rhythm 
see rhenml. The word rhythm, variously spell- 
ed, was formerly much confused with rime, 
which thus came to be spelled rhyme: see 
riiiii'l.] 1. Movement in time, characterized 
by equality of measures and by alteruatiou of 
tension (stress) and relaxation.' The word rhythm 
(pvffubs) means 'flow,' and, by development from this sense, 
' uniform movement, perceptible as such, and accordingly 
divisible into measures, the measures marked by the re- 
currence of stress.' Examples of rhythm, in its stricter 
sense, in nature are respiration and the beating of the 
pulse, also the effect produced on the ear by the steady 
dripping of water. The three arts regulated by rhythm 
are music, metrics, and, according to the ancients, orches- 
tic, or the art of rhythmical bodily movement. Rhythm 
in language is meter. The term was further extended to 
sculpture, etc. (compare def. 5), as when a writer speaks 
of " the rhythm of Myron's Discobolus." 
We have here the three principal applications of rhythm, 
three principal domains in which rhythm manifests its na- 
ture and power dancing, music, poetry. 
J. Iladley, Essays, p. 81. 
2. In music: (a) That characteristic of all com- 
position which depends on the regular succes- 
sion of relatively heavy and light accents, beats, 
or pulses ; accentual structure in the abstract. 
Strictly speaking, the organic partition of a piece into 
equal measures, and also the distribution of long and short 
tones within measures, in addition to the formation of 
larger divisions, like phrases, sections, etc., are matters of 
meter, because they have to do primarily with time-values ; 
while everything that concerns accent and accentual 
groups is more fitly arranged under rhythm. But this dis- 
tinction is often ignored or denied, meter and rhythm 
being used either indiscriminately, or even in exactly 
the reverse sense to the above. (.See meter-.) In any 
case, in musical analysis, rhythm and meter are coordi- 
nate with melody and harmony in the abstract sense. 
(6) A particular accentual pattern typical of 
all the measures of a given piece or movement. 
Such patterns or rhythms are made up of accents, beats, or 
pulses of equal duration, but of different dynamic impor- 
tance. A rhythm of two beats to the measure is often 
called a two-part rhythm; one of three beats, a threo 
part rhythm, etc. Almost all rhythms may bo reduced to 
two principal kinds: duple or two-part, consisting of a 
heavy accent or beat and a light one (often called march 
rhythm or common time); and triple or three-part, consist- 
ing of a heavy accent or beat and two light ones (toaltz 
rhythm). The accent or beat with which a rhythm begins 
is called the primary accent. Its place is marked in writ- 
ten music by a bar, and in conducting by a down-beat. 
Each part of a rhythm may be made compound by subdi 
vision into two or three secondary parts, which form duple 
or triple groups within themselves. Thus, if each part of 
a duple rhythm is replaced by duple secondary groups, a 
four-part or quadruple rhythm is produced, or if by triple 
secondary groups, a six-part or sextuple rhythm (first va- 
riety). By a similar process of replacement, from a triple 
rhythm may be derived a six-part or sextuple rhythm 
(second variety) and a nine-part or nonuple rhythm ; and 
from a quadruple rhythm, an eight-part or octuple rhythm 
and a twelve-part or dodecuple rhythm. The constituent 
groups of compound rhythms always retain the relative 
importance of the simple part from which they are derived. 
The above eight rhythms are all that are ordinarily used, 
though quintuple, septuple, decuple, and other rhythms 
occasionally appear, usually in isolated groups of tones. 
(See quintuplet, eeptuplet, dtcimole, etc.) In ancient music 
a measure did not necessarily begin with a beat, and the 
rhythms were the same as those indicated in metrics be- 
low (3 (&)). While all music is constructed on these' pat- 
terns, the pattern is not always shown in the tones or 
chords as sounded. The time-value of one or more parts 
may be supplied by a silence or rest. A single tone or 
chord may be made to include two or more parts, espe- 
cially in compound rhythms; and thus every possible 
combination of long and short tones occurs within each 
rhythm. When a weak accent is thus made to coalesce 
with a following heavier one, especially if the latter is a 
primary accent, the rhythm is syncopated. (See synco- 
pation.) The regularity of a rhythm is maintained by 
counting or beating time that is, marking each part by 
a word or motion, with a suitable difference of empha- 
sis between the heavy and the light accents. In written 
music the rhythm of a piece or movement is indicated at 
the outset by the rhythmical signature (which see, under 
rhythmical). The speed of a rhythm in a given case that 
is, the time-value assigned to each measure and part is 
called its tempo (which see). Rhythm and tempo are 
wholly independent in the abstract, but the tempo of a 
given piece is approximately fixed. Although regularity 
and deflniteness of rhythm are characteristic of all music, 
various influences tend to modify and obliterate its form. 
