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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]
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]
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.
A test strip is a band/piece/strip of paper or other material used for biological testing. Specifically, test strip may refer to: Food testing strips; Glucose meter test strip; Lipolysis test strip; Urine test strip; Universal indicator pH test strips; It may also refer to: Teststrip, an art gallery in Auckland, New Zealand
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 ...
Most time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value that the signature is counting. This number is always a power of 2 (unless the time signature is irrational), usually 2, 4 or 8, but less often 16 is also used, usually in Baroque music. 2 corresponds to the half note (minim), 4 to the quarter note (crotchet), 8 to the eighth ...
Triple meter, such as 3 4, is often counted 1 2 3, while compound meter, such as 6 8, is often counted in two and subdivided "One-and-ah-Two-and-ah" [2] but may be articulated as "One-la-lee-Two-la-lee". [2] For each subdivision employed a new syllable is used. For example, sixteenth notes in 4
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:
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