Undergraduate Course: Special History in Music: A Century of Rhythm (MUSI10071)
|School||Edinburgh College of Art
||College||College of Humanities and Social Science
|Credit level (Normal year taken)||SCQF Level 10 (Year 3 Undergraduate)
||Availability||Available to all students
|Summary||A survey of the main historical, technical and cultural developments in rhythmic practice in music from 1913 to the present day, including case studies of significant musical texts from a variety of musical styles including Western concert music, jazz, world and popular music.
The course will investigate the variety of rhythmic practices found in music during the last one hundred years. It will consider the influence of rhythmic theories and practices from Asia, Eastern Europe and Africa, across a variety of musical genres, including Western concert music, jazz, and various styles of popular music. It will examine writings about rhythmic practice from a variety of perspectives, including those of ethnomusicology, Western music theory and cultural theory. The seminar topics will be as follows:
1 Introduction to the course: What is Rhythm?
2 Igor Stravinsky and the moving bar-line.
3 European tradition and the impact of Africa.
4 Folk music from Eastern Europe and rhythmic asymmetry.
5 &«Ragtime&ª and the beginnings of jazz.
6 READING WEEK
7 Jazz and &«Tin Pan Alley&ª: a conflict of accents.
8 What is the drumbeat of popular music?
9 John Cage, Karlheinz Stockhausen and &«$öhow time passes$ö&ª
10 Hip-hop and the beat of dance
11 Looping, glitching and the philosophy of the &«Refrain&ª.
Entry Requirements (not applicable to Visiting Students)
||Other requirements|| None
Information for Visiting Students
Course Delivery Information
|Not being delivered|
| Use of primary and secondary texts in music scholarship.
Knowledge of the principles and history of rhythmic theory and practice.
Knowledge of rhythmic practice across a variety of musical genres.
Methods of practical engagement with musical texts in the form of listening, analysis and criticism.
| Lerdahl, F., and Jackendoff, R. A Generative Theory of Tonal Music. Cambridge, Mass.: The MIT Press, 1996.|
Stockhausen, K. $öhow time passes$ö in Die Reihe (English Edition) 3. Vienna: Universal Edition, 1959.
Arom, S. (trans. M. Thom et al) African Polyphony and Polyrhythm: musical structure and methodology. Cambridge: Cambridge University Press. 1991.
Messiaen, O. (trans. J. Satterfield) The technique of my musical language. Paris: Leduc 1956.
Xenakis, I. (ed. S. Kanach) Formalized Music: thought and mathematics in composition. Stuyvesant, NY: Pendragon Press, 1992.
Stravinsky, I. Poetics of Music in the Form of Six Lessons. The Charles Eliot Norton Lectures, 1939-40. London: G. Cumberledge, Oxford University Press, 1947.
Sachs, C. Rhythm and Tempo: a study in music history. London: Dent, 1953.
Cooper, G.W. and L.B. Meyer. The Rhythmic Structure of Music. Chicago: The University of Chicago Press, 1960.
Frith, S. Performing Rites: evaluating popular music. Oxford: Oxford University Press, 1996.
Malloch, S. & C. Trevarthen (eds) Communicative Musicality: Exploring the Basis of Human Companionship. Oxford: Oxford University Press, 2009.
Roe, R. The Principles of Rhythm. BiblioLife, LLC BiblioBazaar, 2010.
Hasty, C.F. Meter as Rhythm. Oxford: Oxford University Press,1997.
Barton, P.A. Rap, Rhyme and Rhythm. AuthorHouse, 2004.
Yeston, M. Stratification of Musical Rhythm. Yale University Press, 1976
Edensor, T. Geographies of Rhythm. Ashgate Publishing Group, 2010.
Chernoff, J.M. African Rhythm and African Sensibility. Chicago: University of Chicago Press, 1981.
|Graduate Attributes and Skills
|Keywords||Rhy music history rhythm
|Course organiser||Prof Peter Nelson
Tel: (0131 6)50 2433
|Course secretary||Mr Brad Herbert
Tel: (0131 6)50 2422