The terminology of musical rhythmics and its etymology in the performer's logical cognition

Abstract

The article explores the terminological aspect of musical rhythm and the necessity of integrating terminology into the performance process in musicians' cognitive framework. The constructive logic of each term is based on its etymological significance within contemporary musical lexicon. However, the issue of forming a precise understanding of specialized terms in rhythm theory remains relevant in domestic music pedagogy. The article examines the term “notes inégales” from the French school of rhythm of the Baroque era (17th–18th centuries), which translates as “unequal notes”. This term defines the temporal interval between a pair of identical notes of equal duration. It characterizes a rhythmic technique that is entirely dependent on the performer's psychological perception and the stylistic characteristics of the musical composition. A comparison of two musicians' performances of François Couperin's “Les Moissonneurs” (The Reapers) ‒ namely, R. Siegel (harpsichord) and Y. Medyannik (accordion) ‒ clearly illustrates the use of notes inégales in Siegel's rendition and its absence in Medyannik's interpretation. Drawing on the research of D. Fuller, the article analyzes the terms “conjunct” and “disjunct” rhythmic motion in the melodies of works by F. Couperin and M. Montéclair, providing examples of their notation. The study establishes that the notes inégales technique is typically employed in cases of conjunct melodic motion, while its application is limited in disjunct motion. An analogy is drawn between notes inégales and the concept of “swing notes” in jazz rhythm, which allows for the modeling of rhythmic phrasing in swing. This principle encompasses all gradations of movement of the second note in a pair of identical durations. The study identifies a correlation between the notation of notes inégales and its practical meaning in jazz rhythm. The article presents examples of swing rhythm patterns commonly used in orchestral scores, illustrating their role as an expressive rhythmic device in instructional and methodological literature. Exploring the etymology of terms through the example of notes inégales from the French Baroque school gives rise to a new scholarly hypothesis in jazz historiography, emphasizing the decisive influence of French culture on the rhythmic and intonational aspects of the musical environment in New Orleans. The terminological system serves as a consolidating factor that addresses a range of methodological and practical challenges.