythms (maximally even rhythms) for k = 4–6.

Prototype rhythms (maximally even rhythms) for k = 4–6.

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in Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style > Journal of Music Theory
Published: 01 October 2021
Figure 3. Prototype rhythms (maximally even rhythms) for k = 4–6. More