See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

RHYTHM (See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek pvBµds, from bap, to flow)  , the measured flow of See also:

• MOVEMENT

movement, or See also:

• BEAT (a word common in various forms to the Teutonic languages; it is connected with the similar Romanic words derived from the Late Lat. battere)

beat, in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, See also:

• MUSIC

music or by See also:

• ANALOGY (Gr. avaXo-yLa, proportion)

analogy in other connexions, e.g . " See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm of See also:

• LIFE

life." The See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early critic of See also:

• PROSODY (Gr. rpovwSta)

prosody, See also:

• ARISTOXENUS

Aristoxenus, distinguished as the three elements out of which rhythm is composed, the spoken word, ) is, the tune of music and See also:

• SONG

song, /.aXos, and the bodily See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion, xivTM o-wµavnKI7 . The See also:

• ART

art of the early See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek poets was devoted to a harmonious See also:

• COMBINATION (Lat. combinare, to combine)

combination of these three elements, See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language, See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument and gesture uniting to See also:

• FORM (Lat. forma)

form perfect rhythm . Aristoxenus proceeds to define the rhythm so produced as an arrangement of See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time-periods, r6.0) )(See also:

• ARAM, EUGENE (17o4-17J9)

Aram, but other early theorists make not the time but the syllable the measurement of poetic speech . Both music and See also:

• POETRY

poetry depend, and have depended from the earliest times, on rhythm . But in music See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody and See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony have to be taken into See also:

• CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration, whereas in poetry the rhythmical value of the See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone is modified by the imaginative value and importance of the words themselves . In earliest times the fundamental unity of the two arts was constantly See also:

• MANIFEST (Lat. manifestus, clear, open to view)

manifest, but as the See also:

• WORLD

world has progressed, and they have ramified into countless forms, the difference between them has been emphasized more and more . Rhythm in Verse.—See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

• JAKOB, LUDWIG HEINRICH VON (1759—1827)

Jakob See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

Minor has adduced a figure, valuable in helping us to realize what poetic rhythm is, when he remarks that to strike a See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell twelve times, at exactly equal intervals, is to produce what may be called, indeed, a rhythmic effect, but not to awaken anything resembling the sensation of poetical rhythm . Into the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of poetic rhythm enters an See also:

• ELEMENT (Lat. elementum)

element of life, of : See also:

• PULSE

pulse, of a certain inequality of time based upon an equality of tone . Rhythm ceases to be poetic rhythm if it is See also:

• MECHANICAL

mechanical or lifeless . See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle, from whom a See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition might be expected, is very vague in dealing with the subject, and most of the old rhetorical writers darken counsel with statements that are obscure or irrational . The fact is that rhythm is an expression of the See also:

• INSTINCT

instinct for See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order in See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound which naturally governs the human See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, and little See also:

• PRACTICAL

practical know-ledge is gained by following Suidas when he says that rhythm is the See also:

• FATHER

father of See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre, or See also:

• QUINTILIAN [MARCUS FABIUS QUINTILIANUS] (C. A.D. 35-95)

Quintilian in his See also:

• EPIGRAM

epigram that rhythm is male and metre is See also:

• FEMALE

female .

These See also:

• DEFINITIONS

definitions arise from a rhetorical See also:

• DESIRE

desire to measure a delicate instinct by See also:

• RULE

rule of three, and, as a See also:

• MATTER

matter of fact, Greek See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism on this subject often lost itself in arithmetical absurdities . It is sufficient to say that rhythm is the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law which governs the even and periodical progress of sounds, in harmony with the exigencies of human emotion . For the passions, as expressed in verse, various movements are appropriate . Joy demands that the See also:

• VOICE (Fr. voix, from Lat. vox)

voice should leap and sing; sorrow that it should 'move solemnly and slowly; and poetry, which is founded on rhythm, requires that the movement of words should See also:

• RESPOND

respond to this instinctive gradation of sounds . The finer the See also:

• GENIUS (from Lat. genere, gignere)

genius of the metrist the more exquisitely does his rhythm convey, as upon an instrument, the nature of ,the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion which burdens his verses . See also:

• ECSTASY (Gr. iarra(TLc, from i LarliU, put out of its place, alter)

Ecstasy takes a See also:

• QUICK

quick, eager, rising movement: Give him the See also:

• NECTAR

nectar ! Pour out for the poet, See also:

• HEBE

Hebe, pour See also:

• FREE

free ! Quicken his eyes with See also:

• CELESTIAL, OR STELLAR

celestial See also:

• DEW

dew, That See also:

• STYX

Styx the detested no more he may view."See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