The metrical patterns of successive measures often differ 
widely from the typical rhythmic pattern and from each 
other. Except in very rudimentary music, purely rhyth- 
mic accents are constantly superseded by accents belong- 
ing to figures and plirases that is, to units of higher de- 
gree than measures. Indeed, in advancing from rudimen- 
tary to highly artistic music, rhythmic patterns become 
less and less apparent, though furnishing everywhere a 
firm and continuous accentual groundwork. Rhythm is 
often loosely called time. Also called proportion. 
3. In metrics: (a) Succession of times divisi- 
ble into measures with theses and arses; met- 
rical movement. Theoretically, all spoken language 
possesses rhythm, but the name is distinctively given to 
that which is not too complicated to be easily perceived 
as such. Rhythm, so limited, is indispensable in metrical 
composition, but is regarded as inappropriate in prose, 
except in elevated style and in oratory, and even in these 
oidy in the way of vague suggestion, unless in certain 
passages of special character. 
Jlhythm ... is of course governed by law, but it is a 
law which transcends in subtlety the conscious art of the 
metricist, and is only caught by the poet in his most in- 
spired moods. Encyc. Brit., XIX. i(ii 
5162 
(6) A particular kind or variety of metrical 
movement, expressed by a succession of a 
particular kind or variety of feet: as, iambic 
rhythm; dactylic rhythm. In ancient metrics, 
rhythm is isorrhythmic, direct, or dochmiac (see the phrases 
below), or belongs to a subdivision of these, (f) A 
measure or foot, (d) Verse, as opposed to 
prose. See rime^. 4. In />hyxiiv and phyxiol., 
succession of alternate and opposite or cor- 
relative states. 
The longer astronomic rhythm, known as the earth's an- 
nual revolution, causes corresponding rhythms in vegeta- 
ble and animal life : witness the blossoming and leafing 
of plants in the spring, the revival of insect activity at the 
same season, the periodic flights of migratory birds, the 
hybernating sleep of many vertebrates, and the thickened 
coats or the altered habits of others that do not hyber- 
nate. J. Fislce, Cosmic Philos., I. 307. 
5. In the graphic and plastic arts, a proper re- 
lation and interdependence of parts with ref- 
erence to each other and to an artistic whole. 
Ascending rhythm. See atcendiny. Descending 
or falling rhythm. See descending. Direct rhythm, 
in anc. metrics, rhythm in which the number of times 
or mono in the thesis of the foot differs from that in the 
arsis by one. Direct rhythm includes diplasic, hemiolic, 
and epitritic rhythm, these having a pedal ratio (propor- 
tion of morn in arsis and thesis) of 1 to 2, 2 to 3, and 3 to 
4 respectively : opposed to dochmiac rhythm. Dochmiac 
rhythm, in anc. metrics, rhythm in which the number of 
times in the arsis differs from that in the thesis by more 
than one. Dochmiac rhythm in this wider sense includes 
dochmiac rhythm in the narrower sense (that is, the 
rhythm of the dochmius, which has a pedal ratio of 3 to 
5), and triplasic rhythm, characterized by a pedal ratio of 
1 to 3. Double rhythm. Same as duple rhythm. See 
def. 2. Equal rhythm, isorrhythmic rhythm, in 
":'<. metrics, rhythm in which the number of times in the 
thesis and arsis is equal. Also called dactylic rhythm. 
Imperfect rhythm. Same as imperfect measure. See 
imperfect. Oblique rhythm. Sameaadochmiacrhythm. 
= Syn. 2. Melody, Harmony, etc. See euphony. 
rhythmert (riTH'- or rith'mer), n. [< rhythm + 
-eri.] A rimer; a poetaster. 
