Thought and Play in Musical Rhythm: Asian, African, and Euro-American Perspectives

457 Pages·2019·36.293 MB·English

by  Richard Wolf, Stephen Blum, Christopher Hasty

Thought and Play in Musical Rhythm
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Thought and Play
in Musical Rhythm
AsiAn, AfricAn, And Euro- AmEricAn
PErsPEctivE s
Edited by Richard K. Wolf, Stephen Blum,
and Christopher Hasty
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1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
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Press in the UK and certain other countries.
Published in the United States of America by Oxford University Press
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© Oxford University Press 2019
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Paperback printed by Marquis, Canada
Hardback printed by Bridgeport National Bindery, Inc., United States of America
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Contents
List of Figures and Tables vii
Preface xiii
List of Contributors xv
About the Companion Website xvii
Introduction 1
Richard K. Wolf, Stephen Blum, and Christopher Hasty
1. Thinking With and About Rhythm 20
Christopher Hasty
2. Formative Processes of Durational Projection in “Free Rhythm” World Music 55
John Roeder
3. Meter and Rhythm in the Sung Poetry of Iranian Khorasan 75
Stephen Blum
4. An Approach to Musical Rhythm in Agbadza 100
David Locke
5. Rhythm and the Physical 146
Eugene Montague
6. Modern Drum Solos Over Ostinatos 174
Fernando Benadon
7. Temporal and Density Flow in Javanese Gamelan 196
Sumarsam
8. Layers and Elasticity in the Rhythm of Noh Songs: “Taking Komi” and Its Social
Background 212
Takanori Fujita
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vi i Contents
9. Rhythmic Metamorphoses: Botanical Process Models on the Atlas Mountains of
Morocco 232
Miriam Rovsing Olsen
10. Mapping a Rhythmic Revolution Through Eighteenth- and Nineteenth- Century
Sources on Rhythm and Drumming in North India 253
James Kippen
11. Time Changes: Heterometric Music in South Asia 273
Richard Widdess
12. “Rhythm,” “Beat,” and “Freedom” in South Asian Musical Traditions 314
Richard K. Wolf
13. New Music— New Rhythm 337
Christopher Hasty
Glossary 381
Bibliography 393
Index 415
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Figures and Tables
Figures
1.1. From a) two to b) three claps and the possibility c) of two larger events. 36
1.2. Joseph Haydn, String Quartet Op. 76 no. 4 (“Sunrise”), second movement,
bs. 1– 16. 39
1.3. Josquin des Prez, Missa pange lingua, the opening of Pleni sunt coeli, t.1– 24. 42
1.4. Josquin des Prez, Missa pange lingua, the opening of Pleni sunt coeli,
repetitions in altus, t.13– 23. 46
2.1. Some temporal sensations associated with durational projection and
realization. Adapted from Hasty, Meter as Rhythm (1997, 87– 89). 57
2.2. Projective analysis of the introduction (darāmad) to the classical Persian
chant (āvāz) of an extract from Bīdād from dastgāh homāyun, sung by Afsāne
Ziā’i with Hoseyn Omumi, ney. 58
2.3. Projective analysis of the first seven cycles of “Flute,” performed by Zinzir,
tatarore. 63
2.4. Two possible kinds of realized durational projections in “Flute” (under the
assumption of parallelism). 64
2.5: Projective analysis of the opening (0:07– 0:55) of the ālāp on rāga Pūriyā-
Kalyān performed by Budhaditya Mukherjee, sitar. Transcribed by Richard
Widdess, adapted and annotated by John Roeder. 68
3.1. One quantitative poetic meter as represented in (a) the system of Arabic
and Persian prosody, and (b) a simplified notation of attacks and durations
in rhythmic cycles, which can also be used for poetic meters. 79
3.2. Moḥammad Ḥoseyn Yegāneh (d. 1992) singing a Persian quatrain to Šāh Xaṭā’i. 81
3.3. Initial quatrain of a monājāt (an intimate communication with God). 82
3.4. The guše of Šāh Xaṭā’i in the dastgāh of Navā, as sung by Maḥmud Karimi. 83
3.5. Quatrain from the story of Šāh Esmā‘il, sung by Moxtār Zambilbāf, 1972
(AWM RL 16245). 85
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viii i Figures and Tables
3.6. Quatrain from the story of Šāh Esmā‘il, sung by Moxtār Zambilbāf, 1972
(AWM RL 16245). 85
3.7. Two lines from Ferdowsi’s Šāh-n āma, sung to a 12- beat cycle by Ḥāj
Ḥoseyn Xān Yāvari (age ca. 60) of Xarv Olyā (AWM RL 16234). 88
3.8 One verse of a fable from the Būstān of Sa‘di as sung by two naqqāls: (a)
Ṣādeq ‘Ali Šāh (AWM RL 16211, and Naqqāli in Northern Khorāsān, track 6,
4:23– 4:35); (b) Moḥammad Ḥasan Naqqāl (AWM RL 16225). 89
