Метроном — разлика између измена
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{{Short description|Уређај који производи звук у редовним интервалима}}{{rut}}
[[Датотека:Wittner metronome.jpg|Механички метроном|десно|220п|мини]]
[[Датотека:Seiko DM-20 20060910.jpg|Дигитални метроном|десно|220п|мини]]
'''Метроном''', from [[ancient Greek]] μέτρον (''métron'', "measure")<ref>{{Cite web|title=Greek Word Study Tool (lexicon entry in LSJ)|url=https://www.perseus.tufts.edu/hopper/morph?l=metron&la=greek#Perseus:text:1999.04.0057:entry=me/tron-contents|access-date=2022-02-25|website=www.perseus.tufts.edu}}</ref> and νομός (nomós, "custom", "melody")<ref>{{Cite web|title=Greek Word Study Tool (lexicon entry in LSJ)|url=https://www.perseus.tufts.edu/hopper/morph?l=nomo/s&la=greek&can=nomo/s0#lexicon|access-date=2022-02-25|website=www.perseus.tufts.edu}}</ref><ref>{{Cite web|title=Definition of METRONOME|url=https://www.merriam-webster.com/dictionary/metronome|access-date=2022-02-25|website=www.merriam-webster.com|language=en}}</ref> је уређај способан да производи кратке и јасне кликове у једнаким временским интервалима. Дужину временског интервала је могуће подешавати. Најчешће се користи за одређивање егзактног или држање константног [[темпо|темпа]] приликом увежбавања извођења неког [[композиција (музика)|музичког дела]]. Класичан метроном обично чине [[акустика|акустична]] дрвена кутија са металним [[клатно]]м, које осцилира око свог доњег краја, док се брзина осцилација одређује положајем тега који се на њему налази. Такође постоје и електронски метрономи, који звук производе преко уграђеног звучника, док се брзина откуцаја контролише помоћу уграђене електронике. Квалитетнији метрономи (класични или електронски) су у стању да производе и више врста кликова као и звук звонца, распоређене у произвољном реду, у циљу бољег означавања до ког дела [[такт (музика)|такта]] се стигло. На пример:
* 3/4: '''динг''', так, так, '''динг''', так, так, ...
* 6/8: '''динг''', так, так, '''тик''', так, так, '''динг''', так, так, '''тик''', так, так, ...
* 7/8: '''динг''', так, '''тик''', так, так, '''тик''', так, '''динг''', так, '''тик''', так, так, '''тик''', так, ...
A kind of metronome was among the inventions of [[Al-Andalus|Andalusian]] polymath [[Abbas ibn Firnas]] (810–887). In 1815, German inventor [[Johann Maelzel]] patented his mechanical, wind-up metronome as a tool for musicians, under the title "Instrument/Machine for the Improvement of all Musical Performance, called Metronome".<ref name=maelzel /> In the 20th century, electronic metronomes and software metronomes were invented.
Musicians practise with metronomes to improve their timing, especially the ability to stick to a regular [[tempo]]. Metronome practice helps internalize a clear sense of timing and tempo. [[Composers]] and conductors often use a metronome as a standard tempo reference—and may play, sing, or conduct to the metronome. The metronome is used by composers to derive beats per minute if they want to indicate that in a composition. Conductors use a metronome to note their preferred tempo in each section.
