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The metric structure of music includes meter, tempo and all other rhythmic aspects
that produce temporal regularity against which the foreground details or durational
patterns of the music are projected (Winold 1975, 209-10). The terminology of
western music is notoriously imprecise in this area (Scholes 1977b). MacPherson
1930, 3 preferred to speak of "time" and "rhythmic shape", Imogen Holst (Holst
1963, 17) of "measured rhythm".
Finally some music, such as some graphically scored works since the 1950s and non-
European music such as Honkyoku repertoire for shakuhachi, may be considered
ametric (Karpinski 2000, 19). Senza misura is an Italian musical term for "without
meter", meaning to play without a beat, using time to measure how long it will take
to play the bar (Forney and Machlis 2007[page needed]).
Composite rhythm
Bach's Sinfonia in F minor BWV 795, mm. 1�3 About this soundPlay original
(help�info) About this soundPlay with composite (help�info).
A composite rhythm is the durations and patterns (rhythm) produced by amalgamating
all sounding parts of a musical texture. In music of the common practice period,
the composite rhythm usually confirms the meter, often in metric or even-note
patterns identical to the pulse on a specific metric level. White defines composite
rhythm as, "the resultant overall rhythmic articulation among all the voices of a
contrapuntal texture" (White 1976, 136.). This concept was concurrently defined as
�attack point rhythm� by Maury Yeston in 1976 as �the extreme rhythmic foreground
of a composition � the absolute surface of articulated movement� (Yeston 1976,
41�42).
Rhythm notation
Worldwide there are many different approaches to passing on rhythmic phrases and
patterns from generation to generation, as th