He took an interest in me, and it is to him that I to-day owe it that I am a veritable man of letters, who knows Latin from the de Officiis of Cicero to the mortuology of the Celestine Fathers, and a barbarian neither in scholastics, nor in politics, nor in
rhythmics, that sophism of sophisms.
Music appeared to Vostrak as the "unity and opposition" of three principles: statics, kinetics and
rhythmics. The musical structures in which the listener ceases to notice the division of rime were what Vostrak identified as statics, the notes changing pitch in a continuous row were what he characterised as kinetics, and where the sounds and tones are perceived in continuous order above all in relation to changing lengths (durations) he saw
rhythmics.
The
rhythmics of the nomadological war machine is therefore also, to wit, "not harmonic" (390), contra the myth of harmonious relations within conventional communities.
(67) Essentially, then, the temporal evolution of each action was assured by the internalization of the
rhythmics that composed, contained, and maintained it.
Yet, it is one of my personal favorites (I love the
rhythmics of that book and the overall mystical quality of it).
In this chapter, the metaphors become maritime, with Guzman described as a reptile: "However, this reptile is one of the amphibia and comes from the sea, as do the
rhythmics of the novel which, as far back as the Byzantine Greek story, acquires a frequency from the Mediterranean that it brings ashore, just as the sailor, merchant, or wayfarer carries with him to the land the peaks and depressions that his inner ear has conformed to in consonance with the waves" (72).
Robert Abramson, professor of
rhythmics at the Juilliard School, has long been internationally recognized as the preeminent authority on Dalcroze Eurhythmics, the century-old method of teaching music through movement.
While Talgung's eighty-six chapters, without obvious linkage to one another, each bearing its own
rhythmics, thematics, logic, and chronological order, could be mystifying to some, its complex structure, reminiscent of Arnold Schoenberg's atonal music with its twelve-tone "serial" technique, may be intriguing to others.
"Flanerie is the
rhythmics of this slumber," Benjamin concludes.
@56 Purely internal `reasons' determined this form which was not preceded by any mathematical research or explicable
rhythmics. The first of the poems thus written was properly `inspired'; some reflection and a certain practical experience provoked modifications giving the form finally adopted.
Aristoxenus may not have been right (the text as we have it was demonstrably worked over, in at least two places), and Pearson may not have been fight (there are several points on which I would strongly disagree with him), but the 'dactylo-epitrite' is clearly ruled out by the
Rhythmics as 'unrhythmical'; and if the doctrine be true after all, then much more than the 'dactylo-epitrite' must be abandoned.