Re: Rhythm perception

[Linda Seltzer <lseltzer@xxxxxxxxxxxxxxxxxx>]

In some African music the emphsis can be on the *last* beat of the time
cycle.  In reggae there is an emphasis on the second of four beats and a
good reggae musician uses even more elaborate accent patterns.  In Indian
music, the rhythm pattern of the cycle (i.e. the tala) is stated clearly
by means of the theka, but as the performace goes on the performers can
"oppose" the division of the beats and then return to the start of a
cycle.  In the case of the Indian music one can lose track of the
underlying beat unless one continues counting strictly with the aid of arm
movements or finger movements.  In 18th-19th Century Western classical
music the phrase structure is hierarchical, so there is not only a steady
downbat, but there are also arrivals that reinforce the meter.  In the
earlier music such as that of Palestrina this is not as clear.  The accent
patterns are not as regular and depend more on the words.



> I will provide you an answer as simplistic as the deduction you made: If
> there is a heavy emphasis on one beat of the sequence _*it doesn't mean
> that it is the first beat*_. In jazz music for exemple, the emphasis is on
> the second and fourth beath.
>
> Claire Piché
>
>
>
> John ffitch a écrit :
>
>>We were discussing rhythm patterns the other day and the question came
>>up about how one determined the start of a pattern.  If there is a
>>heavy emphasis on one beat of the sequence then I can understand that
>>that is taken as the first beat.
>>  But if the sequence is unemphasised how does one decide?  Or do
>>people decide differently, or is it cultural?
>>
>>I am not sure where to start to look -- as ever this is outside my
>>general field of study -- but I though this list might be the place
>>to ask for clues.
>>
>>I hope I have explained the question sufficiently!
>>
>>==John ffitch
>>
>>
>>
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