美国底特律论文怎么写:自由节奏的音乐
有许多不同形式的音乐在全球范围内,未使用任何东西,可以提供的描述音乐的米,或事实上任何其他形式对周期性的组织。这些形式对自由节奏可以被视为在全球的各个部分在一个虚拟的意义。关于这一点,人们已经发现,有生产列表对这种风格,其中包括70多的类型分布在所有的大洲,包括亚洲地区只有一半(Touma,2006)。有机会有很多不同形式的自由节奏,不能发现的描述在文学的评论。自由节奏的音乐形式出现在一个非常广泛的上下文,在宗教的仪式,在艺术的音乐,在一个广泛的世俗形式的“民间”。然而,艺术以及民间的音乐可以区分;有发生自由节奏在两个类别。
美国底特律论文怎么写:自由节奏的音乐
自由节奏的背诵对宗教的文本是一个功能,可以找到共同的传统神道教,佛教,印度教,伊斯兰教,犹太教,基督教,它也被发现在特定的萨满仪式在韩国等。内的音乐艺术,需要考虑两种形式的器乐和声乐文化内对阿拉伯人,阿拉伯世界受到从巴尔干以及非洲的北部地区的土耳其和中东亚洲的中部地区。有一个存在许多不同的品种不仅对功能和上下文相关的类型自由节奏也在他们的形式和风格的节奏(威廉姆斯,2009)。范围可以从那些明显没有任何类型的脉冲,脉冲对那些有清晰但没有周期性对更高的水平。的极限密度对节奏和节拍被认为也可以被认为是被极其广泛,是利用节奏装饰和装饰音的显著特征。形式的自由节奏一直显示偏好向个人表现。
美国底特律论文怎么写:自由节奏的音乐
There had been a number of different forms of music across the globe that have not been using anything, the description of which can be provided as the metre of music, or in fact any other form with respect to organization of periodicity. These forms with respect to free rhythm can be considered within all parts of the globe in a virtual sense. With respect to this, it has been found that there has been a production of list with respect to this style that includes 70 numbers of genres that have been distributed across all of the continents that include only half region of Asia (Touma, 2006). There are chances that there are a number of different forms of free rhythm, the description of which cannot be found within the review of literature. The musical forms of free rhythm are present within an extremely wide range of contexts, within the ritual of religion, within the music of art, and within a wide range of secular forms of ‘folk’. However, the music of art as well as folk can be distinguished; there is occurrence of free rhythm within both the categories.
美国底特律论文怎么写:自由节奏的音乐
The recitation of free rhythm with respect to the texts of religion is a feature that can be found to be mutual towards the traditions of Shinto, Buddhist, Hindu, Islamic, Jewish, and Christian, and it has also been found within certain ceremonies of Shaman such as in the case of Korea. Within the music of art, there is a need for the consideration of both forms that are instrumental as well as vocal right within the culture of Arab, world influenced by Arab from the Balkans as well as the Northern region of Africa by the Turkey and Middle East into the Central region of Asia. There is an existence of a number of different varieties not only with respect to function and context of the genres related to free rhythm but also within their form and style of rhythm (Williams, 2009). The range can be seen from the ones that are apparent in the absence of pulse of any type, towards those with clarity in pulse but no periodicity with respect to higher level. The limit of density with respect to rhythm and the tempo being perceived can also be considered as being extremely wide, as is the utilization of significant features of rhythm like ornamentation and melisma. The forms of free rhythm have been showing a preference towards the individual performance.
