La fenomenologia del ritmo nella musica audiotattile: il tempo doppio”

Starting from the methodological statements and conceptual infrastructures elaborated in his seminal book La definizione dello swing (The definition of swing), the author introduces the fundamental concepts of his theory of rhythm as it is referred to types of music such as jazz and rock, which are based on the creative energy inherent in the Audiotactile Principle. While when studying swing the author had thoroughly examined micro-rhythmic dimension, it is the macro-structural dimension of rhythm to be propaedeutically investigated here. The original concepts of “pulsive field,” “tonic-metric,” “metric attraction,” “aesthesic and “poietic notation” are thus introduced within a vision aiming at harmonizing the most advanced stratificational and potential-projective notions concerning contemporary theories on meter and rhythm with the personal “theory of groovemes” in order to overcome the deadlocks of western music theory, which is unsuited to grasp the special energy of audio-tactile music. In the second part of this study, an application of these concepts to the investigation of the phenomena of Double Time and Half Time in jazz is proposed. On developing the implications of the concept of harmonic rhythm in light of his theory, the author manages to create a generative model that includes no less than eight types of time relationships deriving from the concepts of Double Time and Half Time, except for common metric modulations having an irrational relationship. Finally, from the theoretical model one manages to find and discuss practical examples in the history of jazz.