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In music, the terms additive and divisive are used to distinguish two types of both rhythm and meter: . A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units.
Download as PDF; Printable version; In other projects ... Additive rhythm and divisive rhythm; ... Free time (music) G.
Download as PDF; Printable version; In other projects Appearance. move to sidebar hide. From Wikipedia, the free encyclopedia. Redirect page. Redirect to: Additive ...
8 (or, more commonly, 2 4) is divisive while 5 8 is additive. The terms additive and divisive originate with Curt Sachs's book Rhythm and Tempo (1953), [3] while the term aksak rhythm was introduced for the former concept at about the same time by Constantin Brăiloiu, in agreement with the Turkish musicologist Ahmet Adnan Saygun. [4]
Metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality: [14] Metrical rhythm , by far the most common class in Western music, is where each time value is a multiple or fraction of a fixed unit (beat, see paragraph below), and normal accents reoccur regularly ...
Sub-Saharan African rhythm is divisive rhythm. However, perhaps because of their seemingly asymmetric structure, bell patterns are sometimes perceived in an additive rhythmic form. For example, Justin London describes the five-stroke version of the standard pattern as "2-2-3-2-3", [ 39 ] while Godfried Toussaint describes the seven-stroke form ...
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These include the septuple Tripuṭa, to which is added a Cāpu (fast) version of it, called miśra Cāpu (3 + 2 + 2, or 3 + 4). Miśra Cāpu is one of the most characteristic rhythms in the music of southern India, accounting for well over half of the padam compositions by the 17th-century composer Kshetrayya , and occurs in some of the best ...
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