isorhythmic


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Related to isorhythmic: Talea, isorhythmic dissociation

isorhythmic

(ˌaɪsəˈrɪðmɪk)
adj
(Music, other) music (of medieval motets) having a cantus firmus that is repeated according to a strict system of internal reiterated note values
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
References in periodicals archive ?
it is in fact an application of the talea method to the melodic series - a species of color, a technique originating from isorhythmic motets in the ars nova period).
Rather, it is about examining how various rhythms relate to one another (in, say, polyrhythmic, isorhythmic, eurhythmic, or arrhythmic forms).
(8) Another phenomenon is isorhythmic AV dissociation, in which the atrial rate is equal or nearly equal to the ventricular rate.
Smend amassed files of numerical data, counting notes, measures, and paragrams, with the intent of proving that Bach regularly laced his compositions with occult meanings based upon number, much in the way Dufay had done in his isorhythmic motet, Nuper rosarumflores, written for the dedication of the cathedral of Sta.
DIAGNOSIS: Sinus bradycardia with an atrial escape complex, followed by a junctional escape rhythm with isorhythmic atrioventricular dissociation; voltage criteria for left ventricular hypertrophy.
Isorhythmic Night Dance with Interchanges." Then, as the intermission ended, a meeting of the parishioners of St.
By avoiding metrically defined phrases and patterns of stressed and unstressed beats, these isorhythmic 'wheels within wheels' destroyed any sense of meter, and thus created a piece of music outside of 'time.'" (35) Thus, the bar lines that are written into the score are merely visual aids to the performer, for the actual pulse transcends a straightforward conception of time.
(28.) In the literature these are also referred to as isorhythmic lines; Ellis (1985) and Barwick (1989) have provided examples.
It is a testimony to the dearth of research and publication about such an important and talented composer that the majority of the interesting papers in this volume have been written by scholars specializing in Panufnik's contemporaries: Witold Lutoslawski (Charles Bodman Rae's "The Role of the Major-Minor Chord in Panufnik's Compositional Technique," and Zbigniew Skowron's "Andrzej Panufnik's Artistic Attitude and His Aesthetics"); Krzysztof Penderecki (Ray Robinson's detailed history of Panufnik's reception in the United States); and Igor Stravinsky (Alicja Jarzebska's analysis of rhythmic patterns in "Panufnik's Musica Mensuralis: The Problem of Isorhythmic and Metrical Organization of Musical Time").