additive rhythm

In Middle East and Asian music the figure is generated through additive rhythm.

Use of additive rhythm.

Tresillo is often interpreted as an additive rhythm because of the irregular grouping of its strokes: 3+3+2.

To indicate more complex patterns of stresses, such as additive rhythms, more complex time signatures can be used.

From these, and from folk-song, Tippett derives his distinctive and personal technique of 'additive rhythm'.

A feature of many of Tippett's early works is their use of irregular rhythms and pulse or 'additive rhythm'.

Clave which is traditionally used in a divisive rhythm structure, has inspired many new creative inventions in an additive rhythm context.

Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive.

Risher's works transcend the superficiality of much popular music, however, in their frequent use of complex canonic and polyphonic structures and additive rhythms.

The African elements included the use of the banjo, believed to derive from West African string instruments, and accented and additive rhythms.

Because of its irregular pattern of attack-points, "tresillo" in African and African-based musics has been mistaken for a form of additive rhythm.

Driven by complex additive rhythms and improvisatory melodic lines, Arabian Waltz is a propulsive work by Leba...

Measured rhythm is where each time value is a multiple or fraction of a specified time unit but there are not regularly recurring accents (additive rhythm).

Agawu states: "Additive rhythm . . . is a highly problematic concept for African music . . . it is not in sync with indigenous conceptions of musical structure.

The term additive rhythm is also often used to refer to what are also incorrectly called asymmetric rhythms and even irregular rhythms - that is, metres which have a regular pattern of beats of uneven length.

In the 20th century, composers like Igor Stravinsky, Béla Bartók, Philip Glass, and Steve Reich wrote more rhythmically complex music using odd meters, and techniques such as phasing and additive rhythm.

It also appears in the music of Philip Glass, Steve Reich and others; and significantly it shares much in common with the additive rhythms of Balkan folk music, the music of Ligeti's youth.

Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms."

This is the result of a number of factors, the primary one being his use of 'additive rhythm', where irregular groupings of notes create a fluid pulse quite unlike the rigid beat of previous classical composers such as Beethoven or Brahms.

Kubik concurs: "Although on the level of structural analysis it cannot be denied that different 'distances' of strokes, combining two or three elementary pulses, are 'added up' within the cycle, performers do not think of time-lline patterns as 'additive rhythms,' . . . 'Additive rhythms' are the analytic construction of the musicologist."