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2020, Ritam u teoriji, pp. 88-104
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Ritmička organizacija muzičkog diskursa sa stanovišta Ojlerove nedovršene teorije
Rhythmic organization of musical discourse from the point of view of Euler's unfinished theory
Keywords: ritam; Leonard Ojler; ritmičke konsonance; metar; Harald Krebs
Ključne reči: rhythm; Leonhard Euler; rhythmic consonances; meter; Harald Krebs
Abstract
Polaznu tačku u ovom radu predstavljaju fenomeni ritma i metra u muzici. S obzirom na činjenicu da je ritam jedan od osnovnih elemenata muzičkog diskursa, kao teoretska baza su poslužile, relativno slabo poznate, muzičko-teorijske formulacije o ritmu matematičara Leonarda Ojlera iz 18. veka. Iz Ojlerovih napisa se otkriva da je svojom teorijom konsonance nameravao da objasni i interakciju ritmova u muzici, te je predložio da se iznesene formulacije mogu primeniti i na ritmička trajanja. U ovom radu je ukratko predstavljena njegova teorija ritma, koja je ostala nedovršena. Uprkos tome što je pomenuta teorija nastala još u 18. veku, ovde je cilj ispitati njenu analitičku primenu i na muziku kasnijeg vremena (19. veka prvenstveno). Takođe, ispitana je mogućnost kombinovanja ove teorije ritma sa teorijom metra Haralda Krebsa iz 20. veka. Razmatranje muzičkog diskursa sa ovog stanovišta, doprinosi boljem razumevanju njegove ritmičke i metričke organizacije, kao i mogućnost primene Ojlerove i Krebsove teorije, i proširivanja njihovog delovanja u analitičkoj praksi.
Sažetak
The starting point in this paper are the phenomena of rhythm and meter in music. Due to the fact that rhythm is one of the basic elements of musical discourse, the relatively little-known, music-theoretical formulations about rhythm of the mathematician Leonhard Euler (1707-1783) from the 18th century served as a theoretical basis. Euler's writings reveal that with his theory of consonance he intended to explain the interaction of different rhythms in music, as well as interaction of pitches, and thus suggests that everything he has written about consonances should also be applied to duration. This paper encompasses a sketched theory of rhythm, which Euler proposed, but never completed. In spite of the fact that the mentioned theory originated from the 18th century, the aim here is to examine its analytical application to the music of the later periods (19th century primarily). Also, the possibility of combining this theory of rhythm with the theory of meter of Harald Krebs was examined.&.
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References
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Article uploaded retrospectively: references checking, normalizing and linking in progress. |
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