When interpreting emotion and other qualities in music, performers seldom play exactly on every beat; expressive, flexible [[rubato]] may be used at times. Typically, every beat of a musically expressive performance does not align exactly with each click of a metronome.<ref name="AndrewRobertsonTimingVariations">Andrew Robertson. [http://ismir2012.ismir.net/event/papers/475-ismir-2012.pdf "Decoding tempo and timing variations in music recordings from beat annotations"] {{webarchive|url=https://web.archive.org/web/20131019023545/http://ismir2012.ismir.net/event/papers/475-ismir-2012.pdf |date=2013-10-19 }}. Proceedings of the 13th International Society for Music Information Retrieval Conference (ISMIR 2012).</ref><ref>Vijay Iyar. [http://archive.cnmat.berkeley.edu/People/Vijay/06.%20Microtiming%20Studies.html Microtiming Studies] {{webarchive|url=https://web.archive.org/web/20121103122241/http://archive.cnmat.berkeley.edu/People/Vijay/06.%20Microtiming%20Studies.html |date=2012-11-03 }}(from thesis at Berkeley university).</ref><ref name=bonus>Alexander Bonus. [http://rave.ohiolink.edu/etdc/view?acc_num=case1270221548 "The Metronomic Performance Practice: A History of Rhythm, Metronomes, and the Mechanization of Musicality"]; PhD thesis, May 2010.</ref> This has led some musicians to criticize use of a metronome, because ''metronome time'' is different from ''musical time''.<ref>Jon Frederickson. [https://www.jstor.org/stable/836729 "Technology and Music Performance in the Age of Mechanical Reproduction"] {{webarchive|url=https://web.archive.org/web/20161117144412/http://www.jstor.org/stable/836729 |date=2016-11-17 }}, p. 210, section "The Metronome vs. Musical Time".</ref>
== Етимологија ==
Реч ''метроном'' се први пут појавила на енглеском 1815. године, и грчког је порекла, изведена од ''метрон'' — 'мера' и ''номос'' — 'регулишући, закон'. Патент који је Мејлзел регистровао у Лондону наводи инструмент као 'метроном или музички мерилац времена'.<ref>{{cite web | title=Oxford English Dictionary online | url=http://dictionary.oed.com | access-date=2009-01-16 | url-status=live | archive-url=https://web.archive.org/web/20060625103623/http://dictionary.oed.com/ | archive-date=2006-06-25 }}</ref><ref>cf. Patent N° 3966, dated December 5, 1815.https://beethovenautentico.com/brevetto-metronomo-maelzel/</ref>
== Историја ==
According to [[Lynn Townsend White Jr.]], Andalusian [[Inventions in the Islamic world|inventor]] Abbas Ibn Firnas made an attempt at creating a metronome.<ref name=White-100>[[Lynn Townsend White Jr.]] (Spring, 1961). "Eilmer of Malmesbury, an Eleventh Century Aviator: A Case Study of Technological Innovation, Its Context and Tradition", ''[[Technology and Culture]]'' '''2''' (2), p. 97–111 [100]: "Ibn Firnas was a polymath: a [[Islamic medicine|physician]], a rather bad [[Islamic poetry|poet]], the first to make [[glass]] from [[Rock (geology)|stones]] ([[quartz]]), a student of [[Islamic music|music]], and inventor of some sort of metronome."</ref>
[[Galileo Galilei]] first studied and discovered concepts involving the [[pendulum]] in the late 16th and early 17th centuries. In 1696, [[Etienne Loulié]] first successfully used an adjustable pendulum to make the first mechanical metronome—however, his design produced no sound, and did not have an [[escapement]] to keep the pendulum in motion.<ref name="franzmfg.com">{{cite web | url = http://www.franzmfg.com/history.htm | title = A Brief History of the Metronome | publisher = Franz Manufacturing Company, Inc. | access-date = 2010-04-02 | url-status = live | archive-url = https://web.archive.org/web/20100324143043/http://www.franzmfg.com/history.htm | archive-date = 2010-03-24 }}</ref> To get the correct pulse with this kind of visual device, the musician watches the pendulum as if watching a conductor's baton.
