What is musical rhythm definition. Arrhythmias caused by impaired excitability. Symptoms and complaints of patients with atrial fibrillation

What is rhythm in music? We study and master rhythm.

Rhythm is a fundamental element in the performance of a piece of music. In this case, we can talk about the independence of rhythm from melody. Thus, each person could observe around him thousands of examples of separate existence, from the beating of the heart to percussion instruments, which do not have a pitch component. There can practically be no melody without rhythm.

Regardless of the degree of professionalism, every musician must take into account the basics of rhythm, know specific terminology, and also be able to reproduce a piece or piece of music in the proposed rhythm. This page explains the basic concepts and terminology necessary for practice.

Rhythm, duration and pauses

Let's look at what it is rhythm. A musical term represents a clear organization of music in time space. A structure is formed from a sequence of durations and pauses. The table shows the durations, as well as their designation.

Duration name	Notation when recording		Number of accountsfor one duration
	On the staff	Outside the staff
Whole			1 and 2 and 3 and 4 and
Half			1 and 2 and
Quarter			1 and
Eighth		or
Sixteenth		or	Half an eighth

There is a special table showing the relationship between the durations.

It is worth understanding such a concept as pause in musical rhythm. A pause is a period of time in music that is filled with silence. There are the following pause sizes:

1. A whole pause. The duration is equal to a whole note. Indicated by a black, filled rectangle above the third line of the staff.
2. Half pause. Equal to a half note. It is indicated by a black rectangle located on the third line of the staff.
3. A quarter rest is equivalent to a quarter. It is indicated figuratively on almost the entire staff.
4. The eighth pause is similar in duration to the eighth. The designation resembles the capital letter “h”.
5. The sixteenth pause is equal to the corresponding note. The length in the letter is similar to the previous one, the difference is that the tail is doubled.

It should be noted that some musicians perceive pauses as stops, as a result of which they stray from the general rhythmic outline. A pause is a sign of silence that plays a big role in the work. It is strongly recommended not to eat up pauses at the expense of another preceding note, lengthening its duration. Otherwise, the musical idea is lost. It is especially important to take this principle into account when playing in an orchestra, ensemble or group. After all, if pauses are not taken into account, then the sounds will overlap each other, creating a cacophony.

Basic systems of rhythmic syllables

Exists special system rhythm syllables, which helps in practice to learn how to correctly reproduce various durations. This system was invented in Hungary in the last century and is actively used in music schools in the first years of learning music, when the rhythmic foundation is laid. So, there are the following rhythmology:

• Whole - Ta-a-a-a
• Half - Ta-a
• Quarter – Ta
• Eighth – Tee
• 2 sixteenth notes – Ti-ri
• Dotted rhythm: dotted quarter note and eighth note - ta-ai - ti.

Special rhythm syllables have also been developed to determine pauses:

• Whole - Pa-u-uz.
• Half - Pa-a
• Quarter note – Pa
• Eighth - pi

This perception of durations allows you to master even complex rhythmic figures several times faster and learn to quickly sight-read musical works.

Exercise No. 1. Mastering rhythmic syllables

Sing the melody in the suggested rhythm, using rhythm syllables.

Compare with the answer below:

Tips for quickly mastering rhythm and exercises

1. Daily practice. No matter how trivial it may be, only daily practice can lead you to good results. It is necessary to work on the rhythm for about half an hour a day to achieve a solid base.
2. The first time you should use a metronome. Tap the suggested rhythm on the table or piano lid. Set a slow tempo at first, from 40 to 60 beats, then move on to a more active tempo. Try to hit the strong beats straight away.
3. Use the rhythm syllable system.

It is worth considering that when playing the piano, two hands are involved in the work. In this case, the rhythm in each of the hands can be different; in order to work out the technique in advance, you need to do special exercises.

Exercises for alternately involving the right and left hands, creating a roll call. Top line for right hand, lower for left. You need to tap the rhythm at an average tempo, at which you will not make mistakes. If errors or stops occur, you need to switch to a slower pace. You can tap on a table or on the top of a piano under a metronome.

№1

№2

More complex exercises are those in which rhythmic figures are beaten simultaneously with both hands.

