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François-Joseph Fétis (1784â1871) wrote these words in an article that appeared in 1834 in the Revue musicale.1 Two years earlier, Fétis had speculated that someday, someone would do for rhythm what had been done for harmony and melody: ï¬nd the essential transitional element that would admit rhythmic modulations into music (Fétis 1832, 198, col. 1). Fétisâs concern with rhythm was not unique in the theoretical literature of the time. In 1837 Berlioz asserted that, of the elements of music, rhythm was the least developed (Berlioz 1837, 407, col. 2). He lamented that rhythm was âan element . . . with which composers concern themselves no more than do performers . . . ; its resources have been deemed rather limited and its forms felt not capable of much variation, lest one fall into barbarism and chaosâ (Berlioz [1837] 1969, 2:336).2 In 1852, after having, by his own account, thought about rhythm for more than twenty years, Fétis addressed the issue of rhythm in a series of nine articles.3 These articles, âDu développement futur de la musique: 261 Dans le domaine de rhythme,â were a résumé of his projected treatise concerning rhythm, Traité du rhythme et de la mélodie
Journal of Music Theory – Duke University Press
Published: Jan 1, 2000
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