The more familiar mechanical musical chronometer was invented by [[Dietrich Nikolaus Winkel]] in [[Amsterdam]] in 1814. Through questionable practice,<ref>[https://books.google.com/books?id=HugqAAAAYAAJ&pg=PA17 The Metronome]; ''The Harmonicon'', Volume 8, 1830</ref> [[Johann Nepomuk Maelzel|Johann Maelzel]], incorporating Winkel's ideas, added a scale, called it a metronome and started manufacturing the metronome under his own name in 1816: "Maelzel's Metronome." The original text of Maelzel's patent in England (1815) can be downloaded.<ref name=maelzel>[https://books.google.com/books?id=dO80AAAAMAAJ&pg=PA7 Maelzel's patent of the Metronome] The Repertory of patent inventions: and other discoveries and improvements in arts, manufactures, and agriculture ... published by T. and G. Underwood, 1818 ([https://books.google.com/books?id=-b8-AAAAcAAJ&pg=PA7 alternative])</ref>
[[Ludwig van Beethoven]] was perhaps the first notable composer to indicate specific metronome markings in his music. This was done in 1815, with the corrected copy of the score of the Cantata op. 112 containing Beethoven's first metronome mark.<ref>Noorduin, Marten (2020). "Why Do We Need Another Recording of Beethoven's Ninth Symphony? – Symphony No. 9 Benjamin Zander Discusses Beethoven's Ninth Symphony – Rebecca Evans sop, Patricia Bardon mezzo-sop, Robert Murray ten, Derek Welton bass-bar Philharmonia Chorus and Orchestra, Stefan Bevier chorus master, Benjamin Zander cond. Brattle Media 610877733781 3 CDs: 58 minutes [music] + 159 minutes [discussion] Notes and discussion in English". ''Nineteenth-Century Music Review'': 1–9. [[Doi (identifier)|doi]]:10.1017/S1479409820000026. [[ISSN (identifier)|ISSN]] 1479-4098.</ref>
== Употреба ==
[[Musician]]s practise playing to metronomes to develop and maintain a sense of timing and tempo. Metronomes are also used as a training tool to increase performance speed. Tempo is almost always measured in beats per minute (BPM). Even pieces that do not require a strictly constant tempo (such as with rubato) sometimes provide a BPM marking to indicate the general tempo.
A tempo marking is a term that conveys a narrow range of tempos and an associated character. For example, the term "Vivace" can indicate a tempo between 156 and 176 BPM, but it also communicates that the music should be played with a lively character. Metronomes will often include both BPM and tempo markings.<ref>{{cite web|url=https://theonlinemetronome.com/metronome-tempo-markings-defined.html|title=Dictionary of Tempo Markings}}</ref>
A hardware (non-software/non-app based) metronome's tempo typically is adjustable from 40 to 208 BPM. The most common arrangement of tempos on a Maelzel metronome begins with at 40 beats per minute
and increases by 2s:
40
42
44
46
48
50
52
54
56
58
60
then by 3s:
63
66
69
72
then by 4s:
72
76
80
84
88
92
96
100
104
108
112
116
120
then by 6s:
126
132
138
144
then by 8s:
144
152
160
168
176
184
192
200
208.<ref>{{cite web|url=http://hindson.com.au/info/?s=metronome|title=Search Results for "metronome" – Matthew Hindson|website=hindson.com.au|url-status=live|archive-url=https://web.archive.org/web/20140426212500/http://hindson.com.au/info/?s=metronome|archive-date=2014-04-26}}</ref><ref name=paterson13>{{cite web |last=Paterson |first=R. |title=Standard Metronome Timings and Ratios |date=2006 |url=https://issuu.com/robertpaterson/docs/standard-metronome-timings-and-rati |access-date=2020-07-04}}</ref>
Some digital metronomes allow adjustment to more precise tempos (e.g. increasing 120 to 121), but such a difference is hardly perceptible.<ref name=paterson13/>
Another mark that denotes tempo is M.M. (or MM), or Mälzel's Metronome. The notation M.M. is often followed by a note value and a number that indicates the tempo, as in {{nowrap|M.M. {{music|quarter}} {{=}} 60}}.
Specific uses include learning to play tempos and beats consistently—for example, one fighting a tendency to speed up might play a phrase repeatedly while slightly slowing the BPM setting each time (to play more steadily)—and practising technique by setting the metronome progressively to higher speeds until the desired speed is achieved. This also helps to expose slow-downs due to technical challenges. Additionally, recording musicians use [[click track]]s from metronomes to help [[audio engineer]]s synchronize audio tracks.
