Rythm
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Abstract
From the editors. The article by L. Sabaneev [2] reveals the scientist’s multidimensional position of the scholar in relation to rhythm as a universal phenomenon. According to the author, the purpose of reflection is “to develop the concept of “artistic” Rhythm... to indicate the content of the term, based on the facts of aesthetic empirics.” At the same time, rhythm is differentiated in the narrow (“pattern of sound sequences of different durations,” metric) and broad (“temporal ordering” of phenomena, including the symmetry of parts of the whole, “structure ... of musical forms”) meanings, and it is introduced the concept of rhythm form.
Basing on such concepts as “aesthetic facts of higher and lower order”, “aesthetic potential”, Sabaneev explores the rhythm aesthetic nature, “aesthetic sensations”, considers the rhythm phenomenon through the prism of the psychology of aesthetic perception and intuition. Issues of a cognitive nature are touched upon, including those that relate to “the problem of memory when perceiving artistic analogues or contrasts depending on the time distance... at different levels of the expressive means system.” Parallels with biological, psycho-physiological phenomena make the researcher’s reflections on the nature and spheres of manifestation of rhythm more visual. Noteworthy is Sabaneev’s conclusion about the relationship between form and content in a work of art, where “form is nothing more than the embodiment of the idea of Rhythm,” while “content is its aesthetic potential.”
Many observations and conclusions systematized in this study were continued in Russian music theory in subsequent decades.
The published text retains the stylistic features of the original one, but spelling and punctuation are given in accordance with the modern Russian language rules. In this case, copyright marks are taken into account.
Keywords: rhythm, meter, rhythm of form, contrast, analogue, aesthetic sensation, aesthetic
potential, temporal, spatial arts.
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