KJCKorea
Journal Central

How to approach to the study of the rhythmic structure for twentieth -century music is not always straightforward. According to David Lewin, there are two common ways to perceive rhythmic structure. The first is a traditional one that our traditional explications would assert an innate two-ness or even four-ness to our reactions to musical rhythm. The second is that acculturation is strongly conditioned upon our perception of rhythmic structure. It means that we still adopt the traditional way of four-ness to the rhythm of the twentieth-century music, though that is quite different from the perspective of the transitional music. Since the music still uses the quarter-, the eighth-note for expressing the complicated rhythm, the process of acculturation should happen for better understanding that the piece expresses the rhythmic pattern. This analysis applies the theory of weighting function to show how one can perceive the rhythmic pattern in Schoenberg's <Op. 19 no. 2.> The frequency of rhythmic duration within the rhythmic figure evokes some sense of metric accent and measures the rhythmic peak. It shows how certain durational values are established and are changed in each of the three sections. The durational value is changed based on a different sonority such as major third chord and minor third chord in each section. It means that the changed durational value related to the sonority makes the different rhythmic pattern. This study provides an example of acculturation which helps to understand the rhythm and its pattern of the twentieth-century music. Also, this analysis suggests another possibility to appreciate the twentieth-century music.

rhythmic pattern, weighting function, rhythmic acculturation, Schoenberg Op. 19 no.2