One now scarce counted for a rhythmer, formerly ad- 
mitted for a poet. Fuller. (Imp. Diet.) 
rhythmic (rith'mik), a. and n. [= F. rhyth mique 
= Pr. rithmic, rithimic = Sp. ntmico = Pg. rhyth- 
iiiico = It. ritmico, < ML. rhythmicus, rhythmic, 
in L. only as a noun, one versed in rhythm, < 
Gr. jnti/wiic, pertaining to rhythm (as n., i] jnfr 
pint/, sc. rcxvn), < pitifi6(, rhythm: see rhythm.] 
1. ft. Same as rhythmical. 
The working of the law whence springs 
The rhythmic harmony of things. 
Whittier, Questions of Life. 
Rhythmic chorea, that form of chorea in which the 
movements take place at definite intervals. 
II. H. Same as rhythmics. 
The student of ancient rhythmic is not oppressed by the 
extent of his authorities. J. Hadlty, Essays, p. 86. 
rhythmical (rith'mi-kal), . [< rhythmic + 
-al.] 1. Pertaining to rhythm in art, or to a 
succession of measures marked by regularly re- 
current accents, beats, or pulses; noting any 
succession so marked; hence, musical, metri- 
cal, or poetic: as, the rhythmical movement of 
marching or of a dance. 
Honest agitators have been moved, by passionate zeal 
for their several causes, to outbursts of rhythmical ex- 
pression. Stedman, Viet. Poets, p. 29. 
2. In physics and physiol., pertaining to or con- 
stituting a succession of alternate and opposite 
or correlative states. 
This rhythmical movement, impelling the filaments in 
an undeviating onward course, is greatly influenced by 
temperature and light. W. B. Carpenter, Micros., vi. 24. 
3. In med., periodical. 4. In the graphic and 
plastic arts, properly proportioned or balanced. 
Rhythmical signature, in musical notation, a sign 
placed at the beginning of a piece, after the key-signa- 
ture, to indicate its rhythm or time. (Also called time- 
signature.) It consists of two numerals placed one above 
the other on each staff, the upper numeral indicating 
the number of principal beats or pulses to the measure, 
and the lower the kind of note which in the given piece is 
assigned to each beat. (See rAj/tAm and notel.lS.) Thus, 
j indicates quadruple rhythm, four beats to the measure, 
each beat marked by a quarter-note, ,, or its equivalent. 
Difference of rhythm is unfortunately not always indi- 
cated by difference of rhythmic signature ; and difference 
of signature often means only an unessential difference of 
notes rather than of rhythm. Thus, duple rhythm may be 
marked either by ?, 3, J, \, or J ; triple rhythm, by ?, ?, 3, 
3, ,1 ; quadruple rhythm, by }, J. J, J ; sextuple rhythm 
(first variety), by S, s ; sextuple rhythm (second variety), 
by 3. 3, s : octuple rhythm, by ? J, J ; nonuple rhythm, 
by a, A ; dodecuple rhythm, by V'. " Most of the varieties 
of duple and quadruple signatures are often written simply 
O, common ; when duple rhythm is to be distinguished 
from quadruple, this sign is changed to (]', or the words 
alia breve are added. The rhythmical signature is not re- 
peated on successive braces. A decided change of rhythm 
is marked by a new signature ; but the isolated intrusion 
of a foreign rhythm, especially in a short melodic group, 
is usually marked by a curve and an inclosed numeral, as 
T, "T. See triplet, quartole, quintuplet, etc. 
rhythmicality (rith-mi-kari-ti). it. [< rhyth- 
mical + -ity.] Rhythmic property ; the fact or 
rhyton 
property of being regulated by or exemplifying 
rhythm. (1. >. Hominies, Jelly-fish, etc., p. 18(i. 
rhythmically (rith'mi-kal-i), adc. In a rhyth- 
mical manner ; with regularly recurrent accents 
of varying emphasis. 
rhythmics (rith'miks), n. [PI. of rhythmic (see 
-/<*).] The science of rhythm and of rhythmi- 
cal forms. 
rhythmingt (riTH'- or rith'ming), a. [Appar. < 
rhythm, used as a verb, + -iny't, but perhaps 
a mere variant spelling of rhyming, riming.] 