Mystery and suspense demand a faint, languid and throbbing movement: " There is not See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind enough in the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air To move away the ringlet curl From the lovely. See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady's cheek There is not wind enough to twirl The one red See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

leaf, the last of its See also:

• CLAN (Gaelic clann, O. Ir. cland, connected with Lat. planta, shoot or scion, the ancient Gaelic or Goidelic substituting k for p)

clan, That dances as often as See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance it can." An overpowering sadness interprets itself in rhythm' that is full and slow and emphatic: " My genial See also:

• SPIRITS

spirits fail, And what can these avail To lift the smothering See also:

• WEIGHT

weight from off my See also:

• BREAST (a word common to Teutonic languages, cf. the Ger. Brust, possibly connected with an O. Sax. brustian, to bud)

breast ? It were a vain endeavour, Though I should gaze for ever On that See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green See also:

• LIGHT

light that lingers in the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west : I may not See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope from outward forms to win The passion and the life, whose fountains are within." The. rhythm so produced, intimately linked, almost beyond the disintegrating See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of See also:

• ANALYSIS (Gr. avci and Meta, to break up into parts)

analysis, with human feeling, may depend` either on accentuation or quantity . The latter forms the principle upon which all classic metre was composed, while the former is dominant in nearly every description of See also:

• MODERN

modern verse . Greek. and Latin verse depends entirely . upon the relation of syllables, See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long or See also:

• SHORT, FRANCIS JOB (1857– )

short . It was a question of time with the ancients, of stress or weight with us ..

It is an See also:

• ERROR (Lat. error, from errare, to wander, to err)

error to say, as is often done, that See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient verse did not recognize See also:

• ACCENT

accent, and that in modern verse there is no See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place for quantity . These statements_are generally true, but there are various exceptions to both rules, Schipper, in his Englische Metrik, specially points out that " long and short syllables have no See also:

• CONSTANT, BENJAMIN (1845-1902)

constant length, no constant relation, but they depend on their place in the verse, and on the context; though they do not determine the rhythm of verse, they still See also:

• ACT (Lat. actus, actum)

act as regulators of our metre in a very important degree." Pauses take an essential importance in the construction of modern rhythm, of the variety and vitality of which they are the basis . They are introduced for the purpose of relieving the monotony of successive equal See also:

• GROUPS
• GROUPS, THEORY

groups of syllables, The pause often takes the place of a light syllable, and there are instances in the verse of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare and See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton where it is even allowed to fill up the space of a heavy syllable . But still more often the pause does not imply the dropping of a syllable at all, but simply dictates a break in the sound, See also:

• EQUIVALENT

equivalent to a break in the sense . The following See also:

• EXTRACT (from Lat. extrahere, to draw out)

extract from a See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

Psalm " in See also:

• CRASHAW, RICHARD (1613-165o)

Crashaw's Steps to the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple (1646), in wk-e%, the pauses are numerous and energetic, will exemplify the variety of this artifice: " On the proud See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

banks of See also:

• GREAT

great See also:

• EUPHRATES (Babylon. Purattu, Heb. Perath, Arab. Frdt or Furst, Old Pers. Ufratu, Gr. Eb4 parrls)

Euphrates' See also:

• FLOOD (in O. Eng. flod, a word common to Teutonic languages, cf. Ger. Flut, Dutch vloed, from the same root as is seen in " flow," " float ")
• FLOOD, HENRY (1732-1791)

flood, There we sate 1 and there we wept: Our harps' that I now no music understood, Nodding on the willows slept While 1 unhappy captiv'd i we Lovely See also:

• SION [Ger. Sitten]

Sion ~ thought on thee." In the See also:

• BLANK (from the Fr. blanc, white)

blank verse of Milton the free use of pauses constitutes the See also:

• PRINCIPAL

principal element in' the amazing metrical art of the poet, and is the source of the See also:

• SUBLIME (Lat. sublimis, exalted)

sublime originality of his music . In speaking of rhythm, it is customary to think of the formal rules which govern the fixed See also:

• CADENCE (through the Fr. from the Lat. cadentia, from cadere, to fall)

cadence of feet in poetry, but there is also a rhythm in See also:

• PROSE

prose, which imitates the measured movements of the See also:

• BODY

body in stately speech . According to See also:

• RENAN, ERNEST (1823-1892)

Renan, the rhythm of the ancient poetry of the See also:

• HEBREWS, EPISTLE TO THE

Hebrews is solely founded on this prose movement, which differs, in fact, from that of modern See also:

