Meter, Rhythm, and Hierarchy

A Conceptual Analysis of Rhythmic Aspects

Abstract

If in the 18th century rhythmic theory was widely discussed by theorists and aestheticians, the 20th century revived this interest in shedding light on the rhythmic parameter, often neglected in the interim period. Both past and contemporary discussions seek to clarify the concepts and complex sonic interactions that constitute the musical aspect of rhythm. This article, aims to conduct a literature review and map the theoretical line leading to a more objective and clear understanding of the fundamental parameters defining the nature of rhythm, investigating its relationship with meter, hypermeter, and sonic phenomena. To this end, we will adopt the theoretical-analytical model proposed by Danuta Mirka, which reconstructs the genealogy of 18th-century rhythmic theories and incorporates contributions from contemporary musicologists. The issue will be addressed through a specific case study of José Maurício Nunes Garcia, establishing a connection between different theories to elucidate the fundamental principles governing the conceptualization of rhythm. A central point that permeates the entire theoretical trajectory is the idea of hierarchy as an organizer of the aesthetic and cognitive process. Thus, this article demonstrates this process as a crucial element for understanding rhythm and its relationship with the metric dimension.