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Cross-beat
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term ''cross rhythm '' was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece. Etymology The term "cross rhythm" was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980), who, with Klaus Wachsmann, took-up extended residence in Zambia and Uganda, respectively, as missionaries, educators, musicologists, and museologists. African music One main system African cross-rhythm is most prevalent within the greater Niger-Congo linguistic group, which dominates the continent south of the Sahara Desert. (Kubik, p. 58) Cross-rhythm was first identified as the basis of sub-Saharan rhythm by A.M. Jones. Later, the concept was more fully explained in the lectures of Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of David Lo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyrhythm
Polyrhythm () is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single Part (music), part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the Clave (rhythm)#Son clave, son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern. In western art music In some European art music, polyrhythm periodically contradicts the prevailing meter. For example, in Wolfgang Amadeus Mozart, Moz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from the Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's ''Boléro'' and the '' Carol of the Bells'', and popular songs such as John Lennon’s “Mind Games” (1973), Donna Summer and Giorgio Moroder's " I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's " Baba O'Riley" (1971), The Verve's " Bitter Sweet Symphony" (1997), and Flo Rida's " Low" (2007). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term cover ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cross-beat Escapement
An escapement is a mechanical linkage in mechanical watches and clocks that gives impulses to the timekeeping element and periodically releases the gear train to move forward, advancing the clock's hands. The impulse action transfers energy to the clock's timekeeping element (usually a pendulum or balance wheel) to replace the energy lost to friction during its cycle and keep the timekeeper oscillating. The escapement is driven by force from a coiled spring or a suspended weight, transmitted through the timepiece's gear train. Each swing of the pendulum or balance wheel releases a tooth of the escapement's ''escape wheel'', allowing the clock's gear train to advance or "escape" by a fixed amount. This regular periodic advancement moves the clock's hands forward at a steady rate. At the same time, the tooth gives the timekeeping element a push, before another tooth catches on the escapement's pallet, returning the escapement to its "locked" state. The sudden stopping of the escape ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonguing
Tonguing is a technique used with wind instruments to enunciate notes using the tongue on the palate or the reed or mouthpiece. A silent "tee" is made when the tongue strikes the reed or roof of the mouth causing a slight breach in the air flow through the instrument. If a more soft tone is desired, the syllable "da" (as in ''dou''ble) is preferred. The technique also works for whistling. Tonguing also refers to articulation, which is how a musician begins the note (punchy, legato, or a breath attack) and how the note is released (air release, tongued release, etc.) For wind players, articulation is commonly spoken of in terms of tonguing because the tongue is used to stop and allow air to flow in the mouth. Tonguing does not apply to non wind instruments, but articulation does apply to all instruments. An alteration called "double-tonguing" or "double-articulation" is used when the music being performed has many rapid notes in succession too fast for regular articulation. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hemiola
In music, hemiola (also hemiolia) is the ratio 3:2. The equivalent Latin term is sesquialtera. In rhythm, ''hemiola'' refers to three beats of equal value in the time normally occupied by two beats. In pitch, ''hemiola'' refers to the interval of a perfect fifth. Etymology The word ''hemiola'' comes from the Greek adjective ἡμιόλιος, ''hemiolios'', meaning "containing one and a half," "half as much again," "in the ratio of one and a half to one (3:2), as in musical sounds." The words "hemiola" and "sesquialtera" both signify the ratio 3:2, and in music were first used to describe relations of pitch. Dividing the string of a monochord in this ratio produces the interval of a perfect fifth. Beginning in the 15th century, both words were also used to describe rhythmic relationships, specifically the substitution (usually through the use of coloration—red notes in place of black ones, or black in place of "white", hollow noteheads) of three imperfect notes (divided into t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ewe Drumming