№1

№2

If you want to more exercise, then we recommend that you get acquainted with Olga Berak’s textbook “School of Rhythm”. The manual is divided into several parts according to size. First there are two-lobed sizes, then there are three-lobed sizes.

rhythm) The concept of R. has many meanings. Probably the broadest definition, which covers all meanings of this word, belongs to Plato: “Rhythm is order in movement.” One might suggest instead: “Rhythm is order in sequence.” Temporal order structures can be found in a wide variety of areas. Here we will discuss temporal order in three of them: cosmology, biology and perception. There are similarities between the first two areas, but none of them are related to the third. Cosmic rhythms are known to us from events that occur over time, regardless of our actions, such as seasonal rhythm (change of seasons), lunar rhythm, which affects the ebb and flow of the tides, and especially daily rhythm (change of day and night), which largely affects our Everyday life . There are a variety of biological rhythms in the plant and animal world. If we consider only people. organism, then almost all of our bodily functions are rhythmic. These R. are consistent with the functioning of various systems, the periodicity of which is endogenous, but they can play the role of a synchronizer when one of them is connected with another. Of course, night R. is basic. However, people can temporarily violate the boundaries of night R. if they live in artificially created conditions, for example, in the Far North, or perform the work of astronauts. In these cases, the circadian (daily) R. differs from its natural duration, being slightly longer than 24 hours. The sleep-wake cycle, although more flexible, usually also obeys the oscillatory system. This is found in individuals who are in “free-flowing” situations, without the influence of night R.R. sleep-wakefulness regulates the life of astronauts in space, where the change of light and darkness occurs much faster. However, despite the fact that social conditions (night work) or geographic circumstances (flights across the ocean) significantly change sleep-wake R., one can be convinced that these new R. over time begin to serve as synchronizers of body temperature R., which adapts to R. activity. These adaptations are important because not only the feeling of freshness or fatigue depends on R. body temperature; it also influences the degree of alertness and other activity levels. These R., therefore, can be defined as endogenous; their time period is little subject to change, but their phases can shift due to synchronization with R. of the same period of time (for example, the influence of R. activity on temperature). Finally, there are R. acquired through habit (conditioning). This is the case with R. hunger, associated with our eating habits and reflected in our degree of readiness for activity. There is also a weekly R., associated in particular with weekends, which, when Monday morning comes, creates slight difficulties in adapting again to the work regime, be it in the classroom or in the factory. Perceptual rhythms. When people talk about R., they immediately think of music and poetry; that is, the repetition at regular intervals of one or more elements organized into integral structures. This simple description means that, in these cases, there is a perception of order in the sequence. R.'s perception forces us to ask two fundamental questions: a) what are the time limits within which the sequence is perceived? b) What is the nature of the structures that tend to repeat themselves? Temporal limits of perceived rhythm. The basis of R.'s perception is the ability to grasp and understand successive elements as a whole, similar to our ability to cover with our gaze a part of space from a certain angle of view. This capacity for apprehending is often called the psychic present, since it corresponds to perception, in which elements simultaneously exist one after another. This is our ability to perceive simple expressions, such as a telephone number. This is psycho. the present (the psychological present) has boundaries, which are associated both with duration and with the nature of the elements. Thus, it is possible to perceive a sequence of two identical sounds, which follow with a threshold interval of 0.1 s to 1.8 s, as a single whole. Beyond this duration, sounds become elements perceived as independent of each other. But how many elements can be perceived in this present? Here it is necessary to distinguish between disparate elements and elements that form a structure. Although we are only able to grasp and comprehend about 5 letters of the alphabet, presented in disorder, we can fully perceive the 12 syllables that make up a poem. In a perceived structure, whether it is repeated or not, we perceive subgroups called chunks. The more sectioned (divided into parts or blocks) the perceived unity, the longer the psychic can be. present, provided that no internal interval exceeds 1.8 s. Thus, the regular repetition of identical situations gives us the perception of not only unity (as in the perception of a phrase), but also R., as is the case in music, poetry and dance. This brings us to consider the speed of the sequence, or tempo. Pace is the speed with which the elements of a structure follow one after another and the structures themselves unfold in time. For a clear perception of rhythmic unity, it is necessary that the duration of time between elements be sufficiently short. When reading poetry or playing music slows down significantly, the perception of rhythm is suppressed. Rhythmic structures. Let's consider simplest example, in which a simple sound is repeated at intervals of 0.4 s. These sounds are perceived as related to each other. If you listen carefully, they are perceived as grouped in 2 (less often 3). When analyzing this perception, it becomes noticeable that these groups seem to differ from each other in one or two respects - either in the length