Current definitions for rhythmic and metrical terminology generally focus around the movement of pitch. In the world of non-pitched percussion music, these definitions become impractical due to the lack of that one key element, pitch. This study will present clear definitions for terms related to the theories of rhythm and meter as they combine to create phrase rhythm which is not centered on pitch. The terms to be defined include phenomenal, structural, and metrical accents, metrical hierarchy, phrase expansion, metrical consonance and dissonance, hypermeter, asymmetrical meter, metric modulation, and durational rhythm. Past and present scholarship will be used for generating these definitions, while some of the terminology will be taken directly from these sources.
Examples from non-pitched percussion repertoire will be used throughout this study to show how these rhythmic and metrical terms may be implemented into the private studio and rehearsal hall. Finally, this study will conclude with a pedagogical application onto all four movements of William Kraft's \"French Suite.\"
","abstract_html":"<p>Current definitions for rhythmic and metrical terminology generally focus around the movement of pitch. In the world of non-pitched percussion music, these definitions become impractical due to the lack of that one key element, pitch. This study will present clear definitions for terms related to the theories of rhythm and meter as they combine to create phrase rhythm which is not centered on pitch. The terms to be defined include phenomenal, structural, and metrical accents, metrical hierarchy, phrase expansion, metrical consonance and dissonance, hypermeter, asymmetrical meter, metric modulation, and durational rhythm. Past and present scholarship will be used for generating these definitions, while some of the terminology will be taken directly from these sources.</p> <p>Examples from non-pitched percussion repertoire will be used throughout this study to show how these rhythmic and metrical terms may be implemented into the private studio and rehearsal hall. Finally, this study will conclude with a pedagogical application onto all four movements of William Kraft's "French Suite."</p>","abstract_has_math":false,"creators":["Davis, Christopher Allan"],"institution":null,"degree_name":"D.M.A.","degree_level":"Campus Access Thesis","degree_discipline":"School of Music","degree_department":null,"school":null,"contributors":["Daniel Jenkins"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-01-01T08:00:00Z","date_published":"2011-01-01T08:00:00Z","updated_at":"2026-07-24T04:37:49Z","subjects":["Arts and Humanities","Music","Music Performance","Accent","Meter","Percussion","Phrase","Rhythm","Theory"],"languages":[],"rights":["© 2011, Christopher Allan Davis"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholarcommons.sc.edu/etd/1639","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Daniel Jenkins"]},{"key":"dc:creator","label":"Author","values":["Davis, Christopher Allan"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["School of Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Campus Access Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Arts and Humanities","Music","Music Performance","Accent","Meter","Percussion","Phrase","Rhythm","Theory"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["© 2011, Christopher Allan Davis"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholarcommons.sc.edu/etd/1639"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Current definitions for rhythmic and metrical terminology generally focus around the movement of pitch. In the world of non-pitched percussion music, these definitions become impractical due to the lack of that one key element, pitch. This study will present clear definitions for terms related to the theories of rhythm and meter as they combine to create phrase rhythm which is not centered on pitch. The terms to be defined include phenomenal, structural, and metrical accents, metrical hierarchy, phrase expansion, metrical consonance and dissonance, hypermeter, asymmetrical meter, metric modulation, and durational rhythm. Past and present scholarship will be used for generating these definitions, while some of the terminology will be taken directly from these sources.
Examples from non-pitched percussion repertoire will be used throughout this study to show how these rhythmic and metrical terms may be implemented into the private studio and rehearsal hall. Finally, this study will conclude with a pedagogical application onto all four movements of William Kraft's \"French Suite.\"
"]},{"key":"dc:title","label":"Title","values":["Theories of Rhythm and Meter and Their Pedagogical Implications For Non-Pitched Percussion Music With An Analysis of William Kraft's French Suite"]}]}],"canonical_facts":{"dc:contributor":["Daniel Jenkins"],"dc:creator":["Davis, Christopher Allan"],"dc:description.abstract":["Current definitions for rhythmic and metrical terminology generally focus around the movement of pitch. In the world of non-pitched percussion music, these definitions become impractical due to the lack of that one key element, pitch. This study will present clear definitions for terms related to the theories of rhythm and meter as they combine to create phrase rhythm which is not centered on pitch. The terms to be defined include phenomenal, structural, and metrical accents, metrical hierarchy, phrase expansion, metrical consonance and dissonance, hypermeter, asymmetrical meter, metric modulation, and durational rhythm. Past and present scholarship will be used for generating these definitions, while some of the terminology will be taken directly from these sources.
Examples from non-pitched percussion repertoire will be used throughout this study to show how these rhythmic and metrical terms may be implemented into the private studio and rehearsal hall. Finally, this study will conclude with a pedagogical application onto all four movements of William Kraft's \"French Suite.\"
"],"dc:identifier":["https://scholarcommons.sc.edu/etd/1639"],"dc:rights":["© 2011, Christopher Allan Davis"],"dc:subject":["Arts and Humanities","Music","Music Performance","Accent","Meter","Percussion","Phrase","Rhythm","Theory"],"dc:title":["Theories of Rhythm and Meter and Their Pedagogical Implications For Non-Pitched Percussion Music With An Analysis of William Kraft's French Suite"],"thesis:degree_discipline":["School of Music"],"thesis:degree_level":["Campus Access Thesis"],"thesis:degree_name":["D.M.A."]},"updated_at":"2026-07-24T04:37:49Z"}