Document Type : Original Article
Author
University of Tehran
Abstract
Music, at the first level of analysis, consists of two components of temporal meter (temporality and timing) and the spatial component of sound (pitch levels). The dimension of time in music is one of its two main constitutive aspects, because without time no piece of music can be produced or understood. Today's capabilities can measure the temporal extensions used in music far more accurately than the human brain can perceive. With new information from physics, philosophy and psychology are related to sound and sound perception in the 20st and 21st centuries. Accurate and scientific approaches to the recognition of rhythm and meter have been developed. In this article, we first briefly present information on the perceptual limitations of the auditory and perceptual systems of the human brain in the field of sound and music. Listening and perception of music, though most of all depends on the sense of hearing, but a small amount of the process of sound perception depends on other senses and their health. Performing music involves more of the body's senses and muscular abilities. The limitations of the senses and the neuromotor abilities to respond to stimuli or to move a part of the body create a temporal impediment to music performance. Practical music performances have a much wider scope than merely listening to music. The next section is to provide comprehensive definitions and prevent some of the most fundamental and fundamental issues related to time in music. In the Definitions section, it has been attempted to provide definitions in accordance with the standard scientific method for the topics and, if necessary, to provide a better explanation, examples were mentioned. Although definitions are first introduced in this form, they are based on a wealth of learning and resources. When the difference between the categories became clear, we discussed the differences in meter types associated with an evolved graph compared to the previous one. In the following, the topic of free meter is explained and it is attempted to clarify the conceptual perceptual errors in this topic. Then, we will briefly discuss the similarities of the time themes used in music and language. At the end of the paper, two issues about the role of speed in the perception of meter types, and the quantification of extension values, are briefly discussed. The result is discussion of the differences in meter types in music.
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