• EUROPEAN

European poetry merely in its undefined and indeterminate See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . See J . Minor, Neuhochdeutsche Metrik (See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg, 1893) ; W . See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Metrik der Greichen (See also:

• LEIPZIG

Leipzig, 1874) ; See also:

• RODERICK

Roderick Benadix, Das Wesen See also:

• DES

des deutschen Rhythmus (Leipzig, 1862) ; Jakob Schipper, Englisehe Metrik (Leipzig, 1895) ; See also:

• EDWIN, AEDUINI
• EDWIN, JOHN (1749–1790)

Edwin See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

Guest See also:

• HISTORY

History of See also:

• ENGLISH

English Rhythms (See also:

• LONDON

London, 183&; 2nd ed., 1882); See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore of See also:

• BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville, . See also:

• PETIT, SIR DINSHAW MANECKJI, BART

Petit Traite de la poesie francaise (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1881); F . B .

Gummere, Handbook of Poetics (See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, 1902) . (E . G.) Rhythm in Music.—The rhythm of modern music began to develop through the attempts of learned See also:

• MEDIEVAL

medieval musicians to adapt the rhythms of spoken language to the necessities of choral singing; but before the See also:

• PROCESS

process had gone far, certain much more ancient and powerful principles, always manifest in folk-song and dance, gained ascendancy, so that , even the simplest classical music has a rhythm for which no criteria of poetic metre can be made adequate . From the musical point of view, the rhythm of speech, whether in prose or verse, is very subtle and almost uniformly fluent . The metrical feet which constitute the details of poetic rhythm are musically very See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute; and the exaggerated forms in which music represents them are many and varied . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the groups of metrical feet which constitute any one See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of verse are of a uniformity which for music on a large See also:

• SCALE
• SCALE (1) A

scale would be intolerable . See also:

• ARTISTIC

Artistic music is soon compelled to draw upon See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite resources of its own, which preserve an appropriate accentuation of the sense and feeling, while obliterating or hugely exaggerating the poet's rhythmic effects . Musical rhythm cannot be studied on a sound basis unless its See also:

• RADICAL (Lat. radix, a root)

radical divergences from speech-rhythm are recognized from the outset . In the earliest extant musical settings of poetry the treatment of accent and quantity was strictly arithmetical ; and purely aesthetic requirements were satisfied by ex See also:

• POST

post facto inference from the arithmetical See also:

• LAWS

laws, rather than treated as the basis of the laws . Accent; when translated into music, is a rhythmic sensation resembling the stress we put on the See also:

• LEFT

left See also:

• FOOT

foot in marching; while quantity rarely suggests any bodily movement at all, since it can correspond only to See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations in the length of steps . Now in modern' music a sense akin to that of bodily movement is of overwhelming importance . Changes of tempo, and of the grouping of musical beats, are incidents as obvious in their effect as changes in the See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

pace of a See also:

• RUNNING

running See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse .

One consequence is that the laws of musical accent are See also:

• SIMPLE

simple and cogent, while the laws of musical quantity, if such exist, are far beyond analysis . Fluent speech and energetic See also:

• PHYSICAL

physical exercise cannot be carried on simultaneously by the same See also:

• PERSON, OFFENCES AGAINST THE

person; and hence the laws of quantity belong to speech rather than to dance . Before we could form adequate notions of the musical rhythms of classical See also:

• GREECE

Greece, we should need to See also:

• SETTLE
• SETTLE, ELKANAH (1648–1724)

settle, firstly, how far the dancing in Greek See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama included movements other than idealized dramatic gesticulation; secondly, how much bodily See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy was involved in all dancing that may have gone beyohd this; and lastly, how much dancing of any kind was executed by the singers while singing . What is certain is that ancient Greek musical rhythms were exact See also:

• TRANSLATIONS

translations of verse rhythms, with the quantities interpreted arithmetically . The extant fragments of Greek music are, whether we have read them correctly or not, undoubtedly very different in rhythm from the See also:

• SYSTEM

system of discant on which European music of the See also:

• LATH (0. Eng. laett, Mid. Eng. lappe, a form possibly due to the Welsh llath; the word appears in many Teutonic languages, cf. Dutch lat, Ger. Latte, and has passed into Romanic, cf. Ital. latta, Fr. latte)

lath and 13th centuries first See also:

• DEVELOPED

developed; but they resemble discant in so far as the modern sense of rhythm is absent and its place is supplied by a sense of the rhythmic expression of unusually slow and emphatic speech . In See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary speech there is an important difference between long syllables and short; but it is not naturally regulated by an exact rhythm, and the art by which it is organized in verse admits (or indeed demands) considerable freedom on the See also:

