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Beleske teorije muzike, Skripte od Međunarodni menadžment

Beleske teorije muzike sa faksa

Tipologija: Skripte

2025/2026

Učitan datuma 24.06.2026.

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rhythm
### **Short and Long**
* In early music and poetry, **short and long syllables** are foundational to rhythm,
especially in **quantitative meter** (e.g., Latin and Greek verse).
* A **short syllable** is brief in duration; a **long syllable** is roughly **twice as long**.
* This ratio creates a **1:2 proportion**, which later informed rhythmic values in music
(e.g., eighth note vs. quarter note).
---
### **Metrical Line of Verses**
* A **metrical line** (or verse line) is a sequence of syllables arranged in a pattern of
**stressed (long)** and **unstressed (short)** units.
* Common meters include **iambic** (short-long), **trochaic** (long-short), and more
complex feet like **dactylic** (long-short-short).
---
### **Combinations of Short and Long Syllables / Meter**
* These combinations form **musical meters**, such as:
* **Duple meter** (1-2): e.g., marching rhythm.
* **Triple meter** (1-2-3): e.g., waltz.
* **Quadruple meter** (1-2-3-4): common in classical and pop.
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rhythm

Short and Long

  • In early music and poetry, short and long syllables are foundational to rhythm, especially in quantitative meter (e.g., Latin and Greek verse).
  • A short syllable is brief in duration; a long syllable is roughly twice as long.
  • This ratio creates a 1:2 proportion, which later informed rhythmic values in music (e.g., eighth note vs. quarter note).

Metrical Line of Verses

  • A metrical line (or verse line) is a sequence of syllables arranged in a pattern of stressed (long) and unstressed (short) units.
  • Common meters include iambic (short-long), trochaic (long-short), and more complex feet like dactylic (long-short-short).

Combinations of Short and Long Syllables / Meter

  • These combinations form musical meters, such as:
  • Duple meter (1-2): e.g., marching rhythm.
  • Triple meter (1-2-3): e.g., waltz.
  • Quadruple meter (1-2-3-4): common in classical and pop.
  • Time-measured verse refers to poetry/music where timing is strictly based on these durations, often found in medieval and early Renaissance music.

Typical Rhythmic Situations in Classical Music

  • Clear and regular meters (especially duple or triple).
  • Use of periodic phrasing (balanced phrases like questions and answers).
  • Simple subdivisions dominate (half, quarter, eighth notes).
  • Occasional use of syncopation and dotted rhythms for variety.

Relationships of Rhythmic Values and Notation (A.66–67)

  • Basic rhythmic values:
  • Whole note (semibreve)
  • Half note (minim)
  • Quarter note (crotchet)
  • Eighth note (quaver)
  • And smaller: sixteenth, thirty-second, etc.
  • Each value is halved from the previous (e.g., two quarters fit into a half note).
  • Non-even divisions include:
  • Triplet (triola): divides a note into 3 parts instead of 2.
  • Rubato: "stolen time," a flexible tempo where time is borrowed and given back (common in Romantic music), creating expressive timing.

Written Task: Comparison of Rhythm Values (Sample Reference)

  • You could write something like: | Value | Symbol | Time Equivalent | Typical Use | | ------------ | ----------------- | --------------- | --------------------- | | Whole Note | 𝅝 | 4 beats | Base unit of measure | | Half Note | 𝅝 | 2 beats | Common in duple meter | | Quarter Note | 𝅝 | 1 beat | Basic pulse | | Eighth Note | 𝅝 | ½ beat | Faster motion | | Triplet | 𝅝𝅝𝅝 (in 𝅝) | 3 in 1 beat | Rhythmic variation | | Quintuplet | 5 notes in 1 beat | Irregular | Modern/experimental | meter

𝅝 Rhythm vs. Meter – Comparison Table

AspectRhythmMeter DefinitionPattern of durations in timeRegular, recurring pattern of beats FlexibilityCan be free or irregularTypically structured and regular Perceived asFlow or grouping of soundsBackground grid or pulse framework

| Built from | Notes of varying lengths | Strong/weak beat groupings (e.g., 2, 3, or 4 beats) | | Example | Syncopation, dotted rhythms | 4/4 time, 3/4 time, 5/8 time |

𝅝 The Role of Meter in Classical Music Perception

  • In classical tradition, meter provides structure to rhythm.
  • It helps listeners and performers anticipate accents and organize time into predictable cycles.
  • Classical music often features regular, balanced phrasing, which meter reinforces (e.g., 4-bar phrases in 4/4).

