140:
179:. Rhythms represent the very fabric of life and embody the people's interdependence in human relationships. Cross-beats can symbolize challenging moments or emotional stress: playing them while fully grounded in the main beats prepares one for maintaining life-purpose while dealing with life's challenges. The sounding of three beats against two is experienced in everyday life and helps develop "a two-dimensional attitude to rhythm". Throughout Western and Central Africa child's play includes games that develop a feeling for multiple rhythms.
156:
450:
265:
376:
51:
40:
596:
132:
638:. In African music, this is a cross-rhythmic fragment generated through cross-rhythm: 8 pulses Ă· 3 = 2 cross-beats (consisting of three pulses each) with a remainder of a partial cross-beat (spanning two pulses). In divisive form, the strokes of tresillo contradict the beats while in additive form, the strokes of tresillo
642:
the beats. From a metrical perspective, the two ways of perceiving tresillo constitute two different rhythms. On the other hand, from the perspective of the pattern of attack-points, tresillo is a shared element of traditional folk music from the northwest tip of Africa to southeast tip of Asia.
356:(3:2), which Novotney has called the foundation of all West African polyrhythmic textures. It is the interplay of several elements, inseparable and equally essential, that produces the "varying rhythmic densities or motions" of cross-rhythmic texture. 3 and 2 belong to a single Gestalt.
309:, made of iron and creating two different tones. Each region of Africa has developed a different style of double bell but the basic technology of bell-making is the same all over the continent, as is often the bell's role as time keeper. The South American
580:
and many other musics, was widely interpreted as composed of additive groupings. However the standard pattern represents not a series of durational values, but a series of attack points that divide the fundamental beat with a cross-rhythmnic structure.
436:
express a rhythm's organizing principle, defining rhythmic structure and epitomizing the complete rhythmic matrix. They represent a condensed expression of all the movements open to musicians and dancers. Key patterns are typically clapped or played on
485:
407:
951:
473:
461:
208:
at once. The simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter lies at the core of
African rhythmic tradition. All such "asymmetrical" patterns are historically and geographically interrelated.
395:
383:
603:
441:
such as bells, or else on a high-pitched drumhead. Musics organized around key patterns convey a two-celled (binary) structure, a complex level of
African cross-rhythm.
634:
can be traced back to Trans-Saharan exchanges during the Green Sahara.This influence increased due to slaves brought north across the Sahara Desert from present-day
777:
75:
of approach. West
African rhythmic techniques carried over the Atlantic were fundamental ingredients in various musical styles of the Americas:
1191:
1122:
1100:
453:
3.2 construction of standard compound-meter bell-pattern. The four notes at the bottom are the primary beats. The upper parts show; a) two
225:
305:
Many aspects of
African drumming, most notably time-keeping, stem from instruments such as shakers made of woven baskets or gourds or the
144:
276:
African music relies heavily on fast-paced, upbeat rhythmic drum playing found all over the continent, though some styles, such as the
63:
is characterised by a "strong rhythmic interest" that exhibits common characteristics in all regions of this vast territory, so that
1222:, G. Hart and R. Sarhangi, (Eds.), Enschende, The Netherlands, 27–31 July 2013, pp. 559–562, Phoenix: Tessellations Publishing.
1163:
1014:
921:
816:
787:
757:
734:
686:
952:"Structural analysis or cultural analysis? Competing perspectives on the "standard pattern" of West African rhythm"
295:
and consist of a skin or "drumhead" stretched over the open end of a frame or "shell". Well known
African drums include the
237:
345:
139:
1250:
497:
The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in ethnomusicology as the
288:
do not traditionally use drums. Elsewhere the drum is the sign of life: its beat is the heartbeat of the community.
233:
155:
618:, a Spanish word meaning 'triplet'. The basic figure is also found within a wide geographic belt stretching from
59:
1218:
Godfried T. Toussaint, "On the question of meter in
African rhythm: A quantitative mathematical assessment", In
1240:
677:
1245:
123:
were thereby of immense importance in 20th century popular music. The drum is renowned throughout Africa.