• PART

part of the reciter in varying his pace within such limits as do not destroy the structure of the lines . But when a See also:

• CHORUS (Gr. xopbs)Z

chorus is made to sing words, it must, if the words are to reach the hearer, sing them slowly; and moreover, it must sing them exactly together, unless, as in much classical music, it can repeat them until they are either understood or dismissed from the mind as a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere pretext for the employment of voices in a merely musical See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . In any See also:

• CASE
• CASE, JOHN (d. 1600)

case, if a chorus is to sing well together, the contrast between short and long syllables must be placed on an arithmetical basis, the simpler the better . Now the See also:

• SOLE (Solea)

sole See also:

• FUNCTION

function of ancient Greek music was to enhance the emotional effect of poetic words by regulating their rise and fall in a musical scale and their length in a metrical See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme; and it was natural and right that its rhythms should, though accurate, have no stronger ictus than those of the words . To make them as rigid and forcible as the rhythms of a non-vocal music would produce an effect as intolerable to a Greek ear as a schoolboy's worst jog-trotting scansion of poetry . We need not, then, imagine that the human sense of rhythm has suffered any mysterious See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change, when our best attempts at deciphering the extant fragments of ancient Greek music yield us a rhythmwhich scholars can explain by the structure of Greek verse, but which gives us no musical sense . Neither here nor in such See also:

• STRANGE, SIR ROBERT (1721-1792)

strange See also:

• HARMONIC

harmonic phenomena as our See also:

• COMPLETE

complete See also:

• INVERSION (Lat. invertere, to turn about)

inversion of medieval harmonic ideas as to the treatment of " perfect See also:

• CON

con-cords " (see HARMONY) do we find any principle involved which is not as true at the See also:

• PRESENT

present See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day as it ever was .

Ancient musical rhythm shared in the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general qualities of that " Flatland " which we know ancient music to have been; modern musical rhythm, like harmony, belongs, as it were, to a three-dimensioned musical space with the vast artistic resources of a consistent See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective . Indeed, we need much the same kind of See also:

• MENTAL

mental gymnastic in studying the origins of musical rhythm as we need for the much more abstruse subject of harmonic origins . The two subjects soon begin to show interaction . During the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of discant we find metrical conceptions already strongly modified by two purely musical factors . Firstly, the See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to make voices produce a harmony from different simultaneous melodies (instead of from combinations conceived as disguised unison) brought with it the See also:

• NECESSITY (Lat. necessitas)

necessity for See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences of length enormously larger than any possible metrical differences . The metrical See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, however, still so predominated, even in the 14th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, as to produce a rhythm based almost exclusively on what would now be called triple time . Secondly, that sense of bodily movement, for which the less clumsy See also:

• TERM

term dance-rhythm " is far too narrow, gained ground as the only means polkerful enough to hold the various =uythms of the new and growing polyphony together . In th.. later stages of discant the old metrical conceptions struggled against the See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain of the polyphony for awhile, only to succumb in a tangle of inextricable technicality: and the new art, which became coherent in the 15th century, disregarded poetic metre, with little or no loss in capacity to interpret words if the composer had leisure or desire to do so; since, after all, poetic rhythm in its highest forms has a subtle freedom which renders mechanical musical See also:

• TRANSLATION

translation worse than useless, while the rhythmic See also:

• SWING, DAVID (1830-1894)

swing of the lighter forms of poetry was soon discovered by the composers of the " See also:

• GOLDEN

Golden See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

Age " to be practically identical with the refined dance-rhythm which they in their lighter moments idealized from folk-music.' By the See also:

• MIDDLE

middle of the 15th century polyphony attained such See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence that the only rhythms which would hold the flow of See also:

• INDEPENDENT

independent melodious voices together were those in which a steadily duple or steadily triple rhythm (either of which might be subdivided by the other or by itself) could be See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt as an absolutely See also:

• REGULAR

regular musical tread . Such a rhythm is capable of expressing every poetic foot, either by the difference of stress between notes or by a difference in their length . Moreover, emphasis may be obtained by the See also:

• PITCH
• PITCH, MUSICAL

pitch of the See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, or, again, by its harmonic significance . All these forms of emphasis combine and counteract each other in an infinite variety, till the sense of musical movement becomes as remote from crude dance-rhythm as it is from poetic metre . But though the part thus played by accent was already of See also:

• PARAMOUNT (Anglo-Fr. paramont, up above, par el mont, up or on top of the mountain)

paramount importance in the " Golden Age " of music, it was not allowed to become evident to the ear except in the lighter and more coarse-grained art-forms .

