〖Anne Carothers Hall - Studying Rhythm〗（学习节奏）

〖Anne Carothers Hall - Studying Rhythm〗
　　This book contains extended rhythmic studies and preparatory exercises. They are intended to help students learn to perform the rhythmic patterns most frequently encountered in Western art music. Familiarity with rhythmic patterns, along with a habit of understanding rhythm in phrase-length structures, should facilitate actual musical performance, in which we must be concerned with all the parameters of music. The modest aim of this book explains why there are no studies involving pitch and only a few with dynamic indications.
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〖Anne Carothers Hall - Studying Rhythm〗（节奏的学习）
　　The exercises and studies are meant to be sung; where there is a second part, it may be tapped or clapped. Singing is best because, unlike speaking, it promotes the conviction that we are engaged in a musical activity, and, unlike clapping, it allows us to give the notes their full durations, rather than to perform only the pattern of attacks.
　　The exercises, identified by numbers following the chapter number (1.1, 3.2), serve as preparation for the studies that follow them. They consist of single measures, or pairs of measures, separated by whole-measure rests. Metronome markings for an exercise suggest a range of tempi possible for the performance of all its segments, but individual segments may be performed fasten Each segment of an exercise should be repeated several times, until it is easy, before we proceed to the next segment. The ability to repeat a pattern is evidence that we can perform it; unless we can perform a pattern three or four times in succession, we have not conquered it. Spending enough time on a segment to memorize it is a good way to ensure that the rhythmic pattern has been completely grasped. These patterns are the equivalent of words in a rhythmic vocabulary, and we should be able to perform them without thinking about the individual values, just as we can read a word we know and not have to think how its combination of letters is pronounced. The exercises do not necessarily offer complete preparation for the following studies; rather, they serve as models. Where individual patterns in the studies seem difficult, they should be extracted and practiced.
　　The studies are identified by letters following the chapter number (LA, 3.B). They are composed of well-defined phrases grouped in simple musical forms: statement, contrast, and return, or statement and variations. Just as a verbal phrase is a group of words that belong together because they make sense as a. unit within a larger structure, a musical phrase is a group of notes that belong together because they make musical sense as a unit within a larger structure. The most practical definition of a musical phrase is "a group of notes that we would want to sing on one breath." In fact, that is the way a phrase should be sung-on one breath, with the beginning and end usually defined by silence. For the most part the phrases are not marked, but are visible because they are separated by rests. 　
　　Occasionally, however, only a comma indicates where the performer must sneak a breath without significantly delaying the beat. Where rests within phrases make the phrasing ambiguous, phrase marks are used.
　　In performing the studies, the goal must always be to grasp the rhythm of the phrase as a whole, Reading music note-by-note is as useless as reading prose letter-by-letter. Reading a beat at a time is like reading a word at a time, and the lack of comprehension will be audible whether the performer is reading music or poetry. A musical phrase, a musical gesture, must be comprehended as a whole. To break a phrase, by hesitating or by repeating a fragment, is to destroy it. We must arrive at cadence …………..
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〖Anne Carothers Hall - Studying Rhythm〗（节奏的学习）