1235:
536:
253:
249:
936:
Locke, David (1982). "Principles of Off-Beat Timing and Cross-Rhythm in
Southern Ewe Dance Drumming"
1103:. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest.
672:
64:
614:
The most basic duple-pulse figure found in Sub-Saharan
African music is a figure the Cubans call
348:
in nature but may divide time into different fractions at the same time, typically by the use of
229:
168:
160:
626:
in South Asia. This pattern may have migrated east from North Africa to Asia with the spread of
363:
peoples, speakers of the largest language family in Africa. For example, it "pervades southern
1187:
1159:
1118:
1096:
1010:
963:
917:
812:
783:
753:
730:
682:
590:
449:
100:
702:
240:, many of whom descend from Niger-Congo peoples, has had considerable influence upon modern
360:
245:
241:
217:
1043:
1174:
The Three
Against Two Relationship as the Foundation of Timelines in West African Musics
1078:
The Three
Against Two Relationship as the Foundation of Timelines in West African Musics
967:
878:
The Three Against Two Relationship as the Foundation of Timelines in West African Musics
865:
The Three Against Two Relationship as the Foundation of Timelines in West African Musics
264:
631:
277:
205:
201:
1229:
1201:
890:
805:
292:
285:
221:
120:
573:
502:
501:. The standard pattern, composed of two cross-rhythmic fragments, is found both in
454:
427:
420:
300:
281:
148:
88:
44:
1181:
1090:
747:
481:); c) one cell of a) and one of b) giving d) the standard bell pattern notation (
595:
306:
213:
183:
1029:
King, Anthony (1960). "The Employment of the Standard Pattern in Yoruba Music"
375:
50:
193:
188:
108:
1183:
The Clave Matrix: Afro-Cuban Rhythm : Its Principles and African Origins
623:
577:
438:
364:
322:
314:
182:
Among the characteristics of the Sub-Saharan African approach to rhythm are
17:
1220:
Proceedings of Bridges: Mathematics, Music, Art, Architecture, and Culture
336:
often have a short attack and decay that facilitates their rhythmic role.
131:
39:
310:
197:
84:
80:
31:
1156:
Representing African music : postcolonial notes, queries, positions
914:
Representing African music : postcolonial notes, queries, positions
880:
Urbana, IL: University of Illinois (1998), page 201. UnlockingClave.com.
835:
228:), which is generally associated with being a common trait among modern
1092:
Struggling to Define a Nation: American Music and the Twentieth Century
619:
349:
333:
116:
296:
269:
112:
91:
in Brazil, Afro-Cuban music and Afro-American musical genres such as
67:(1889–1980) has described the many local approaches as constituting
752:( ed.). Jackson: University Press of Mississippi. p. 54.
627:
594:
448:
374:
329:
154:
138:
130:
92:
76:
38:
151:
dancing to the rhythm of the drum in celebration of his ancestors
779:
Theory of African Music: I. Xylophone playing in southern Uganda
635:
284:
do not make much use of the drum and nomadic groups such as the
104:
96:
729:
by Jacqui Malone. University of Illinois Press. 1996. page 21.
318:
27:
Periodicity in music developed by sub-Saharan African peoples
30:"African rhythm" redirects here. For the song by Exuma, see
1115:
Cuba and its music : FROM THE FIRST DRUMS TO THE MAMBO
1009:(1st; reprint ed.). London: Oxford University Press.
703:
http://home.comcast.net/~dzinyaladzekpo/PrinciplesFr.html
313:
is probably a descendant from these African bells. Other
379:
The standard bell pattern in simple and compound time.
359:
Cross-rhythm is the basis for much of the music of the
163:, South Africa, playing around on their father's drums
1080:, Urbana, IL: University of Illinois (1998) page 158
192:
which may be understood as sustained and systematic
851:
The Essence of Afro-Cuban Percussion & Drum Set
804:
681:, London: Oxford University Press. 1978 edition:
1180:Peñalosa, David (2009). Greenwood, Peter (ed.).