Its highest purpose was served as soon as the listener was able to lose all crude rhythmic impulses in a secure feeling that the See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of polyphonic harmony was held together by a general grouping of the rhythmic beats in fours or threes; and individual parts were at least as free to indulge in other rhythms across the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main rhythm as they are in the most complex modern music, so long as the harmony was held together by the See also:

• AVERAGE

average grouping, or " time," as we now See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call it . Hence the rhythmic variety of 16th-century 'It would be interesting and fruitful to consider how far the growing preference, in modern European See also:

• LANGUAGES

languages, of accent to quantity, may not only have modified the conception of musical rhythm, but may itself have been enhanced by the rhythmic tendencies of popular song, which had so great an influence on the learned music of the middle ages . And it can hardly be said that the subject of musical rhythm has yet been so clearly treated on these lines as to See also:

• SHED

shed the light it seems capable of shedding upon many vexed questions in poetic rhythm . music is exactly like the harmonic variety, and the limitations and waywardness of the one are no more archaic than those of the other . When the resources of later music and the treatment of See also:

• INSTRUMENTS

instruments necessitated the See also:

• PUBLISHING

publishing of music in See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score as well as in See also:

• SEPARATE

separate parts, it became necessary to See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye by See also:

• DRAWING

drawing See also:

• VERTICAL (from Lat. vertex, highest point)

vertical lines (" bars ") at convenient distances . Hence the term " score " (Ger . Partitur, Fr. partttion) . These divisions naturally coincided with the main rhythmic groups, and eventually became equidistant . This purely practical See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom has co-operated with the great increase of rhythmic firmness necessary for the coherence of those large modern forms which See also:

• DECREE (from the past participle, decretus, of Lat. decernere)

decree the shape rather than the texture of the music, until our notions of rhythm may fairly be described as See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar-ridden . And, since the vast. See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of our musical rhythms absorb the utmost complexity of detail into the most square and symmetrical framework possible, we are taught to regard the " 4—bar period " as a normal (or even ultimate) rhythmic principle, instead of contenting ourselves with broader conceptions which treat symmetry and proportion in time as freely as they are treated in space . It cannot be too strongly emphasized that the bar indicates no universal musical principle . The havoc wrought by mechanical teaching on this point is incalculable, especially in the childish crudeness of current ideas as to the declamation of words in classical and modern music: ideas which mislead even some composers who might have been expected to know better .

As rhythm is contemplated in larger See also:

• MEASURES

measures, it becomes increasingly difficult to say where the sense of rhythm ends and the sense of proportion begins . The same melody that may be felt as a square and symmetrical piece of proportion in four-bar rhythm if it is taken slowly, will be equally rational as a single bar of " See also:

• COMMON

common time " (see below) if it is taken very quickly; and between these two extremes there may be insensible gradations . All that can be laid down is that composers are See also:

• APT

apt to use short bars where they demand constant strong accent, while long bars will imply smoother rhythms . For example, if the See also:

• SCHERZO (Italian for " a joke ")

scherzo of See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's Ninth See also:

• SYMPHONY

Symphony were written in if instead of ; bars, then the passages now marked Ritmo di tee battute would have to appear in ; time, and so the changes of rhythm would be much more visible on See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper . But the tendency to put a strong accent on the first beat of every bar would make this notation an undesirable substitute for Beethoven's, since it would See also:

• LEAD
• LEAD (pronounced iced)

lead to a neglect of the sub-See also:

• ORDINATE

ordinate accents (all of them bar-accents, as Beethoven writes them) . The trio of this scherzo shows the opposite case in the fact that Beethoven first intended to write it in i time, but, in order to indicate a more tranquil flow at the same pace, doubled the quantity contained in a bar, substituting See also:

• ELLA
• ELLA (d. 588)
• ELLA (d. 867)
• ELLA (d. c. 514)

ella breve bars, each equal to two of the preceding 2 bars . The alteration produced a discrepancy in the See also:

• METRONOME (Gr. Orpov, measure, and voµos, law)

metronome marks, which has always caused controversy among conductors, but the facts admit of only one See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation . It is clear, then, that the only sound theory of musical rhythm will be that in which accent, beat, bar, and even form and 'proportion are relative terms . The kinds of time (i.e. rhythmic groups forming, as it were, invariable molecules in the structure of any continuous piece of music) that are used in all music from the 15th century onwards are nowadays classified as duple and triple, and each of these may be simple or See also:

• COMPOUND
• COMPOUND (from Lat. componere, to combine or put together)

compound . Simple time is that in which the normal subdivision of its beats is by two, whether the number of the beats themselves is duple or triple . Compound time is that in which the beats are regularly divided by three, which three subdivisions are reckoned as subordinate beats . The beats are in all kinds of time reckoned as halves, quarters, 8ths, 16ths or even 32nds of the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard note in modern music, the semibreve: and the time-See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature placed at the beginning of a piece of music is really a fraction, of which the numerator expresses the number of beats in a bar, while the denominator expresses the See also:

• SIZE

size of a beat .

