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Mizan (Arabic: ميزان, lit. 'balance') is a concept in the Quran, which has been described as "the principle of the middle path" [1] and "the overarching divine principle for organizing our universe". [2] Azizah Y. al-Hibri argues that Mizan, as the "divine scale", could be transformed into Adl in human realm. [2]
A rhythmic pattern or cycle in Arabic music is called a "wazn" (Arabic: وزن; plural أوزان / awzān), literally a "measure". [1] A wazn is only used in musical genres with a fixed rhythmic-temporal organization including recurring measures, motifs, and meter or pulse. [2]
Media in category "Rhythm and meter" The following 3 files are in this category, out of 3 total. Nono - Variazioni canoniche, rhythmic values row.png 273 × 81; 2 KB
Lyric setting is the process in songwriting of placing textual content in the context of musical rhythm, in which the lyrical meter and musical rhythm are in proper alignment as to preserve the natural shape of the language and promote prosody.
When applied to meters, the terms perfect and imperfect are sometimes used as the equivalents of divisive and additive, respectively . [2] Additive and divisive meters. For example, 4 may be evenly divided by 2 or reached by adding 2 + 2. In contrast, 5 is only evenly divisible by 5 and 1 and may be reached by adding 2 or 3. Thus, 4 8 (or, more ...
Examples of this kind of treatment of the figures contained in subjects are very numerous in classical instrumental music, in various degrees of refinement and ingenuity; as in the 1st movement of Mozart's G minor Symphony; in the same movement of Beethoven's 8th Symphony; and in a large number of Bach's fugues, as for instance Nos. 2, 7, 16 ...
The 13-syllable meter of the Persian ruba'i (quatrain) is also traditionally analysed as if it was a variety of the hazaj meter, [19] but in reality it is quite different, and evidently has no connection with the meter described above. [20] The meter, which has two versions, differing in the reversal of the 6th and 7th syllables, is as follows:
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 ...