Ewe drumming refers to the drumming Musical ensemble, ensembles of the Ewe people of Ghana, Togo, and Benin. The Ewe are known for their experience in drumming throughout West Africa. The sophisticated cross rhythms and polyrhythms in Ewe drumming are similar to those in Afro-Caribbean music and late jazz. The original purpose of Ewe drumming were sung or performed by warriors. Now the songs and performed to celebrate or for recreational use. For example, Agbadza was originally used as a warrior dance but is now used to celebrate events. Variation Ewe drumming is very diverse and is played in many slightly different ways. For example, an Ewe musician from Togo may play a piece or instrument slightly differently from the way a Ewe from Ghana does. The Fon people of Benin are another example of this variation. They construct their villages, towns, and cities on water, and because of this, they do not play the same upright drums other Ewe play. Instead, they place large gourds on wate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Xylophone
The xylophone (; ) is a musical instrument in the percussion family that consists of wooden bars struck by mallets. Each bar is an idiophone tuned to a pitch of a musical scale, whether pentatonic or heptatonic in the case of many African and Asian instruments, diatonic in many western children's instruments, or chromatic for orchestral use. The term ''xylophone'' may be used generally, to include all such instruments such as the marimba, balafon and even the semantron. However, in the orchestra, the term ''xylophone'' refers specifically to a chromatic instrument of somewhat higher pitch range and drier timbre than the marimba, and these two instruments should not be confused. A person who plays the xylophone is known as a ''xylophonist'' or simply a ''xylophone player''. The term is also popularly used to refer to similar instruments of the lithophone and metallophone types. For example, the Pixiphone and many similar toys described by the makers as xylophones have b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sub-Saharan African Music Traditions
In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. The beats and sounds of the drum are used in communication as well as in cultural expression. African dances are largely participatory: there are traditionally no barriers between dancers and onlookers except with regard to spiritual, religious and initiation dances. Even ritual dances often have a time when spectators participate. Dances help people work, mature, praise or criticize members of the community, celebrate festivals and funerals, compete, recite history, proverbs and poetry and encounter gods. They inculcate social patterns and values. Many dances are performed by only males or females. Dances are often segregated by gender, reinforcing ge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cross Rhythms
Cross Rhythms is a Christian media organisation based in Stoke-on-Trent, England. It operates an FM and online radio station, produces radio shows sent internationally, and its website has resources about contemporary Christian music. History 1983–2002 In 1983, Chris Cole started a 30-minute weekly Christian music radio show on Plymouth Sound FM, an Independent Local Radio station in Plymouth. Originally titled ''The Solid Rock of Jesus Christ'', the programme aired on Sunday evenings. It grew into a one-hour programme, and became one of the most listened to programmes in its time slot in South Devon. The show continued until 1996. In May 1990, music journalist Tony Cummings founded the magazine '' Cross Rhythms''. In 1991, publication of the magazine was taken over by Cole's publishing company, Cornerstone House. That same year, Cross Rhythms took over the organisation and management, of what had previously been the Umberleigh Rock Gospel Festival. The event was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arthur Morris Jones
Arthur Morris Jones (1889–1980), was an English missionary and musicologist who worked in Zambia during the early 20th century. Jones became a priest in 1923 and served as a curate in Kent before travelling to Northern Rhodesia (now Zambia) in 1929 with the Universities’ Mission to Central Africa. He was stationed at St Mark's School in Mapanza, a community in the Southern Province of present-day Zambia (called Rhodesia at the time). He is best known for his ethnomusicological work, particularly his two-volume '' Studies in African Music''. He made an important contribution to the literature with his work in African rhythmic structure. In 1934 he introduced the technical term ''cross-rhythm'': Formulae of movement, phrases or motifs are combined in that way, that their starting place, main accents and, or beat reference points "cross", that is, that they do not coincide. In ''Studies in African Music'' he says that "African children love to turn any physical movement in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Balafon
The balafon (pronounced , or, by analogy with ''xylophone'' etc., ) is a gourd-resonated xylophone, a type of struck idiophone. It is closely associated with the neighbouring Mandé peoples, Mandé, Bwaba Bobo people, Bobo, Senufo people, Senoufo and Gur languages, Gur peoples of West Africa, particularly the Guinean branch of the Mandinka people, Mandinka ethnic group, but is now found across West Africa from Guinea, Burkina Faso, Mali. Its common name, ''balafon'', is likely a European coinage combining its Mandinka language, Mandinka name ''bala'' () with the word ''fôn'' () 'to speak' or the Greek root ''phono''. History Believed to have been developed independently of the Southern African and South American instrument now called the marimba, oral histories of the balafon date it to at least the rise of the Mali Empire in the 12th century CE. Balafon is a Manding languages, Manding name, but variations exist across West Africa, including the ''balangi'' in Sierra Leone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