𝅝 Meter as a Tool for Comparing Events in Time (A.273)

  • Meter offers a reference system for timing events: by dividing time into equal units, you can compare durations and organize musical ideas proportionally.
  • Example: you can say a note is one beat long in 4/4 or two beats in 3/4, providing relative timing.

𝅝 Meter and Tempo / The Metronome (A.67)

  • Meter defines the pattern of beats (e.g., 3/4 or 4/4), while tempo sets the speed of those beats.
  • Asymmetric meters combine uneven beat lengths (e.g., 2+3, 3+2+2).
  • Common examples: 5/8, 7/8, 11/8.
  • Popular in folk music and modern compositions.

𝅝𝅝 "Bulgarian Rhythm" (W.5)

  • Characterized by complex asymmetrical meters such as 7/8, 11/8, often broken into subdivisions like 2+2+3 or 3+2+3+3.
  • Frequently found in Balkan folk music.

𝅝 Alternating Meters

  • Shifting between different meters, either regularly or irregularly (e.g., 6/8 followed by 3/4).
  • Creates rhythmic contrast and complexity.

𝅝 Freely or Repeatedly Varying Meters (W.7)

  • Meter changes often occur bar to bar, not following a fixed pattern.
  • Used for expressive freedom, especially in 20th-century and contemporary music.

♻️ Internal Meter Changes – Hemiola (W.8)

  • Hemiola: the temporary shift in perceived meter (e.g., feeling 3 groups of 2 inside a 6/8 meter).
  • Often used to create tension or shift accent patterns.

𝅝 Metric vs. Ametric Structures

MetricAmetric Based on consistent time signaturesNo regular meter or bar lines Structured and predictableFluid, free rhythm Common in classical and popUsed in avant-garde and free music

Written Task: Editing a Rhythm Period (Sample)

If you're given a rhythm period (a group of bars forming a phrase), you might:

  1. Identify the meter (e.g., 4/4).
  2. Check durations of notes add up per bar.
  3. Modify:
  • Alto/Tenor clefs (C clefs): for middle range (viola, etc.).
  • Accidentals modify notes:
  • ** ** raises by a semitone, ♯ ♭ lowers by a semitone.
  • cancels previous accidentals.

𝅝 2. Classical and MIDI Notation of Pitches

  • Classical notation uses staff symbols and clefs.
  • MIDI (Musical Instrument Digital Interface) uses:
  • Numbers 0–127 to represent pitches.
  • Middle C = MIDI note 60 (C4).
  • Useful for electronic music and computer-based sequencing.

𝅝 3. Intervals and Tone Series

Intervals

  • Distance between two notes.
  • Named by number and quality:
  • Major 3rd, Perfect 5th, Minor 7th, etc.
  • Can be:
  • Melodic (notes played one after another)
  • Harmonic (notes played simultaneously)

Tone Series

  • A sequence of pitches in a pattern.
  • Includes:
  • Chromatic scale (12 semitones),
  • Diatonic scales (e.g., major/minor),
  • Modes, pentatonic, etc.

𝅝 4. Intervals & Scale Relationships (A.86–87)

Division and Composition of Intervals

  • A 5th + a 3rd = an octave.
  • Breaking down intervals helps form chords and scales.

Scales

  • Better for harmony but still key-specific.

Equal Temperament (modern tuning)

  • The 12TET system divides the octave into 12 equal semitones.
  • Slight compromise on pure intervals but allows music in all keys equally.

𝅝 6. Microtonality

Quarter Tones (W.3)

  • Divide a semitone into two quarter tones.
  • Common in Middle Eastern music and modern classical works.

72TET Tuning (W.4)

  • Octave is divided into 72 equal parts.
  • Allows extremely fine pitch control, including quarter-, sixth-, and eighth-tones.

