Rhythmic language of epochs and the relative dissonance of its musical perception

Abstract

The article is devoted to the problem of methodological actualization of pedagogical approaches to the study of rhythm in musical art amid the radical transformation of cultural and stylistic contexts of the 21st century. The aim of the research is to identify the causes of the relative gap between traditional concepts of rhythm, established in 20th-century peda- gogical methods (Émile Jaques-Dalcroze, Carl Orff, Zoltán Kodály, Shinichi Suzuki, Edwin Gordon, Valery Brainin), and contemporary rhythm-intonation forms characteristic of current genres such as variety, jazz, electronic and hybrid music. The methodological basis of the work is an interdisciplinary approach that includes music-theoretical analysis, rhythmology, cognitive and neuropsychological theories of perception, as well as cultural and semiotic interpretation of rhythm. Both the historical-methodological aspects of the formation of canon- ical pedagogical systems and the limitations of their application in the context of the modern sound environment are considered. A comparison is made between traditional metrorhythmic structures of the historical period and the contextually colored rhythmic languages of con- temporary musical styles, in which rhythm loses its universalism and acquires functions of an expressive-psychological code. The scientific novelty of the research lies in identifying the phenomenon of “rhythmic relativism” – a shift in perception and analysis of rhythm caused by the mismatch of cultural codes and stylistic environments. For the first time, the concept of rhythm as a dynamic, multidimensional cultural-musical language integrating corporeal- ity, speech intonation, groove, micro-accentuation, and variable pulsation is proposed. The necessity of transitioning from universalized methodologies to a polyphonic model of rhythmic education that takes into account genre specificity and features of the media-urban context is argued. The study establishes that traditional pedagogical systems demonstrate method- ological inertia, manifested in the preservation of archaic metric schemes of the past and the lack of focus on mastering the rhythmic flexibility of modern styles. This approach limits the formation of the auditory outlook, suppresses improvisational thinking, and hinders full perception of rhythm as a living and organic element of the artistic structure. The conclusion is drawn on the need to rethink the paradigm of rhythm representation towards integrating his- torical heritage with current rhythm-intonation forms, which will allow the formation of a holistic system of musical perception capable of effectively functioning in a changing socio-cultural environment. The practical significance of the work is expressed in substantiating principles for designing modern methods of rhythmic education oriented toward current musical gen- res, expanding the analytical apparatus of music theory, and developing an interdisciplinary approach in music pedagogy.