867:, Urbana, IL: University of Illinois, page 147
956:Journal of the American Musicological Society
572:Until the 1980s, this key pattern, common in
8:
1117:(1. ed.). Chicago: Non-Approval Trade.
469:); b) the same, beginning on beats 2 and 4 (
1206:Foundation Course in African Dance-Drumming
1158:. New York, N.Y. ; London: Routledge.
916:. New York, N.Y. ; London: Routledge.
782:. University of Chicago Press. p. 9.
1137:
1064:
992:
980:
714:
263:
49:
771:
769:
652:
344:African rhythmic structure is entirely
232:, spread throughout Africa. Due to the
830:
828:
1176:. Urbana, IL: University of Illinois.
127:Rhythm in Sub-Saharan African culture
7:
700:Cultural Understanding of Polyrhythm
457:of 3:2, beginning on beats 1 and 3 (
938:Society for Ethnomusicology Journal
430:, timeline patterns, guide patterns
1208:(webpage, accessed 24 April 2010).
71:. C. K. Ladzekpo also affirms the
25:
1089:Garrett, Charles Hiroshi (2008).
212:As a result of the migrations of
200:of two or more distinct rhythmic
171:languages do not have a word for
135:Map of African Linguistic Groups
220:), polyrhythmic culture (e.g.,
1031:American Music Society Journal
328:Tuned instruments such as the
1:
950:Agawu, Kofi (22 March 2006).
238:music of the African diaspora
1172:Novotney, Eugene D. (1998).
940:11 Nov.. (1982), p. 231
863:Novotney, Eugene D. (1998),
425:Key patterns, also known as
1267:
1202:"The Myth of Cross-Rhythm"
891:"The Myth of Cross-Rhythm"
803:Bakare, Sebastian (1997).
588:
418:
234:Trans-Atlantic slave trade
29:
659:Stapleton C. and May C.,
60:Sub-Saharan African music
1200:Ladzekpo, C. K. (1995).
1007:Studies in African music
678:Studies in African Music
630:: use of the pattern in
54:Drummers in Accra, Ghana
776:Kubik, Gerhard (1994).
746:Kubik, Gerhard (1999).
698:Ladzekpo, C.K. (1996),
569:) metrical structures.
1113:Sublette, Ned (2007).
663:, Paladin 1989, page 6
611:
494:
416:
273:
164:
152:
136:
55:
47:
1067:, p. s58; 63–64.
1044:"3-2 THESIS ABSTRACT"
836:"Britannica Academic"
727:Steppin' on the Blues
598:
452:
378:
291:Drums are classed as
267:
158:
142:
134:
53:
43:African drum made by
42:
1154:Agawu, Kofi (2003).
1076:Novotney, Eugene D.
1005:Jones, A.M. (1971).
912:Agawu, Kofi (2003).
876:Novotney, Eugene D.
807:The Drumbeat of Life
749:Africa and the blues
445:The standard pattern
73:profound homogeneity
622:in North Africa to
143:Traditional healer
65:Arthur Morris Jones
1251:Sub-Saharan Africa
893:. Home.comcast.net
612:
495:
434:phrasing referents
417:
274:
230:cultures of Africa
165:
161:Alexandra township
153:
137:
101:rhythm & blues
56:
48:
1193:978-1-886502-80-2
1124:978-1-55652-632-9
1101:978-0-520-25486-2
1046:. Unlocking Clave
661:African All-Stars
591:Tresillo (rhythm)
16:(Redirected from
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499:standard pattern
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1241:Music of Africa
1226:
1225:
1215:
1213:Further reading
1194:
1186:. Bembe Books.
1179:
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415:for comparison.
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373:
342:
262:
246:popular culture
218:Bantu expansion
216:peoples (e.g.,
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69:one main system
35:
28:
23:
22:
15:
12:
11:
5:
1264:
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1254:
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1246:African rhythm
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1142:
1140:, p. 236.
