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Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm.
Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts.
Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm.
By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.
《音乐节奏中的思想与游戏》通过分析和比较各种曲目、表演实践和在演讲或写作中形成和传播的理论，提供了对音乐节奏的新理解。编辑 Richard K. Wolf、Stephen Blum 和 Christopher Hasty 解决了音乐研究中普遍主义和文化相关的节奏研究方法之间的一种富有成效的张力。
针对（西方）音乐教学法中的常见观念，这些文章探索了一系列关于节奏的观点：它作为音乐“元素”的地位，可以有效地从音色、音调和和声中抽象出来；它的规律性的含义（或者，相反，节奏是我们听到的与背景规律性相反的东西）；及其在打击乐部分的特殊体现。
该系列在音乐节奏研究中独树一帜，密切关注表演者和听众对节奏方面的概念化方式，并质疑许多已接受的用于描述节奏的类别。
通过将耳朵和心灵吸引到可能被忽视的张力、区别和美学原则上，这种对本地概念的关注使听众能够消除对音乐“一般”如何运作的假设。读者可能会带着一些惊喜离开，更多地意识到他们的假设，和/或想出新的方法来震惊他们的学生，让他们摆脱自满。
Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts.
Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm.
By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.
《音乐节奏中的思想与游戏》通过分析和比较各种曲目、表演实践和在演讲或写作中形成和传播的理论，提供了对音乐节奏的新理解。编辑 Richard K. Wolf、Stephen Blum 和 Christopher Hasty 解决了音乐研究中普遍主义和文化相关的节奏研究方法之间的一种富有成效的张力。
针对（西方）音乐教学法中的常见观念，这些文章探索了一系列关于节奏的观点：它作为音乐“元素”的地位，可以有效地从音色、音调和和声中抽象出来；它的规律性的含义（或者，相反，节奏是我们听到的与背景规律性相反的东西）；及其在打击乐部分的特殊体现。
该系列在音乐节奏研究中独树一帜，密切关注表演者和听众对节奏方面的概念化方式，并质疑许多已接受的用于描述节奏的类别。
通过将耳朵和心灵吸引到可能被忽视的张力、区别和美学原则上，这种对本地概念的关注使听众能够消除对音乐“一般”如何运作的假设。读者可能会带着一些惊喜离开，更多地意识到他们的假设，和/或想出新的方法来震惊他们的学生，让他们摆脱自满。
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