The study of rhythm, stress, and pitch in style is called prosody; it is a topic in linguistics. Narmour (1980, p.147–53) describes threesome categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard playwright points out this method cannot account for syncopation and suggests the concept of transformation.
A rhythmic unit is a durational pattern which occupies a period of instance equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975
[edit] Origins of human appreciation of rhythm
In his program How Music Works, Howard Goodall presents theories that rhythm recalls how we walk and the trice we heard in the womb. More probable is that a simple pulse or di-dah vex recalls the footsteps of another person. Our sympathetic urge to dance is designed to boost our forcefulness levels in order to cope with someone, or some animal chasing us – a fight or flight response. From a less darwinist perspective, perceiving rhythm is the ability to officer the otherwise concealed dimension, time. Rhythm is possibly also unmoving in courtship ritual. [1]
Neurologist Oliver Sacks posits that human affinity for rhythm is fundamental, so much that a person's sense of rhythm cannot be lost in the way that music and language crapper (e.g. by stroke). In addition, he states that chimpanzees and other animals show no similar appreciation for rhythm.
Rhythm notation and the test tradition
Worldwide there are many assorted approaches to passing on rhythmic phrases and patterns, as they exist in traditional music, from generation to generation.
African music
In the Griot tradition of Africa everything related to music has been passed on orally. Babatunde Olatunji (1927–2003), a African drummer who lived and worked in the United States, developed a simple program of spoken sounds for teaching the rhythms of the hand drum. He used six communicatory sounds: Goon Doon Go Do Pa Ta. There are threesome basic sounds on the drum, but each crapper be played with either the left or the right hand. This simple system is now used worldwide, particularly by Djembe players.
Indian music
Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them. Sheila Chandra, an English pop singer of Indian descent, made performances supported around her singing these patterns. In Indian Classical music, the Tala of a composition is the rhythmic pattern over which the whole piece is structured.
Western music
Standard music notation contains every rhythmic information and is adapted specifically for drums and percussion instruments. The drums are generally used to keep other instruments in 'time'. They do this by supplying beats/strikes in instance at a certain pace, i.e. 70 beats per minute (bpm). In Rock music, a drum vex is used to keep a bass/guitar line in time.
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