In research, metronomes can be used to maintain desired cadences in different physiological laboratory-based tests.<ref>{{Cite journal|last1=Mondal|first1=Himel|last2=Mondal|first2=Shaikat|date=2018-07-01|title=Applicability of android application-based metronome in physiological tests|url=http://www.ijhas.in/article.asp?issn=2278-344X;year=2018;volume=7;issue=3;spage=159;epage=164;aulast=Mondal|journal=[[International Journal of Health & Allied Sciences]]|volume=7|issue=3}}</ref>
== Види још ==
Линија 14 ⟶ 97:
== Референце ==
{{reflist|}}
== Литература ==
{{refbegin|30em}}
* {{cite book |last= de Momigny |first= Jérôme-Joseph |author-link= Jérôme-Joseph de Momigny |year= 1821 |title= La seule vraie théorie de la musique |location= Paris }}
* {{cite book |last= Riemann |first=Hugo |author-link=Hugo Riemann |year= 1884 |title= Musikalische Dynamik und Agogik |url= https://archive.org/details/ldpd_6769763_000 |location= Hamburg }}
* {{cite book |last= Lussy |first=Mathis |year=1903 |title=L'anacrouse dans la musique moderne |url=https://archive.org/details/lanacrouse00lussuoft |location= Paris }}
* {{cite book |last= Cone |first= Edward T. |author-link= Edward T. Cone |year= 1968 |title= Musical Form and Musical Performance |publisher= W. W. Norton |location= New York |isbn= 0-393-09767-6 }}
* {{cite book |title=Hip Hop Dance |last=Rajakumar |first=Mohanalakshmi |year=2012 |publisher=ABC-CLIO |isbn=9780313378461 |page=5 |url=https://play.google.com/store/books/details?id=jGZhfy9UaGIC |access-date=22 November 2016}}
* {{cite web |title=Upbeat |url=http://www.grovemusic.com|access-date=2007-02-10 |last= Dogantan|first= Mine|year= 2007 |work=Oxford Music Online |publisher=Grove Music Online | archive-url= https://web.archive.org/web/20080516041031/http://www.grovemusic.com/| archive-date=May 16, 2008<!--DASHBot-->|url-status = live|url-access=subscription }}
* {{cite book |last=Neal |first=Jocelyn |year=2000 |editor1=Neal, Jocelyn |editor2=Wolfe, Charles K. |editor3=Akenson, James E. |title=Songwriter's Signature, Artist's Imprint: The Metric Structure of a Country Song |work=Country Music Annual 2000 |page=[https://archive.org/details/countrymusicannu00char/page/115 115] |publisher=Lexington, KY: University Press of Kentucky |ISBN=0-8131-0989-2 |url=https://archive.org/details/countrymusicannu00char/page/115 }}
* {{cite book |last=Neal |first=Jocelyn |year=2000 |editor1=Neal, Jocelyn |editor2=Wolfe, Charles K. |editor3=Akenson, James E. |title=Songwriter's Signature, Artist's Imprint: The Metric Structure of a Country Song |work=Country Music Annual 2000 |page=[https://archive.org/details/countrymusicannu00char/page/115 115] |publisher=Lexington, KY: University Press of Kentucky |ISBN=0-8131-0989-2 |url=https://archive.org/details/countrymusicannu00char/page/115 }}
* Rothstein, William (1990). ''Phrase Rhythm in Tonal Music'', pp. 12–13. Macmillan. {{ISBN|978-0028721910}}
* {{cite thesis|type=Ph.D. |last=Jehan |first=Tristan |title=Creating Music By Listening |year=2005 |url=http://web.media.mit.edu/~tristan/phd/dissertation/chapter3.html#x1-390003.4.3 |section=3.4.3 Tatum grid |publisher=MIT}}
* {{cite web |title=Lessons in listening – Concepts section: Fantasy, Earth Wind & Fire, The Best of Earth Wind & Fire Volume I, Freddie White |work=Modern Drummer Magazine |url=http://www.anisman.com/steve/samd02.htm |first=Steve |last=Anisman |access-date=January 21, 2007 |pages=146–152 |date=January 1998}}