of time between the groups (pause), or in the emphasis of one of the two elements. Artistic rhythms. It is obvious that artistic R., in terms of their temporality, are perceived by R. It is important to find out whether there is a connection between what is spontaneously created creative artists, and the laws of R., derived on the basis of experimental procedures. Time limits. R., created in poetry and music, have periods of duration, which completely fit within the specified perceived limits. The average duration of rhythmic measures is 3.2 s. For poetic lines, according to Wallin, the average length is 2.7 seconds. Regarding the number of elements of substructures in music, the composer rarely goes beyond 6 bars, and the listener usually hears units of two or three bars. In poetry, the number of syllables rarely exceeds 12, and each line is divided into two, three or four parts by accents or pauses. The structure of rhythmic units is fully illustrated by examples of previous analyses. In the absence of documentary evidence, we know from Aristoxenus (IV century BC) that R. is a sequence of durations, and that these durations are not arbitrary. There is a minimum indivisible duration, as well as multiples of two and three values ​​of this duration, so that time is decomposed into more or less complex series of short and long periods, that is, series of durations. This is also true for dance, music and chants - arts that are inseparable from each other. This is true of Greek and Latin poetry. Today, depending on the language and traditions, poetry is more syllabic in nature, with regular stress sequences, and in classical poetry rhyme provides additional guidance. IN classical music In our time, the composer has at his disposal a set of different durations, because the possible durations are a binary division of a sufficiently long note, called the semibreve. It is divided into half notes, quarter notes, eighth notes, etc., without counting further gradations. The composer, in a fragment, which is homogeneous with the viewpoint. tempo, makes the leading use of two notes, which are in two or three-beat ratio (eighth and quarter, or double eighth-eighth, sometimes double eighth - half-eighth), and this is in a proportion of 70 to 80%. Obviously there are short notes, long notes and silence. We believe that these accidents are the creations of the artist, who is trying to avoid the determinism that requires the preferential use of only two periods of duration, the shortest of which is the most frequent. How could one explain this spontaneous predominance, canonized by practice, of only two durations in rhythmic structures? Here you can remember common law, which often turns out to work in the field of perception: the understanding of simplification as a two-way process of likening elements that are only slightly different from each other, and differentiation, which tends to emphasize the differences remaining after likening. But in the case of durations used in R., you also need to remember about the information being transmitted. Using a scale of absolute perceived durations, it has been found that we cannot distinguish between more than two or at most three durations. This is the limitation on temporary perception that has been imposed on the artist at all times. It also overlapped with the work of those who created alphabet based on alternating durations, such as Morse code, which consisted of a system of dots and dashes. Rhythms of movement. To study the laws of R. we use not only images of perception, but also aspects of movement. First, it should be noted that perceived R., especially in art, are created by the motor or verbal activity of people. In fact, there is harmony between created and perceived values. This harmony reveals itself, especially, in the fact that audible movements cause very real motor induction, characterized by periodicity of movements. This phenomenon has been observed since early age. A child as young as 1 year old can sway gently while listening to rhythmic pieces of music, and even adults have to restrain spontaneous movements when listening to music. This spontaneity is also revealed in our difficulty in identifying a beat, which, for example, is located between two ordinary stresses, or what is called syncopation. It usually takes a lot of practice to hit two different rhythm different hands to create a polyrhythm. Returning to the spontaneous synchronization of music, it can be clearly seen that movement accompanies the main stress point, but if the structure is long and complex, synchronous movements are created by secondary stress points. All this occurs as if the induced accompanying movements must remain coupled, which means that the intervals separating them must be defined as less than 1.8 s. Motor induction and synchronization give rhythms qualities different from those perceived. Muscular-sound harmony causes emotional reactions characteristic of the perception of R. In addition, spontaneous synchronization makes allowances for the socialization of rhythmic activity, which takes place in dancing, orchestral music And choral singing. This socialization of activity is always a source of stimulation. Spatial rhythms. There is less talk about spatial R. than about auditory ones. For example, when describing movement it is easier to talk about shape or proportion. It is natural that sequences exist, but they often unfold in a three-dimensional context, which increases the subsequent difficulties. When only linear sequences are considered, it is noticeable that they often resemble rhythmic structures with regular repetitions of identical elements, like a tree-lined avenue, or are formed by the repetition of secondary or even tertiary structures with regular intervals between groupings. Even in rows of windows, for example, one can find more complex structures with elements, the variation of which has a repeating character. See also Auditory perception, Circadian rhythm, Perceptual organization P. Fress