𝅝 7. Non-Octave-Based Systems

Alpha, Beta, Gamma Scales (W.1)

  • Developed by Wendy Carlos.
  • Built using non-octave-based frequency ratios.
  • Focus on mathematically pleasing or novel intervals.

Bohlen-Pierce Scale (W.2)

  • Based on tritave (3:1) instead of octave (2:1).
  • Divides the tritave into 13 steps.
  • Results in a completely different harmonic system.

Written Task: Noting Intervals After Hearing (Ear Training)

Steps:

  1. Listen to two notes: determine whether they are melodic or harmonic.
  2. Identify:
    • Distance (e.g., 2nd, 4th, 7th).
    • Quality (major, minor, perfect, etc.).
  3. Write both note names and interval name (e.g., C to E = Major 3rd).
  4. Optional: Notate on staff or MIDI number comparison (e.g., 60 to 64 = Major 3rd). Consonance of tones and chords

| Prime | C–C (unison) | | Second | C–D (major 2nd, minor 2nd) | | Third | C–E (major 3rd, minor 3rd) | | Fourth | C–F (perfect, augmented, etc.) | | Fifth | C–G (perfect, diminished, etc.) | | Sixth | C–A (major, minor) | | Seventh | C–B (major, minor, diminished) | | Octave | C–C (next octave) |

Interval Types

  • Perfect: unison, fourth, fifth, octave.
  • Major/Minor: second, third, sixth, seventh.
  • Augmented: one semitone above major/perfect.
  • Diminished: one semitone below minor/perfect.

𝅝 4. Consonances and Dissonances (A.92–93)

Consonant Intervals

  • Blend well; stable sound.
  • Examples:
  • Perfect unison, perfect fifth, octave (perfect consonances)
  • Major/minor thirds, sixths (imperfect consonances)

Dissonant Intervals

  • Tense or unstable; seek resolution.
  • Examples:
  • Major/minor seconds, sevenths, augmented/diminished intervals
  • Tritone (augmented 4th/diminished 5th) is highly dissonant.

𝅝 5. Triads and Quadruplets (Chords)

Triads (Three-tone chords)

  • Built from two stacked thirds.
  • Types:
  • Major triad: root + major 3rd + perfect 5th (C–E–G)
  • Minor triad: root + minor 3rd + perfect 5th (A–C–E)
  • Diminished triad: minor 3rd + diminished 5th (B–D–F)
  • Augmented triad: major 3rd + augmented 5th (C–E–G )♯

Quadruplets (Four-tone chords, or tetrads)

  • Closures: resolving motion (e.g., V7 → I).
  • Cadences (e.g., authentic, plagal) rely on these relationships.

Written Task: Defining Chords After Listening (Ear Training)

Steps:

  1. Listen carefully: identify how many notes are played.
  2. Identify:
    • Root note (lowest pitch).
    • Quality: major, minor, diminished, augmented, etc.
    • If a 7th is present, determine type (dominant, major, etc.)
  3. Write chord name and type:
    • Example: Notes C–E–G = C major triad
    • Notes C–E–G–B♭ = C7 (dominant 7th) Polyphony

𝅝 1. Polyphonic Movements

  • Polyphony refers to multiple independent melodic lines sounding together.
  • Unlike homophony (one leading melody + accompaniment), each line in polyphony has melodic and rhythmic independence.
  • Movements in polyphony include:
  • Parallel motion: voices move in the same direction by the same interval.
  • Contrary motion: voices move in opposite directions.
  • Oblique motion: one voice stays while another moves.
  • Similar motion: voices move in the same direction but by different intervals.

𝅝 2. Heterophony (A.94)

  • Heterophony is a simpler form of polyphony, where multiple voices perform variations of the same melody simultaneously.
  • Common in folk, Middle Eastern, and Asian music.
  • Example: two singers perform the same tune, but one adds ornamentation or slight rhythmic variations.

𝅝 3. Parallel Movements (A.92–93)

  • Parallel motion occurs when two or more voices move together in the same interval (e.g., all moving in parallel 3rds).
  • It creates a homogeneous texture but lacks independence.