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In this influential book on the subject of rhythm, the authors develop a theoretical framework based essentially on a Gestalt approach, viewing rhythmic experience in terms of pattern perception or groupings. Musical examples of increasing complexity are used to provide training in the analysis, performance, and writing of rhythm, with exercises for the student's own work."This is a path-breaking work, important alike to music students and teachers, but it will make profitable reading for performers, too."—New York Times Book Review"When at some future time theories of rhythm . . . are . . . as well understood, and as much discussed as theories of harmony and counterpoint . . . they will rest in no small measure on the foundations laid by Cooper and Meyer in this provocative dissertation on the rhythmic structure of music."—Notes". . . . a significant, courageous and, on the whole, successful attempt to deal with a very controversial and neglected subject. Certainly no one who takes the time to read it will emerge from the experience unchanged or unmoved."—Journal of Music TheoryThe late GROSVENOR W. COOPER, author of Learning to Listen, was professor of music at the University of California at Santa Cruz.
Why does such a scholarly book, intended for a whole semester of use, have to be in fall-apart paperback. Barely a few days into this book's life pages were falling out. I've had to re-glue several already, and I've had this book only since January this year. Open the book normally a few times and at least one page has come unglued. I'm going to have to see a book binder about a way to save this book.I realize this review about the physical book, if review is what we shall call it, isn't helpful, since readers of a review want to know if a book is worth purchasing, so I should say something about its contents. The authors' use of the rhythms of prosody is extremely helpful to someone looking for solid reasons for the phrasing of a passage and to understand the inter-relations of phrases and therefore the structure of a long stretch of music, even a whole piece of music, through the architectonic analysis techniques furnished by the authors. Understanding rhythmic structure as taught in this book, a musician can reliably produce a musical performance that can affect an audience the way it should. I regard this book' insights as indispensable for the music I play.With just about any other book that fell apart like this one has been doing, I wouldn't bother struggling to keep it together. With this one, every page is precious, and the effort to keep it together is worth it.