About "Complex" Rhythmics and Teaching Methods

Abstract

This article is a theoretical bibliographical research about rhythmic and its teaching methods, carried out by means of a survey of definitions and concepts related to rhythm and to the chosen rhythmic cut; and analysis of methods used by state universities in São Paulo, in the disciplines of musical perception and rhythmic, when it exists in the grid, being: Theoretical-Practical Guide to Teaching Musical Dictation Parts I and II by Pozzoli; Rhythmic by José Eduardo Gramani; Manual of Rhythm by Abelardo Mato Alonso; Rhythm by Bohumil Med; and Paul Hindemith's Elementary Training for Musicians; as well as their respective guiding principles for the elaboration of the proposed exercises as well as their approaches to subdivision and manipulation of musical time. In this way, it is sought to understand how such methods and, consequently, higher education of music in the state of São Paulo, deal with questions regarding possible asymmetries occurring both in the macrostructure of the measure, expressed by the time signature, and in its microstructure, understood by the accentuation and subdivision of time. It is often observed in music students difficult to carry out such asymmetries, and so it is important to first understand the way in which rhythmic exercises are designed in order to point out alternatives to solve these difficulties in the future.