Today in the Russian language there are a lot of concepts that are worth becoming familiar with. In this article we will talk about what rhythm is and what symbols are associated with it. Definitions on different sources a lot, but they all have the same meaning. Let's take a closer look at all the features of rhythm and give it a designation. The word "rhythm" today has several meanings, these are:

• Rhythm of life.
• Musical rhythm.
• Poetic rhythm.
• Biorhythm.

General concepts of rhythm

The word "rhythm" came to us from Greek language, where Rhytmos means regularity, consistency. We are accustomed to understanding rhythm as something measured, a natural alternation of certain elements, for example, movements, sounds.

Also with the help of rhythm we determine:

• Respiration rate.
• Change of season.
• Heartbeat.
• Pendulum swing and much more.

First of all, when we hear the word “rhythm”, music, dance and melodies appear in our minds. Musical rhythm is the alternation of long and short sounds in a certain order. When learning or composing this or that melody, musicians always pay attention to the rhythm. To do this, they can use a special device, a metronome. Music is characterized by its own rhythms, and they are completely different from the rhythms of life, movements and other things.

Rhythm in versification

Poetry has its own rhythms; here we can note such rhythmic units as:

• A line or phrase.
• Stop.
• Syllable.

There are also a lot of rhythms in nature, because our life consists of them. Rhythm can be called the change of day and night, the change of season or time. The human biorhythm is associated with natural rhythms. Many people are seeing activity in daytime, at night passivity predominates. It is not possible to judge general biorhythms, because they are strictly individual for each person. All this is connected with physiological processes. Each human biorhythm affects the activity, endurance and general condition of a person.

Each rhythm of life is determined by the way and way of life of a person. If a person is characterized by increased activity at night and passivity during the day, then his biorhythm is completely different from a person who is awake during the day. If you learn to determine your biorhythms correctly, you can improve your quality of life.

Atrial rhythm is a condition in which the function of sinus contraction is weakened. In this case, the lower atrial center acts as a source of impulses. There is a weakened heart rate, with heart beats ranging from 90–160 per minute. This article explains how atrial rhythm is determined on an ECG.

What are we talking about?

Many people who are diagnosed with atrial rhythm do not understand what this means. A healthy person has a single path for the transmission of electrical impulses that cause sequential excitation of all parts of the heart. Due to this, a productive contraction occurs, leading to a satisfactory blood release into the arteries.

This route originates in the right atrium. After which it passes to the most distant ventricular tissues through the conduction system. However, for various reasons, the sinus node loses the ability to generate electricity necessary to release impulses to distant sections.

There is a change in the process of transmission of cardiac excitation. A replacement contraction is formed. It turns out that the impulse arises out of place. For information, atrial rhythm is the appearance of much-needed excitation anywhere in the heart, only in the non-location of the sinus node.

How does atrial rhythm occur?

Outside the border of the sinus node, an extraneous impulse appears, exciting the heart before the signal emanating from the main one. This situation indicates an advance of the secondary atrial contraction. Based on the reentry theory, there is no parallel excitation. This is influenced by local blocking of nerve impulses. During activation, this area experiences an extra extraordinary contraction, which disrupts the main cardiac impulse.

Diagnostics allows you to determine the presence of pathologies of the heart muscle

According to some theories, the endocrine, vegetative nature of the formation of the precardiac impulse is assumed. Usually this situation occurs in a child in adolescence or in an adult suffering from hormonal changes, which may occur due to age or pathological manifestations.

In addition, there is a theory of the occurrence of an impulse formed by the atria as a result of hypoxic, inflammatory processes occurring in the myocardium. This pathology can occur with regular inflammatory diseases. It has been noted that in children suffering from influenza and tonsillitis, the likelihood of myocarditis with further changes in atrial contraction increases.

The heart, which is the main muscle of the body, has a special property. It has the ability to contract regardless of the nerve impulse emanating from the main organ of the central nervous system. Since it is he who controls the activity of the neurohumoral system. The correct route originates in the region of the right atrium. Then spread along the septum occurs. Impulses that do not pass along this route are called ectopic.

Types of atrial contraction

Based on the unevenness of the intervals, atrial rhythm is of the following types:

• Extrasystole is characterized by extraordinary contractions that occur during normal heart rate. This condition does not always have a clinical picture. It happens that a healthy person, for one reason or another, experiences extrasystole. In this case, sometimes there is no need to contact a cardiologist. It manifests itself as fear, tingling in the area of ​​the heart and stomach.
• For atrial fibrillation heartbeats can reach up to 600 per minute. The atrial muscles are characterized by a lack of rhythm, flickering appears, with characteristic chaotic behavior. As a result, the ventricles of the heart completely go out of rhythm. This condition is quite serious and can lead to a heart attack. With this pathology, the patient suffers from shortness of breath, panic, dizziness, sweating, and fear of death. Loss of consciousness may occur.
• During pacemaker migration the source of contractions seems to move through the atria. There is a manifestation of successive impulses emanating from different atrial sections. The patient experiences tremors, fear, and stomach emptiness.
• Atrial flutter characterized by frequent regular contractions of the atria, systematic ventricular contractions. In this condition, more than 200 beats per minute occur. It is more easily tolerated by the patient than flicker, since it has a less pronounced circulatory disorder. It manifests itself as a rapid heartbeat, swollen neck veins, increased sweating, and lack of strength.

is carried out by a cardiologist who, based on obvious signs, confirms or denies the presence of extrasystoles

How to distinguish atrial rhythm from sinus rhythm

The atrial rhythm is slow, replacing. It occurs during suppression of the sinus node. Usually, with this arrangement, the heart contracts less than normal. In addition, there are accelerated impulses, during which the pathological activity of the center of atrial automation increases. In this situation, the heart rate is higher than the heart rate.