Thus 4 signifies three crotchets in a bar . Compound time is expressed, not by using normal fractions of a semibreve as main beats and dividing them into triplets,' but by using dotted beats . A dot after ' Triplets are groups of three equal notes crowded into the time normally taken by two . Binary and ternary subdivision answer279 a note adds another See also:

• HALF

half to its value, and so not only do 'we obtain the means of expressing a great variety of rhythmic effects (especially quantitative effects of See also:

• IAMBIC

iambic and See also:

• TROCHAIC (from Gr. rpoxalos, rpoxaixos; Lat. trochaeus)

trochaic character) in all kinds of time, but we are able to use normal fractions of a semi-breve as the subordinate beats of compound time . Thus is the compound time obtained by dotting the two crotchets of time, and is thus totally different in accent and meaning from i time though that also contains six quavers in a bar . The most highly compound times in classical music are to be found in the last move. See also:

• MEAT

meat of Beethoven's See also:

• SONATA (From Ital. sonare, to sound)

Sonata, Op . III . He begins by dividing bars of into their usual compound time 18 . He then divides the six half-beats of time by three, producing 1,2 (which he in-correctly calls It), and lastly he divides the 12 See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter-beats by 3, producing s4 (which he calls $s) . The See also:

• SPECIAL

special signatures C for time, and C fors time are the last survivals of the time system of the middle ages (see MUSICAL NOTATION) . That complicated system of See also:

• MOOD

mood, time and prolation was capable of expressing even more highly compound rhythms than our usual time-signatures, though the complexity was in most cases unreal, since the small rhythmic ictus of ecclesiastical polyphony renders little but the general distinction between duple and triple rhythm audible: especially as the more compound rhythms were not subdivisions but multiples, involving lengths better measurable by an eight-day See also:

• CLOCK

clock than by human ears . The second See also:

• KYRIE (in full kyrie eleison, or eleeson, Gr. Kvpte MEssvov; cf. Ps. cxxii. 3, Matt. xv. 22, &c., meaning " Lord, have mercy ")

Kyrie of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina's Missa L'Homme Arnie is one of the rare cases which remain both rhythmic and complex when transcribed in modern score .2 For genuine articulate complexity the ballroom See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's See also:

• DON
• DON (anc. Tanais)

Don Giovanni has never been surpassed .

So real are its three simultaneous rhythms of See also:

• MINUET (adapted, under the influence of the Italian minuetto, from Fr. menuet, small, pretty, delicate, a diminutive of menu, from Lat. minutus; the word refers probably to the short steps, pas menus, taken in the dance)

minuet, contredanse and waltz that the persons on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage actually dance to whichever suits their character . Anomalous measures such as and a time, whether divisible into alternations of 2 and a or not, are aesthetically best regarded not as rhythmic See also:

• UNITS, DIMENSIONS OF
• UNITS, PHYSICAL

units, but as extreme cases of unsymmetrical phrase-rhythm erected into a system for special effect . They tend, however, to See also:

• GROUP

group themselves into musical sentences of reactionary squareness; and the 2 movement of See also:

• TSCHAIKOVSKY, PETER ILICH (1840-1893)

Tschaikovsky's Pathetic Symphony consists of twenty 8-bar periods (twenty-four, counting the repeats) before an unpaired 4-bar phrase is heard in the short See also:

• CODA (Ital. for " tail "; from the Lat. cauda)

coda . Even the last bar is not See also:

• ODD (in middle English odde, from old Norwegian oddi, an angle of a triangle; the old Norwegian oddamann is used of the third man who gives a casting vote in a dispute)

odd, though it is the 179th, for the rhythm ends with an unwritten 18oth bar of silence . There is, no doubt, a germ of truth in current See also:

• DOCTRINE

doctrine as to the fundamental character of 4-bar phrase-rhythms, inasmuch as the human See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy has a bilateral symmetry with either See also:

• LIMB

limb on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side slightly stronger than that on the other . This is probably the basis of our natural tendency to group rhythmic units in pairs, with a stress on the first of each pair; and hence, if our See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention is See also:

