Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-03T03:47:49.620Z Has data issue: false hasContentIssue false

Free Rhythm: Ethnomusicology and the Study of Music Without Metre

Published online by Cambridge University Press:  05 February 2009

Extract

Like many other rhythmic terms, ‘free rhythm’ is widely enough used to be recognized as part of the vocabulary of musicology, without ever having been convincingly studied or even denned. In general, this term and its various synonyms refer to music without metrical organization. ‘Free rhythm’ is an important musical phenomenon which has been largely neglected by the field of ethnomusicology. This paper discusses the deeper theoretical and methodological problems underlying this neglect.

Type
Articles
Copyright
Copyright © School of Oriental and African Studies, University of London 1996

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

al Faruqi, Lois Ibsen. 1987. ‘The cantillation of the Qur'an’, Asian Music, 19/1: 225.CrossRefGoogle Scholar
Arom, Simha. 1991. African polyphony and polyrhythm (transl. Thom, M., Tuckett, B., Boyd, R.). Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Arps, Bernard. 1992. Tembang in two traditions. London: SOAS.Google Scholar
Bartok, Bela. 1967. Rumanian folk music (vol. 2). The Hague: Martinus Nijhoff.Google Scholar
Brinner, Benjamin Elon. 1985. ‘Competence and interaction in the performance of‘pathetan’ in Central Java.’ (Ph.D.: University of California, Berkeley.) Ann Arbor: UMI (1987).Google Scholar
Childs, Barney. 1981. ‘Poetic and musical rhythm: one more time’, in Browne, R. (ed.), Music theory: special topics. New York: Academic Press.Google Scholar
Clayton, Martin R. L. 1993. ‘The rhythmic organisation of North Indian classical music: tāl, lay and laykārī.’ (Unpublished Ph.D. Thesis, SOAS, University of London.)Google Scholar
Clayton, Martin R. L. 1993. ‘Two gat forms for the sitār: a case study in the rhythmic analysis of North Indian music’, British Journal of Ethnomusicology, 2: 7598.CrossRefGoogle Scholar
Clynes, Manfred and Walker, Janice. 1982. ‘Neurobiologic functions of rhythm, time and pulse in music’, in Clynes, M (ed.), Music, mind and brain. New York: Plenum Press: 171216.CrossRefGoogle Scholar
Cooper, Grosvenor and Meyer, Leonard B.. 1960. The rhythmic structure of music. Chicago: University of Chicago Press.Google Scholar
Dürr, Walther and Gerstenberg, Walter. 1980. ‘Rhythm’ in The New Grove dictionary of music and musicians (ed. Sadie, S.). London: Macmillan.Google Scholar
Feldman, Walter. 1993. ‘Ottoman sources on the development of the taksîm’, Yearbook for Traditional Music, 25: 128.CrossRefGoogle Scholar
Frigyesi, Judit. 1993. ‘Preliminary thoughts toward the study of music without clear beat: the example of the “flowing rhythm” in Jewish nusah’, Asian Music, 24/2: 5988.CrossRefGoogle Scholar
Frigyesi, Judit and Laki, Peter. 19791980. ‘Free-form recitative and strophic structure in the Hallel Psalms’, Orbis Musicae, 7: 4380.Google Scholar
Handel, Stephen. 1989. Listening: an introduction to the perception of auditory events. Cambridge, Mass.: MIT Press.Google Scholar
Hatch, Martin. 1976. ‘The song is ended: changes in the use of macapat in Central Java’, Asian Music, 7/2: 5971.CrossRefGoogle Scholar
Kartomi, Margaret. 1973. Matjapat songs in Central and West Java. Canberra: Australian National University Press.Google Scholar
Kolinski, Mieczyslaw. 1973. ‘A cross-cultural approach to metro-rhythmic patterns’, Ethnomusicology, 17/3: 494506.CrossRefGoogle Scholar
