Abstract
The problem of rhythmical asymmetry is a recurrent and topical question for ethnomusicologists. The asymmetrical rhythm of eastern European folk music has yet to be adequately investigated, although the principal tasks involved were pointed out by Benjamin Rajeczky in an article in 1978, in which he also gave a general outline of the research to date.x B. Rajeczky drew attention to a particular problem: the transition between fixed and free rhythm, that is between tempo giusto and tempo rubato. Folk performances employ an infinite variety of transitional stages between rigid rhythm and free rubato. There are examples of partly rubato performances in a basically giusto melody, while on the other hand a series of fixed elements can be discovered in the rhythm of parlando melodies. It is in this ambiguous sphere of performance that free rhythm often becomes fixed in asymmetrical forms. (E.g. where 3+4 the regularity of combined measures of can be observed in the 8
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