A rhythmic gesture is a durational pattern which, in contrast to a rhythmic unit, does not occupy a period of time equivalent to a pulse or pulses on an underlying metric level. (DeLone et. al. (Eds.), 1975, chap. 3)
They may be described according to their beginnings and endings or as to the rhythmic units they contain. Beginnings on a strong pulse are thetic, a weak pulse, anacrustic, and those beginning after a rest or tied-over note are called initial rest. Endings on a strong pulse are strong, a weak pulse, weak, and those which end on a strong or weak upbeat are upbeat. (DeLone et. al. (Eds.), 1975, chap. 3)
References
DeLone et. al. (Eds.) (1975). Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0130493465.
By comparison, a lot of Western classical music is fairly rhythmically simple; it stays in a simple meter such as 4/4 or 3/4 and makes little use of syncopation.
At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity.
A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmicgesture which does not (DeLone et.
The rhythmic structure is based on a transformational polyrhythmic system modeling the timbral changes in the work, and a nested polyrhythmic set similar to that used in Taruyamaarutet..
To generate this second rhythmic system, spectral analysis and resynthesis of a tuba low F building from pianissimo to fortissimo, and a single anvil attack were used.
The penultimate rhythm is chaos, a wild rush of stochastically generated rhythmicpulses coinciding with the introduction of acoustical noise and the high string melody of the final section.
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