* {{cite encyclopedia | last = Le Poidevin | first = Robin | url = http://plato.stanford.edu/archives/win2004/entries/time-experience/ | title = The Experience and Perception of Time | encyclopedia = The Stanford Encyclopedia of Philosophy | date = Winter 2004 | editor-first = Edward N. | editor-last = Zalta }}
* {{cite book | vauthors = Hodder A | date = 1901 | title = The adversaries of the sceptic; or, The specious present, a new inquiry into human knowledge | chapter-url = https://books.google.com/books?id=uZ5RAAAAMAAJ&pg=PA36 | chapter = Chapter II, The Specious Present | location = London | publisher = S. Sonnenschein &. | pages = 36–56 }}
* {{cite journal | vauthors = Underwood G, Swain RA | title = Selectivity of attention and the perception of duration | journal = Perception | volume = 2 | issue = 1 | pages = 101–5 | year = 1973 | pmid = 4777562 | doi = 10.1068/p020101 | s2cid = 40724290}}
* {{cite journal | vauthors = Brown SW, Stubbs DA | title = Attention and interference in prospective and retrospective timing | journal = Perception | volume = 21 | issue = 4 | pages = 545–57 | year = 1992 | pmid = 1437469 | doi = 10.1068/p210545 | s2cid = 28277293 }}
* {{cite journal | vauthors = Eagleman DM, Tse PU, Buonomano D, Janssen P, Nobre AC, Holcombe AO | title = Time and the brain: how subjective time relates to neural time | journal = The Journal of Neuroscience | volume = 25 | issue = 45 | pages = 10369–71 | date = November 2005 | pmid = 16280574 | pmc = 6725822 | doi = 10.1523/JNEUROSCI.3487-05.2005 }}
* {{cite journal | vauthors = Slanger TG | title = Evidence for a Short-Period Internal Clock in Humans | journal = [[Journal of Scientific Exploration]] | year = 1988 | volume = 2 | issue = 2 | pages = 203–216 | url = http://www.scientificexploration.org/journal/jse_02_2_slanger.pdf | access-date = 2011-10-02 | url-status = dead | archive-url = https://web.archive.org/web/20110809232323/http://www.scientificexploration.org/journal/jse_02_2_slanger.pdf | archive-date = 2011-08-09 }}
* {{cite book | vauthors = Le Poidevin R | title = The images of time: an essay on temporal representation | publisher = Oxford University Press | location = Oxford, UK | year = 2007 | isbn = 978-0-19-926589-3 | url = https://books.google.com/books?id=l0qrewXYnOYC&pg=PA115 | author-link = Robin LePoidevin }}
{{refend}}
== Спољашње везе ==
{{Commonscat|Metronomes}}
*[http://www.bestmetronome.com/ Online Metronome with accessible version]
*[http://www.metronomeonline.com/ Online Metronome]
* Research by Alexander Evan Bonus
**[http://rave.ohiolink.edu/etdc/view?acc_num=case1270221548 ''The Metronomic Performance Practice: A History of Rhythm, Metronomes, and the Mechanization of Musicality'']; PhD Thesis by Alexander E. Bonus (May 2010)
**[https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5289 ''A Timely Musical Discourse, or A Music Treatise from Lost Times, Part I'' (Current Musicology, (95))] by Alexander E. Bonus (March 2013)
**[http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199935321.001.0001/oxfordhb-9780199935321-e-001 ''Metronome'' (Oxford Handbooks Online)] by Alexander E. Bonus (April 2014)
**[https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190947279.001.0001/oxfordhb-9780190947279-e-16 ''Maelzel, the Metronome, and the Modern Mechanics of Musical Time'' (The Oxford Handbook of Time in Music)] by Alexander E. Bonus (December 2021)
* [https://www.research.manchester.ac.uk/portal/files/54586757/FULL_TEXT.PDF Beethoven's Tempo Indications], PhD Thesis by Marten Noorduin (July 2016)
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