Abstract
This article is written by a composer on his own music. It describes a set of rhythmic organization principles used in my compositional research since 1989. These principles greately expand what is traditionally known as "modal rhythm" , which appears for the first time in the music of the 12th century polyphonists of the Notre Dame School: Leoninus and Perotinus. For this reason, I call this group of rhythmic principles "expanded modal rhythm" . They are a part of a larger context of temporal organization principles designed to generating ametric textures, complex polyrhythm and cross rhythms, and certain desired types or rhythmic flow. I use examples taken from four of my compositions.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
