新西兰梅西大学论文代写：节奏
新西兰梅西大学论文代写：节奏
持续时间的模式有助于对度量的基本水平的脉冲或脉冲同步可称为节奏单元（库珀，2009）。这些分类可以作为度量，度量的度量和对内，额外的度量。度量称为更像稳定的脉冲模式或稳定的第八个音符，内部度量称为确认样摆动模式的模式和点第八至第十六的注释，对度量不确定或是切分音的模式，和额外的度量，遵循不喜欢tuplets模式。
节奏的一种姿态是在与节奏单位的对比中的任何一种持续时间的持续时间都不具有相当于在度量的基础水平上的脉冲或脉冲的时间的趋势。这可以在结束和开始或通过节奏存在单位按照描述（Aiello & Sloboda，2008）。对强脉冲的开始被称为合，脉搏微弱，被称为anacrustic和那些开始后注意绑在或休息被称为最初的休息。在结尾的强脉冲被称为是强大的。
结合西方音乐，第二十年代以来，作曲家如史提夫·莱许，菲利普·格拉斯，巴托克，和Igor Stravinsky利用技术和奇米像添加剂的节奏和相位的节奏更复杂的音乐形式。在相同的时间点，现代主义者如梅西安和他的学生曾利用高水平的复杂性与规律的节奏，最终导致对非理性的方式节奏广泛运用在新的复杂感的破坏。这种利用可以解释通过与John Cage相关的评论，它已经注意到，在节奏的规律性，可能会导致引起的声音作为一个完整的组，而不是个人的背景下。
新西兰梅西大学论文代写：节奏
The pattern of duration contributes in synchronizing with the pulses or pulse on the underlying level of metric may be referred to as the unit of rhythm (Cooper, 2009). The classification of these can be done as being metric, intra metric, contra metric and extra metric. Metric are referred to as being even patterns like steady pulses or steady eighth notes, intra metric are referred to as the patterns of confirmation like swing patterns and dotted eighth to sixteenth notes, contra- metric that are non- confirming or the patterns that are syncopated, and extra metric that follow patterns of irregularity like the tuplets.
A gesture of rhythm is any pattern of duration that on contrasting with the unit of rhythm does not have the tendency of occupying duration of time that is equivalent towards the pulses or pulse on the underlying level of metric. This can be described in accordance with the ending and the beginning or through the units of rhythm that are present (Aiello &Sloboda, 2008). Beginnings with respect to the stronger pulse are referred to as thetic, a weak pulse that is referred to as anacrustic and those that start after the note of tied over or rest are referred to as the initial rest. The strong pulse at the ending is referred to as being strong.
In consideration with the western music, since the 20th century, composers such as Steve Reich, Philip Glass, Bela Bartok, and Igor Stravinsky had written more complex music of rhythm utilizing techniques and odd meters like the additive rhythm and phasing. At the same point of time, modernists like Olivier Messiaen and his pupils had utilized high level of complexity for the disruption of the sense with respect to regularity in beat that eventually lead towards the widespread utilization of rhythms in an irrational manner within the new complexity. This utilization can be explained through a comment related to John Cage where it had been noted by him that regularity in rhythms can result in causing sounds for being heard as an entire group instead of the individual context.