3.9. Two verses from the Šāh Nāma, sung by Sayyed Ḥasan Naqib Zāde (age
43), the moršed of a zur-x āna (men’s athletic club) in Sabzevār, 1995. 90
3.10. The same verses as in Figure 3.9, sung by Ḥasan Salaḥšur (age 18), a naqqāl
active in tea houses of Bojnurd, 1969 (AWM RL 16208). 91
4.1. Rhythm of Agbadza dance movement. 103
4.2. Resultant rhythm of bell phrase with four- feel and six- feel beats. 109
4.3. Support drum function: articulation of offbeats. 110
4.4. Support drum phrase: accentuation in the metric matrix. 111
4.5. Music setting of drum language of the time parts. 112
4.6. Response drum themes for items 1–2 5. 114
4.7. Response theme, item 24: motion and accentuation “in four” and “in six.” 119
4.8. Lead drum: key to notation of strokes. 120
4.9. Lead drum themes for items 1–2 5. 121
4.10. Lead drum form: excerpt from complete score of item 1. 126
4.11. Modes of anhemitonic pentatonic scale. 131
4.12. Modes of hemitonic pentatonic scales. 132
4.13. Song-d rum affinity in item 19: time- point 1.2. 137
4.14. Song: drum interaction in item 15. 139
4.15. Song and drums in item 16: cascading entrances, reinforcement of lexical
meaning. 140
5.1. Eight ways to notate the son clavé rhythm, after Toussaint (2005). 149
5.2. A score of the first page of “Pianistes” from Saint- Saëns, Le carnaval des
animaux. 153
5.3. A rhythmic analysis of the Piano I part at the opening of “Pianistes.” 154
5.4. A gestural- rhythmic analysis of the opening of Chopin, Étude in C major,
Op. 10 no. 1. 158
5.5. Spans of the right hand in Chopin’s etude. 159
5.6. Calculating the stretch of each handspan in the basic instrumental gesture
of Chopin, Op. 10 no. 1. 160
5.7. Stretching the hand: relative stretches of each of the three handspans A,
B, and C in the first three phrases of Chopin, Op. 10 no. 1, measures 1–8 ,
9– 16, and 17– 24. 161
5.8. Three- voice counterpoint (bass line plus span C, the topmost two in
Chopin, Op. 10 no. 1, measures 1–8 ). 162
5.9. A diagrammatic representation of the drummer’s gestures in a typical
measure of “Straight Edge” by Minor Threat. 164
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Figures and Tables j ix
5.10. An interpretation of the metrical structure of the first four lines of
“Straight Edge.” 166
5.11. An interpretation of the metrical structure of Mackaye’s performance
of “Straight Edge.” 166
5.12. An interpretation of the durational structures of Mackaye’s
performance of “Straight Edge.” 167
5.13. A rough alignment of the drum and vocal rhythms in the opening lines
of “Straight Edge.” 167
5.14. A general analysis of the rhythmic relationships between voice and
drums in the first section of “Straight Edge.” 168
6.1. Configurations in “synchronization space” for three- and two- element
groups. Elements inside a circle are in synchrony with each other;
d = drums, m = meter, o = ostinato. 175
6.2. Steve Gadd, “Quartet No. 2, Part II” (9:14). 177
6.3. Trilok Gurtu, “Belo Horizonte” (3:49). 181
6.4. Gurtu’s accent placements in the measure cycle. 182
6.5. Dave Weckl, “Master Plan” (3:12). 183
6.6. Vinnie Colaiuta, “Live at Catalina’s” (2:51). 184
6.7a– b. Vinnie Colaiuta, “Live at Catalina’s” (2:11). 185
6.8a– d. Jojo Mayer, “Jabon” (5:09, 5:19, 5:56, 6:11). 187
6.9. Gadd, clave solo (2:21). 189
6.10. Ostinato (top) vs. polymeter (staggered 2+3 pairs) vs. meter (vertical
lines) in the first five measures of Figure 6.9. 191
6.11. Gadd’s 15- subdivision group and two “rational” approximations. 193
6.12. Drum notation key. 194
7.1a. A song for accompanying a deer dance: the original song. 199
7.1b. A song for accompanying a deer dance: Sindusawarno’s version of the
melodic skeleton of the song. 200
7.2a. Example of the melodies of elaborating instruments (rebab, gender,
bonang) and kendhang (drum) in irama dadi. 205
7.2b. Example of the melodies of elaborating instruments (rebab, gender,
bonang) and kendhang (drum) in irama wilet: gendèr rangkep, bonang
imbal, kendhang ciblon. 205
8.1. Original configuration of poetic syllables in hira- nori rhythm (a song
from Noh Ataka). 213
8.2. Su- utai performed by amateur singers, at the amateur recital held on
August 9, 2009, at the Noh theater in Otsu city. 215
8.3a. The libretto notation of a song in Ataka by Kita school published in 1924. 216
8.3b. Singer’s rhythm image of a song in Ataka. At the syllables with accent
signs (⋏), choral singers have to extend the syllables to go with
drumming pattern. 217
8.4a. Mitsuji pattern of o- tsuzumi and ko- tsuzumi. 218
8.4b. Tsuzuke pattern by o- tsuzumi and ko- tsuzumi. 218
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