The following are excerpts from the Code of Points:

ARTISTIC:
From the Code of Points:

II. B. Timing of the exercise

1. The time limitations are as follows:
   a. Level 7: Minimum of 1:00 to a maximum of 1:30
   b. Levels 8, 9, and 10 Minimum of 1:10 to a maximum of 1:30
2. Timing begins with the first movement of the gymnast and stops with the final movement of the gymnast.
3. The entire exercise is evaluated, regardless of overtime.
   
4. The Chief Judge takes the undertime/overtime deduction of 0.10 from the average score. No undertime or overtime deduction is taken if the time is within a fraction of a second under or over the time allotment. Example: outine is clocked at 1:30.01 to 1:30.59. Do not take the overtime deduction.
   
5. No time warning is given on Floor Exercise.

III. MUSIC REGULATIONS

A. The musical accompaniment may be a single instrument (live or recorded) or by orchestra without voice, recorded only. Absence of music or music with voice/song incurs a 1.00 deduction.

RHYHMIC:
From Code de pointage Gymnastique rythmique:

1.3 PROGRAM FOR INDIVIDUAL GYMNAST
1.3.2. The length of each exercise is from 1:15 to 1:30.

1.4 PROGRAM FOR GROUP
1.4.2. The length of each exercise is from 2:15 ro 2:30

1.5 TIMING
1.5.1 The stopwatch will be started as soon as the gymnast of the first gymnast of the group begins to move and will be stopped as soon as the gymnast or the last gymnast of the group is totally motionless. Penalty: 0.05 point for each additional or missing second (Assistant Judge).

Some Tips from Barry

Routines are timed from the beginning of the movement. A standing intro is usually desirable - this allows the gymnast begin in an artistic manner. A long standing intro is advantageous to athletes needing to shorten the routine a bit. I think it is best when limited to about 4 measures of music. Trying to start the movement on the first beat of the music is generally a big mistake - hard to do and very hard on the athlete.

On picking music

When I am helping select music for an athlete, these are some of my considerations:

1. The dance style of the music should be correct for the movement style of the athlete.
2. The music should be at the correct energy level for the gymnastics. Music that is to weak doesn't give the athlete enough support, music that is to strong overpowers the movement and makes it look weak.
3. It's great when the athlete loves the music. It is best when she loves it because of how well she is going to do on floor with it. Be sure to think about the success of the routine first and foremost. There is a lot of great music that doesn't make good music for gymnastics.
4. I view the floor-ex as a theatrical presentation - the music assigns an identity to the athlete. That is why you remember Kathy Johnson's 'Swan Lake' 25 years later (if you go back that far with the sport), or Dominique Moceanu's 'Devil Went Down to Georgia from the Atlanta Olympics. Shannon Miller's 'The Mail' captured a very detailed aspect of her movement that was particularly unique to her. In all of this music, there is a very memorable melodic quality and the music amplifies aspects of the gymnast's character. When this is in place, the athlete does very well with the routine and the score is maximized.