Week Three - Thinking about Time

The Use of Rhythm across Genres of Music

As musicians in Western culture, the importance rhythm plays in music is often forgotten. While time signatures and tempo markings dictate how many beats there are in a measure and how fast to play them, Western music usually stays to a simple 4/4 pattern. However, there are many other ways to interpret rhythm that are explored in other cultures and time periods. Rhythm is essential to creating music, and the unique and different ways of creating beats shapes the music that is created. In this paper, plainchant, West African music, and classical European music will be examined to see how they use rhythm to create their iconic sound.

Plainsong or plainchant is the expression of prayer in a melodic form. Gregorian chant is perhaps the most well-known form of plainsong. It is the singing of religious prose. Gregorian chant has been believed to be around since the 7^th century. Gregorian chant is monophonic, which means that it is just a melody; there is no harmony. Gregorian chant is sung a cappella, but starting in the 18^th and 19^th centuries it began to feature organ. Singers of Gregorian chant must be aware that it is considered a prayer, not a performance. Gregorian chant is in free rhythm, meaning that it has no predictable beat. Instead, chant goes with the natural flow of prose. This is because it is believed that, “Music with a strong beat appeals more to the carnal part of man” ("Four Traits of”). However, the flowing prose of chant appeals to the intellect and spirituality of man. Here is a recording of Benedictine Monks singing Gregorian chant. Notice the free rhythm and the emphasis on the prose of the prayer:

Qur’an recitation is also a form of plainchant that is in free rhythm. Qur’an recitation is unique from Gregorian chant in that, “…while there are detailed rules for rhythm and also for pronunciation and sectioning, melody is completely free” (Wade 73). Those who recite the Qur’an must study how to properly recite for many years. Many learn the techniques to have the proper timing and phrasing. It is important to note that Qur’an recitation is not considered music in the Islamic culture.

While plainchant does not rely on a set beat, West African tribal music on the other hand is set to a consistent beat. The most famous West African instrument is the djembe. It is a “goblet-shaped drum” that is classified as a “membranophone” instrument in “the percussion family” ("Boston's Djembe Drumming”). During the performance, the djembe may start the song or may join in after a vocalist has started. The djembe has the ability to change the beat of the song. The instrument is often used to accompany dancing. The djembe can produce many types of pitches, depending on where it is struck on the drum head. To properly learn how to play the djembe, one must intensively study with a drumming master.

Classical music has helped shape modern music, with its unique rhythms, units of time, and different speeds it takes on. Take, for example, "Fur Elise," written in the 3/8 time signature:

Written by the deaf German composer Ludwig van Beethoven, who composed mostly in the Classical and Romantic Eras.  The 3/8 time signature means that there are three beats in a measure and also that an 8th note gets one beat. Especially concerning "Fur Elise" there is almost a constant subdivision of the notes within the piece.  Beethoven also gave it the tempo marking of "poco moto," meaning a little motion, which corresponds with the subdivision and 3/8 time signature very well, creating a fluid, constantly moving piece that is relatively fast. The piece contains an ostinato, which is a reoccurring motive within a piece. In "Fur Elise," Beethoven sometimes strays from the ostinato, but often comes back to the same reoccurring sequence.  

On the same note, the composition "Triumphal March," from the opera "Aida," by Italian composer Giuseppe Verdi, includes an ostinato as well.  The same repeated sequence of trumpet and strings working together in a call and response, occurs over and over throughout the piece.  However, this piece is set in a 4/4 time signature, meaning there are 4 beats per measure, and a quarter note gets one beat.  In this piece, it seems that Verdi is playing with the sense of rhythm. While listening to it, there is emphasis on every note rather than the emphasis being on the 1 and 3, or 2 and 4, as many other classical pieces do. The tempo marking is "allegro maestoso," meaning to play majestically fast.  This recording does the piece justice: 

The piece "An der schönen blauen Donau" (The Blue Danube Waltz) is played wonderfully in this video:

 

This waltz was composed by Johann Strauss II, an Austrian composer, around 1867.  Many people believe him to be the “Waltz King” because he wrote so many waltz pieces that are relatively famous in the classical music world.  Waltz music is composed in 3/4 time, with three beats per measure. Almost always, the emphasis is on the first note of the measure, however sometimes the emphasis is on the 1 and 3.  Many waltz songs have a tempo marking of "andante" or "andantino," usually meaning faster.  However, some composers take liberty with the standard waltz tempo and compose slower waltzes.  Without a doubt, waltzes are one of the most popular types of classical music.

Many different cultures take many different stances on rhythm and speed. The few mentioned above only cover a very small portion of what the world has to offer in abstract rhythms and beats. However, many cultures influence one another in their music, whether it be for religious purposes or for pure enjoyment. 

Logan Kropp did the research and writing on plainchant, African djembe, and the work cited.
Sierra Marsh did the research and writing on European classical music.

Works Cited

Biography.com Editors. "Johann Strauss Biography." Bio.com. A&E Networks Television, n.d. Web. 26 Sept. 2015. 

"Boston's Djembe Drumming Community School & Shop." History of The Djembe. N.p., n.d. Web. 26 Sept. 2015.

"Four Traits of Gregorian Chant." Unam Sanctam Catholicam. N.p., n.d. Web. 26 Sept. 2015.

Wade, Bonnie C. Thinking Musically: Experiencing Music, Expressing Culture. New York: Oxford UP, 2004. Print.