Rhythm: definitions and examples of rhythm

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noun Movement or variation characterized by the regular recurrence or alternation of different quantities or conditions: the rhythm of the tides.
noun The patterned, recurring alternations of contrasting elements of sound or speech.
noun Music The pattern of musical movement through time.

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Century Dictionary (40)

Movement in time, characterized by equality of measures and by alternation of tension (stress) and relaxation. The word rhythm (ῤυθμός) means ‘flow,’ and, by development from this sense, ‘uniform movement, perceptible as such, and accordingly divisible into measures, the measures marked by the recurrence of stress.’ Examples of rhythm, in its stricter sense, in nature are respiration and the beating of the pulse, also the effect produced on the ear by the steady dripping of water. The three arts regulated by rhythm are music, metrics, and, according to the ancients, orchestic, or the art of rhythmical bodily movement. Rhythm in language is meter. The term was further extended to sculpture, etc. (compare def. 5), as when a writer speaks of “the rhythm of Myron's Discobolus.” We have here the three principal applications of rhythm, three principal domains in which rhythm manifests its nature and power—dancing, music, poetry. J. Hadley, Essays, p. 81.
In music: That characteristic of all composition which depends on the regular succession of relatively heavy and light accents, beats, or pulses; accentual structure in the abstract. Strictly speaking, the organic partition of a piece into equal measures, and also the distribution of long and short tones within measures, in addition to the formation of larger divisions, like phrases, sections, etc., are matters of meter, because they have to do primarily with time-values; while everything that concerns accent and accentual groups is more fitly arranged under rhythm. But this distinction is often ignored or denied, meter and rhythm being used either indiscriminately, or even in exactly the reverse sense to the above. (See meter.) In any case, in musical analysis, rhythm and meter are coördinate with melody and harmony in the abstract sense.
A particular accentual pattern typical of all the measures of a given piece or movement. Such patterns or rhythms are made up of accents, beats, or pulses of equal duration, but of different dynamic importance. A rhythm of two beats to the measure is often called a two-part rhythm; one of three beats, a three-part rhythm, etc. Almost all rhythms may be reduced to two principal kinds: duple or two-part, consisting of a heavy accent or beat and a light one (often called march rhythm or common time); and triple or three-part, consisting of a heavy accent or beat and two light ones (waltz rhythm). The accent or beat with which a rhythm begins is called the primary accent. Its place is marked in written music by a bar, and in conducting by a down-beat. Each part of a rhythm may be made compound by subdivision into two or three secondary parts, which form duple or triple groups within themselves. Thus, if each part of a duple rhythm is replaced by duple secondary groups, a four-part or quadruple rhythm is produced, or if by triple secondary groups, a six-part or sextuple rhythm (first variety). By a similar process of replacement, from a triple rhythm may be derived a six-part or sextuple rhythm (second variety) and a nine-part or nonuple rhythm; and from a quadruple rhythm, an eight-part or octuple rhythm and a twelve-part or dodecuple rhythm. The constituent groups of compound rhythms always retain the relative importance of the simple part from which they are derived. The above eight rhythms are all that are ordinarily used, though quintuple, septuple, decuple, and other rhythms occasionally appear, usually in isolated groups of tones. (See quintuplet, septuplet, decimole, etc.) In ancient music a measure did not necessarily begin with a beat, and the rhythms were the same as those indicated in metrics below (3 ). While all music is constructed on these patterns, the pattern is not always shown in the tones or chords as sounded. The time-value of one or more parts may be supplied by a silence or rest. A single tone or chord may be made to include two or more parts, especially in compound rhythms; and thus every possible combination of long and short tones occurs within each rhythm. When a weak accent is thus made to coalesce with a following heavier one, especially if the latter is a primary accent, the rhythm is syncopated. (See syncopation.) The regularity of a rhythm is maintained by counting or beating time—that is, marking each part by a word or motion, with a suitable difference of emphasis between the heavy and the light accents. In written music the rhythm of a piece or movement is indicated at the outset by the rhythmical signature (which see, under rhythmical). The speed of a rhythm in a given case—that is, the time-value assigned to each measure and part—is called its tempo (which see). Rhythm and tempo are wholly independent in the abstract, but the tempo of a given piece is approximately fixed. Although regularity and definiteness of rhythm are characteristic of all music, various influences tend to modify and obliterate its form. The metrical patterns of successive measures often differ widely from the typical rhythmic pattern and from each other. Except in very rudimentary music, purely rhythmic accents are constantly superseded by accents belonging to figures and phrases—that is, to units of higher degree than measures. Indeed, in advancing from rudimentary to highly artistic music, rhythmic patterns become less and less apparent, though furnishing everywhere a firm and continuous accentual groundwork. Rhythm is often loosely called time. Also called proportion.

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In some we hear the distant flourish of trumpets, like fading memories of glories past, in some of them, the rhythm is as floating, as undetermined, as shadowy, as the feeling with which two young lovers gaze upon the first star of evening, as yet alone in the dim skies. — Life of Chopin
This rhythm is played at the closing of the bembe. — Bagua Osi
Apart from that, it's hands off, mostly, and most of what you perceive as the rhythm are the little things that Mickey's doing, which is like a net of teeny-weeny rhythm instruments that occur once every four bars, some of 'em. — The WELL: Foolish Heart
The technique of dub - wherein the rhythm is remixed to jump up from the record while the other instruments and voices are woven in and out of the mix at random - is common on this album, and the band shows an intelligent grasp of the form. — Zenyatta Mondatta
The shuffle rhythm is generally confined to earlier styles of jazz, up to and including swing ... " — The Annotated "Chinatown Shuffle"

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