Based on where the activity of the ectopic center occurs, left atrial and right atrial contractions are distinguished. To alleviate the patient’s condition, electrocardiography does not necessarily have to determine which atrium produces the pathological impulse. The doctor will need to diagnose the altered contractions.

The atrial rhythm on a replacement ECG has the following signs:

• correct contraction of the ventricles at regular intervals;
• contraction frequency varies from 45 to 60 per minute;
• each ventricular complex has a deformed, negative wave;
• intervals are characterized by shortness or normal duration;
• the ventricular complex is not changed.

Accelerated atrial rhythm has the following signs on the ECG:

• cardiac impulses range from 120 to 130 per minute;
• each ventricular contraction has a deformed, biphasic, negative, jagged wave;
• intervals are lengthened;
• the ventricular complex is unchanged.

Atrial extrasystole is determined by a premature, extraordinary contraction. Ventricular extrasystole is characterized by a change in the contractile complex followed by a compensatory pause.

Features of atrial and ventricular rhythm that should be differentiated from each other

Signs on ECG

On an electrocardiogram, the doctor judges the atrial rhythm by the presence of deformation of the P wave. Diagnostics records the disturbed amplitude and its direction in comparison with the normal impulse. Usually this tooth is shortened. Right atrial contraction appears negative on the ECG. The left atrial rhythm has a positive wave and a rather bizarre shape. It looks like a shield with a sword.

Important! With an atrial rhythm, the P wave can be either negative or positive.

If the patient suffers from migration of the driving rhythm, then the electrocardiogram shows a changed wave shape and a longer P Q segment. Moreover, this change is cyclical. Atrial fibrillation is characterized by the complete absence of a wave. Which is explained by the inferiority of systole.

However, the ECG shows an F wave, characterized by uneven amplitude. Using these waves, ectopic contractions are determined. There are cases when the atrial rhythm is asymptomatic, appearing only on the ECG. However, if a patient has this pathology, he requires specialist supervision.

Rhythm in piece of music- This is a continuous alternation of sounds and pauses of very different durations. There are a lot of options for rhythmic patterns that could be formed in such a movement. And therefore the rhythm in music can also be different. On this page we will look at only a few special rhythmic figures.

1. Movement in even durations

Movement of even, identical durations is often found in music. Moreover, most often this is the movement of eighths, sixteenths or. It should be noted that such rhythmic monotony often creates a hypnotic effect - the music makes you completely immerse yourself in the mood or state conveyed by the composer.

Example No. 1 “Listening to Beethoven.” A striking example which confirms the above is the famous " Moonlight Sonata» Beethoven. Look at the sheet music. Its first movement is entirely built on the continuous movement of eighth-triplets. Listen to this movement. The music is simply mesmerizing and, indeed, as if hypnotizing. Maybe this is why millions of people on Earth love her so much?

Another example from the music of the same composer is the Scherzo - the second movement of the famous Ninth Symphony, where after a short energetic thunderous introduction we hear a “rain” of even quarter notes at a very fast tempo and in three-beat time.

Example No. 2 “Bach Preludes”. The technique of smooth rhythmic movement is found not only in Beethoven’s music. Similar examples are presented, for example, in Bach's music, in many of his preludes from the Well-Tempered Clavier.

As an illustration, let us present to you the Prelude in C major from the first volume of the HTC, where the rhythmic development is built on an even, unhurried alternation of sixteenth notes.

Of course, there are many more varieties of rhythmic patterns than we have considered here. Many musical genres and styles have their own rhythmic characteristics. For example, from this point of view, such genres as waltz (three-beat meter and smoothness or figures of “circling” in the rhythm), mazurka (three-beat meter and obligatory crushing of the first beat), march (two-beat meter, clarity of rhythm, abundance of dotted lines) receive vivid characteristics from this point of view. etc. But all these are topics for separate further conversations, so visit our website more often and you will definitely learn a lot more new and useful things about the world of music.