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632:Moroccan music
589:Main article:
586:
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446:
443:
419:Main article:
372:
369:
354:three-over-two
341:
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293:membranophones
278:Township music
261:
258:
204:, patterns or
128:
125:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1263:
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1249:
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1236:African drums
1234:
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1207:
1203:
1199:
1195:
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1165:0-415-94390-6
1161:
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1139:
1138:Peñalosa 2009
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1065:Peñalosa 2009
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1026:
1023:
1018:
1016:0-19-713512-9
1012:
1008:
1001:
998:
995:, p. 53.
994:
993:Peñalosa 2009
989:
986:
983:, p. 51.
982:
981:Peñalosa 2009
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974:
969:
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818:9782825412299
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789:9780226456911
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759:1-57806-145-8
755:
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742:
739:
736:
735:0-252-02211-4
732:
728:
723:
720:
717:, p. 21.
716:
715:Peñalosa 2009
711:
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695:
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688:
687:0-19-713512-9
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428:bell patterns
422:
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387:
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370:
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357:
355:
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347:
339:
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325:or log drum.
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121:rock and roll
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1048:. Retrieved
1038:
1030:
1025:
1006:
1000:
988:
976:
959:
955:
945:
937:
932:
913:
907:
895:. Retrieved
885:
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864:
859:
850:
844:
806:
798:
778:
748:
741:
726:
722:
710:
699:
694:
676:
673:Jones, A. M.
668:
660:
655:
639:
615:
613:
599:Tresillo.
574:Yoruba music
571:
561:
546:
527:
512:
498:
496:
433:
426:
424:
421:Bell pattern
371:Key patterns
358:
353:
343:
340:Cross-rhythm
327:
317:include the
304:
301:talking drum
290:
282:South Africa
275:
211:
187:
181:
176:
172:
166:
149:South Africa
72:
68:
58:
57:
45:Gerald Achee
36:
18:African drum
962:(1): 1–47.
849:Uribe, Ed.
397:Play triple
361:Niger–Congo
307:double bell
260:Instruments
214:Niger-Congo
194:polyrhythms
189:cross-beats
184:syncopation
169:Sub-Saharan
1230:Categories
1050:30 January
968:A146258931
897:30 January
647:References
439:idiophones
385:Play duple
315:idiophones
175:, or even
853:. Alfred.
624:Indonesia
578:Ewe music
409:Play both
365:Ewe music
323:slit drum
244:forms of
145:(sangoma)
675:(1959),
616:tresillo
585:Tresillo
537:compound
346:divisive
332:and the
321:and the
299:and the
198:ostinato
159:Kids in
85:maracatu
32:Exuma II
1148:Sources
620:Morocco
350:hemiola
334:marimba
248:(e.g.,
242:Western
206:phrases
202:figures
117:hip hop
1190:
1162:
1121:
1099:
1013:
966:
920:
815:
786:
756:
733:
685:
535:) and
503:simple
403:, and
297:djembe
286:Maasai
270:djembe
173:rhythm
119:, and
113:reggae
628:Islam
455:cells
330:mbira
311:agogo
254:music
250:dance
226:music
222:dance
196:, an
177:music
167:Many
93:blues
81:forrĂł
77:samba
1188:ISBN
1160:ISBN
1119:ISBN
1097:ISBN
1052:2014
1011:ISBN
964:Gale
918:ISBN
899:2014
813:ISBN
784:ISBN
754:ISBN
731:ISBN
683:ISBN
636:Mali
605:Play
487:Play
475:Play
463:Play
432:and
272:drum
186:and
109:soul
105:funk
97:jazz
89:coco
87:and
640:are
554:or
520:or
367:".
352:or
319:Udu
280:of
256:).
147:of
1232::
1204:,
960:59
958:.
954:.
827:^
811:.
768:^
576:,
391:,
268:A
252:,
236:,
224:,
115:,
111:,
107:,
103:,
99:,
95:,
83:,
79:,
1196:.
1168:.
1127:.
1054:.
1033:.
1019:.
970:.
926:.
901:.
838:.
821:.
792:.
762:.
705:.
689:.
562:8
547:8
539:(
528:2
513:4
505:(
493:)
34:.
20:)
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