• DRAWN

drawn to larger groups, we put more stress on the first of the first pair than on the first of the second; and so with still greater groups, until our immediate and unanalysed sense of rhythm merges into a sense of proportion distributed through time with a clear consciousness of past, present and future . The point at which this merging takes every ordinary purpose of musical rhythm, being capable of expressing clear distinctions far more minute than have ever been regulated in speech . It is impossible to pronounce a syllable in less than a tenth of a second; but it is easy to See also:

• PLAY

play 16 notes in a second on the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte . (That is to say, musical rhythm continues to be measurable up to the point at which atmospheric vibrations coalesce in the ear as See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low musical notes!) In a See also:

• SERIES (a Latin word from serere, to join)

series of such rapid notes a single break twice in a second would have a very obvious rhythmic effect directly measured by the ear . If the broken series were levelled into an even series of fourteen notes a second, the rhythmic effect would be entirely different, though the actual difference of pace would be only of a second . The special sign for triplets Big Is readily adapted to other subdivisions where necessary; but such See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation generally indicates rather a freedom of declamatory rhythm than any abstruse arithmetical accuracy . Among the worst barbarisms in musical editing is the persistent reduction of See also:

• CHOPIN, FREDERIC FRANCOIS (1810-1849)

Chopin's septoles, groups of 13 and other indeterminables, into mutton-cutlet frills .

A natural freedom in performance is as necessary for the minutiae of musical rhythm as it is in speech; but where all but the finest players fail is In basing this freedom on the superlative accuracy of the rhythmic notation of the great composers . 2 In the See also:

• CRITICAL (in alphabetical order of authors)

critical edition of Palestrina's complete See also:

• WORKS

works, vol. xii. p . 177 (Breitkopf and Hartel), the editor has violently simplified it . He is justified in using the ordinary ¢ bars to hold the piece together, and he is not called upon to reproduce the See also:

• RIDDLES (A.S. raedan, to interpret)

riddles of the See also:

• ORIGINAL

original notation; but some secondary time signatures ought to have been added to indicate the strong swing of the tune in its conflicting shapes; and there is no See also:

• JUSTIFICATION

justification, in a full score intended for scholars, in supplanting the true rhythm of the See also:

• QUINTUS

quintus by a rough practical See also:

• COMPROMISE (pronounced compromize; through Fr. from Lat. compromittere)

compromise . place depends on the extent to which these larger groups can dominate the details of the rhythm, and this again depends on the listener's capacity for grasping large and slow rhythms . In any case, the only " ultimate " rhythmic element is the tendency to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark off rhythmic beats into pairs, with a stress on the first of each pair . Where this tendency is resisted, the mind will follow the See also:

• LINE

line of least resistance, which will vary according to the pace and detail of the music . Thus in rapid triple time it is easier to seek duple rhythm in the grouping of bars than in the details within the bars; but if the groups of bars are also triple, or irregular, the mind will See also:

• FIX, THEODORE (180o-1846)

fix on the first recurring salient feature for a secondary beat, regardless of inequality in length; rather than, so to speak, See also:

• HOP (Ger. Hopfen, Fr. houblon)

hop on one See also:

• LEG
• LEG (a word of Scandinavian origin, from the Old Norwegian leggr, cf. Swed. lagg, Dan. laeg; the O. Eng. word was sceanca, shank)

leg indefinitely . On this principle there is a distinct tendency in moderate and slow triple times to throw a secondary accent on the third beat; or sometimes on the second, as in the springing step of the See also:

• MAZURKA (Polish for a woman of the province of Mazovia)

mazurka, where the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring gives energy to the first beat and the descent from it gives poise to the second . The tendency of small rhythmic groups to build themselves into large and square ones, such as 8-bar, 16-bar and even 32-bar periods, is doubtless important; but the converse tendency of large phrase-rhythms to break up in a tapering series is far more significant, since even in its most regular forms it not only produces more variety the further it goes, but always increases in obvious effect, until the subdivisions attain the minuteness (and therewith the expression) of speech rhythms . (A crude example of the See also:

• DEVICE

device is Diabelli's waltz, on which Beethoven wrote his gigantic 33 variations . See VARIATIONS, where the point is illustrated by a See also:

• DIAGRAM

diagram.) Regularly expanding rhythm, on the other hand, not only becomes imperceptible as it is carried further, but tends merely to make musical proportions resemble those of a See also:

• CHESS

chess-See also:

• BOARD (O. Eng. bord)

board .