Lerdahl, Fred and Jackendoff, Ray. 1983. A generative theory of tonal music. Cambridge, Mass.: MIT Press.Google Scholar
List, George. 1960. ‘The boundaries of speech and song’, Ethnomusicology, 7/1: 110.CrossRefGoogle Scholar
Liu, Marjory. 1974. ‘The influence of tonal speech on K'unch'ü Opera style’, Selected Reports in Ethnomusicology, II/1: 6286.Google Scholar
Moisala, Pirkko. 1991. Cultural cognition in music. Jyvāskylā: Gummerus Kirjapaino Oy.Google Scholar
Nelson, Kristina. 1985. The art of reciting the Qur'an. Austin: University of Texas Press.Google Scholar
Nettl, Bruno. 1987. The radif of Persian music. Champaign, Ill.: Elephant and Cat.Google Scholar
Nketia, J. H. Kwabena. 1963. African music in Ghana. (Northwestern University African Studies, II.) Evanston, Ill: Northwestern University Press.Google Scholar
Nketia, J. H. Kwabena. 1974. The music of Africa. London: Gollancz.Google Scholar
Pantaleoni, Hewitt. 1987. ‘One of Densmore's Dakota rhythms reconsidered’, Ethnomusicology 31/1: 3555.CrossRefGoogle Scholar
Posnett, David. 1985. ‘Bawa sekar macapat dhandhanggula padhasih: an introduction to one example of Javanese vocal music’, Indonesia Circle, 37: 1533.Google Scholar
Qureshi, Regula. 1969. ‘Tarannum: the chanting of Urdu poetry’, Ethnomusicology 13/3: 425468.CrossRefGoogle Scholar
Reckford, Thomas M. 1987. ‘Chant in popular Iranian Shi'ism’. (Ph.D.: University of California, Los Angeles.) Ann Arbor: UMI.Google Scholar
Reinhard, Kurt. 1980. ‘Turkey’, in The New Grove dictionary of music and musicians (ed. Sadie, S.). London: Macmillan.Google Scholar
Rowell, Lewis. 1981. ‘The creation of audible time’, in Fraser, J. T. et al. (ed.), The study of time, IV. New York: Springer Verlag: 198210.Google Scholar
Rycroft, David. 1960. ‘Melodic features in Zulu eulogistic recitation’, African Language Studies, 1: 6078.Google Scholar
Sachs, Curt. 1953. Rhythm and tempo. London: Dent.Google Scholar
Sloboda, John A. 1985. The musical mind: the cognitive psychology of music. Oxford: Clarendon.Google Scholar
Szirmai, Palma. 1967. ‘A Csángó-Hungarian lament’, Ethnomusicology, 11/3: 310325.CrossRefGoogle Scholar
Tolbert, Elizabeth. 1988. ‘The musical means of sorrow: the Karelian lament tradition.’ (Ph.D.: University of California, Los Angeles.) Ann Arbor: UMI.Google Scholar
Tolbert, Elizabeth. 1990. ‘Magico-religious power and gender in the Karelian lament’, in Herndon, M. and Ziegler, S. (ed.), Music, gender and culture. Wilhelmshaven: Noetzel.Google Scholar
Touma, Habib Hassan. 1971. ‘The maqam phenomenon’, Ethnomusicology, 15/1: 3848.CrossRefGoogle Scholar
Tsuge, Gen'ichi. 1970. ‘Rhythmic aspects of the avaz in Persian music’, Ethnomusicology, 14/2: 205227.CrossRefGoogle Scholar
Tsuge, Gen'ichi. 1974. ‘Avaz: a study of the rhythmic aspects of classical Iranian music’. (Ph.D: Wesleyan University.) Ann Arbor: UMI (1991).Google Scholar
Wichmann, Elizabeth, 1991. Listening to theatre: the aural dimension of Beijing opera. Honolulu: University of Hawaii Press.CrossRefGoogle Scholar
Widdess, Richard. 1994. ‘Involving the performers in transcription and analysis: a collaborative approach to dhrupad’, Ethnomusicology, 38/1: 5980.CrossRefGoogle Scholar
Yeston, Maury. 1976. The stratification of musical rhythm. New Haven, Conn.: Yale University Press.Google Scholar
Yung, Bell. 1989. Cantonese opera: performance as creative process. Cambridge: Cambridge University Press.Google Scholar