Rhythm is the most important factor that characterizes popular music styles. Certain styles-such as rock, jazz, Latin, etc., which have uniquely characteristic rhythm patterns-are often fused to produce contemporary pop rhythms. The objective of this study is to systematize rhythms used in popular music by analyzing and classifying various rhythm patterns played on drum and percussion instruments.
A rhythm pattern can conceivably consist of an infinite number of combinations of points, accents, and instruments played. By analyzing these combinations across their styles, we may discover new rhythm styles. First, thirteen hundred rhythm patterns-such as rock, Latin, and African drumming patterns-from textbooks for drum and percussion were encoded into a computer. Then the similarities among them were estimated. And lastly according to the estimated data, the encoded patterns were classified. In this manner, we could appreciate the established rhythm categories anew.

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This paper examines the politics of discourse on the value of ‘rock’ by critics and academics and importance of audience, mostly neglect in those discourses. First of all, the discourse on ‘the end of the rock era’ by Simon Frith reveals that it stands on ambivalent attitudes towards authenticity of music, which should have been rejected by the thechnology. Then we investigatethe reason why appropriation of musical meaning of audiences which in spite of it's importance, its negrected by Frith and only discribed negatively at the mass society theory is so important by the framework after the rise of Cultural Studies.

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This paper gives analysis on the value systems that form the characteristics of the rock music culture, in reference to the theories of Simon Frith and Pierre Bourdieu. In this examination of somecharacters in the society and the music culture, especially in the counter-culture scene, which is the early years of rock music mainly themiddle and late 1960's, three distinctive indicators are identified integrating varied aesthetic consciousness and values around the rock music. That is, the ‘outside’ indicator represents intention of downward orientation within the framework of social hierarchy, the ‘art’ indicator represents the challenging intention towards the pure arts, and the ‘entertainment’ indicator is also defined as acquiringpo pularity.

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