African-based rhythms though... are not poly-metric.
What is up-to-date in countries that have more than "just" one kind of basis for playing, be it five-line notation for pitch or notation for other musical parameter leads to an ever-changing mixture of differently educated musicians.
Joseph wrote:From Chernoff
"African music is often characterized as polymetric, because, in contrast to most Western music, African music cannot be notated without assigning different meters to the different instruments of an ensemble.
Cross rhythms are rhythms which alternately clash and sync with each other within the same metric framework?
Poly-rhythms are rhythms playing simultaneously, but in different metric frameworks?
The two meters can be in their own "universes" so to speak,
Being polymetric in the strict sense, these works can only be performed with several simultaneous conductors.
zumbi wrote:david, your scholarship is impressing but sometimes the zeal for definition and classification makes understanding things more complex than it could otherwise be.
zumbi wrote:it was a general statement, david, not referred to anything you wrote in particular.
written language (like notated music) is just a conventional approximation of a description of reality. it is not and will never be a substitute for the actual experience of said reality.
so we are going in circle around tmy main (original) point: notation, and by extension descriptive approach, ALONE, will not deliver
davidpenalosa wrote:It's true there are many amazing blind musicians. I'm not aware of any deaf musicians on the other hand....
Mike wrote:Well, actually I followed your discussion intensely, but I didn´t dare interrupting you - I simply was afraid of being chopped into pieces
Textiling notation provides a visual correlate to this life-wave, but its static nature cannot express music's
ever-changing quality, so we reach the end of this musicological juncture.
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