Riming. 
Witness that impudent lie of the rhythming monk. 
Fuller. (Imp. Diet.) 
rhythmist (rith'mist), n. [< rhythm + -int.] 
1. One who composes in rhythm; a rhythmi- 
cal composer. 
I have a right to reaffirm, and to show by many illus 
trations, that he [Swinburne] is the most sovereign of 
rhythmists. Stedman, Viet. Poets, p. 381. 
2. One versed in the theory of rhythm ; a writer 
on the science of rhythmics. 
rhythmize (rith'miz), r. [< rhythm + -ize.] 
I. trans. To subject to rhythm ; use in rhyth- 
mic composition : as, to rhythmize tones or 
words. 
II. iiitrans. To observe rhythm; compose in 
rhythm. Trans. Amer. Philol. Assoc., XVI. 100. 
rhythmizomenon (rith-mi-zom'e-non), H.; pi. 
rhytlimi^omeiiii (-na). [< Gr. pvdfiitfuevov, that 
which is rhythmically treated, prop, neut. of 
pass. part, of fnfiui&iv, arrange, order, scan : see 
rhythm.] In anc. rhythmics, the material of 
rhythm ; that which is rhythmically treated. 
Three rhythmizomena were recognized by ancient writers 
tones as the rhythmizomenon of music, words as that of 
poetry, and bodily movements and attitudes as that of or- 
chestic. 
rhythmless (riTHm'les), a. [< rhythm + -less.] 
Destitute of rhythm. Coleridge. (Imp. Diet.) 
rhythmometer (rith-mom'e-ter), n. [< Gr. 
pifiuoc, rhythm, + fierpov, measure.] A ma- 
chine for marking rhythm for music ; a metro- 
nome. Mind, XLI. 57. 
rhythmopoeia (rith-mo-pe'ya), n. [NL., < Gr. 
piflucnroiia, making of time or rhythm, < pitiuof, 
rhythm, 4- irotelv, make.] The act of compos- 
ing rhythmically ; the art of rhythmic composi- 
tion. 
The fixing of 2 to 1 as the precise numerical relation 
was probably the work of rhythmopoeia, or of rhythmopaeia 
and melopcEia together. J. Iladley, Essays, p. 234. 
rhythmus (rith'mus), n. [L.] S&rae&s rhythm. 
rhytidoma (ri-tid'o-ma), n. [NL., < Gr. pvri- 
iuua, the state of being wrinkled, < pvriSmiaBai, 
be wrinkled, < pvric, a wrinkle, < *piictv, ep'vetv, 
draw.] In hot., a formation of plates of cellular 
tissue within the liber or mesophloaum. 
Rhytina (ri-ti'na), . [NL. (Steller), < Gr. pv- 
ric, a wrinkle, -4- -ina 1 .] The typical and only 
genus of the family Rhytinidse, containing Stel- 
Skull of Stcller's Sea-cow ( Rhytina strlleri . 
ler's or the arctic sea-cow, R. stelleri or It. gigas, 
which has no teeth, but horny plates function- 
ing as such. The head is small ; the tail has lateral 
lobes ; the fore limbs are small ; the hide is very rugged ; 
the caecum is simple, and there are no pyloric caeca ; the 
cervical vertebrae are 7, the dorsal 19, the lumbar and cau- 
dal 84 to 87, w ithout any sacrum. See sea-cow. Also called 
Stellenw and Nepus. 
RhytinidaB (ri-tin'i-de), n. pi. [NL., < Sliytiiia 
+ -idee.] A family of sirenians, typified by 
Rhytina, having no teeth, manducation being 
effected by large horny plates ; the sea-cows. 
rhyton (ri'ton), n. ; pi. rhyta(-t&). [<Gr. pvr6i>, 
a drinking-cup, < pelv, 
flow: see rheuml.] In 
Gr. an tig., a type of 
drinking-vase, usually 
with one handle. In its 
usually curved form, point- 
ed below, it corresponds to 
the primitive cup of horn. 
The lower part of the rhy- 
ton is generally molded Rhyton. 
into the form of a head of a 
man or, more often, of an animal, and is often pierced with 
a small hole through which the beverage was allowed to 
flow into the mouth. 