In great music the expanding principle is therefore always contrasted with or modified by the tapering principle, which can indeed exist simultaneously with it and with any other . For, to take only three categories, the harmonic changes of a passage may be designed in tapering rhythm while the melodic phrases expand, and the entries of instruments or parts occur on some third principle, regular or irregular . Such interplay need produce no ,feeling of complexity; indeed, it is an art most neglected by those composers who most rely on the effect of complex rhythm . It is the main discoverable source of that almost dramatic sense of movement that distinguishes the great musical styles from the See also:

• ACADEMIC

academic methods which play for safety, and from the See also:

• ANTI, or CAMPA

anti-academic novelties which end in monotony . Square rhythms become desirable at climaxes where physical energy dominates thought . Strong final cadences accordingly require that the last chord should fall on an accent; and if the pace is rapid the final chord will probably be not only on an accented beat but on an accented bar . Thus it is quite obvious that there is by a mere oversight one bar too many in the four bars of tremolo quavers at the end of the first movement of Beethoven's See also:

• FOURTH

Fourth Symphony; for they are followed by an important bar leading to the last three chords, which chords can only mean (counting bars as beats)— " ONE, two, THREE " (" four " being silent and therefore unwritten) . A fifth bar of tremolo would correct the rhythm in a more vigorous but more vulgar way by bringing the last chord onto " ONE " of the next imaginary group of four . The former correction is so obviously right that the See also:

• IMAGINATION

imagination makes it in spite of the presence of the superfluous bar, which is instinctively ignored as an accidental prolongation of the tremolo . Where the composer writes .in. bars so short as to be permanently less than the phrases of the piece (as in Beethoven's scherzos), or in bars that are frequently longer than the phrases (as in most of Mozart's movements in slow or moderate common time), it sometimes becomes impossible to construe the music without carefully calculating where the accents come; and this calculation is most easily made on the See also:

• ASSUMPTION, FEAST OF

assumption that the strongest cadences bring the tonic chord on an accent . Thus, in Beethoven's Sonata in E See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, Op . 27, No .

1, the first bar of the second movement must be preliminaryand the first accent must come on the second bar, since the piece refuses to make sense in any other way . Indeed, Beethoven. has written some notes twice over in order to bring his See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double-bars and repeat-marks where they will indicate the true rhythmic See also:

• JOINTS

joints to the eye . (A double-bar is a mere graphic indication of some important sectional See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division, not necessarily rhythmic or even coincident with a normal bar-stroke.) Theorists, however, have developed a tendency to assume that all cadences must be strong . More than one critic has told us that the scherzo of Beethoven's Sonata, Op . 28, is in the same See also:

• PREDICAMENT

predicament as that of Op . 27, No . 1; though it not only makes excellent sense with its cadences in the light and weak form in which they appear, but, when reconstrued on the " strong cadence " theory, entirely fails in its middle portion to uphold that theory or to make any other rhythmic sense . And when Professor See also:

• PROUT, SAMUEL (1783–1852)
• PROUT, WILLIAM (1785-1850)

Prout tells us that the See also:

• OVERTURE (Fr. ouverture, opening)

overture to See also:

• FIGARO

Figaro begins with a silent bar, and that See also:

• SCHUBERT, FRANZ PETER (1797-1828)

Schubert's See also:

• IMPROMPTU (from in promptu, on the spur of the moment)

Impromptu in B flat is positively ungrammatical in its cadences unless it is entirely rebarred, and when Dr See also:

• RIEMANN, GEORG FRIEDRICH BERNHARD (1826–1866)

Riemann turns half the ritornello of a See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto from into time, simply in order to make the sequences coincide with the hardest possible accents; then we can only protest that this is regulating musical See also:

• AESTHETICS

aesthetics by criteria too crude for the aesthetics of bricklaying . An edition of See also:

• PARADISE (Gr. lrap6BEwos)

Paradise Lost, in which the lines were so rearranged as to bring all See also:

• PUNCTUATION (Lat. punctum, a point)

punctuation marks (except perhaps commas) at the end of the line, would be on precisely the same level of ingenious barbarity . Few technical terms are entirely See also:

• PECULIAR

peculiar to the subject of musical rhythm; but some obvious terms of syntax, such as phrase, period and See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section are used with varying degrees of system by all writers on music; and the whole terminology of prosody has been annexed—with such success that we are told in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary (See also:

• ARTICLE (from Lat. articulus, a joint)

article " Metre ") that " the theme of See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber's See also:

• RONDO

Rondo brillante in E flat (Op . 62) is in Anapaestic Tetrameter Brachycatalectic, very rigidly maintained." One important term has acquired a special significance in music: viz . Syncopation .

It means a See also:

• CROSS

cross-accent of such strength as to equal or even suppress the main accent; but the use of the term is generally restricted to cases in which the cross-accent is produced by shifting the notes of a melody or a See also:

• FORM