rhythm - Types

A pattern marked by the regular recurrence of elements, found in speech, music, dance, and other forms of behaviour, and more generally in the cyclical changes of nature (such as the seasons). In speech, rhythm is most noticeable in the metrical patterns of poetry. In music, it is the constituent that has to do with metre, note-lengths, and accent rather than with pitch. Music is said to be ‘strongly rhythmic’ when the basic pulse is firmly emphasized (as in much pop music) or when a rhythmic pattern is insistently repeated (such as ‘Mars’ from Holst's The Planets); but rhythmic subtlety in music depends more on the play between an established pulse and the melodic or harmonic accents that disturb it, or between one rhythmic pattern and another (cross-rhythm).

For the popular tamil film, Rhythm starring Arjun and Jyothika click here

Rhythm (Greek ῥυθμός = 'flow', or in Modern Greek, 'style') is the variation of the accentuation of sounds or other events over time. "Rhythm involves patterns of duration that are phenomenally present in the music" with duration perceived by interonset interval (London 2004, p.4).

The study of rhythm, stress, and pitch in speech is called prosody; All musicians, instrumentalists and vocalists, work with rhythm, but it is often considered the primary domain of drummers and percussionists.

Types

In Western music, rhythms are usually arranged with respect to a time signature, partially signifying a meter.

Syncopated rhythms are rhythms that accent parts of the beat not already stressed by counting. Playing simultaneous rhythms in more than one time signature is called polymeter. In recent years, rhythm and meter have become an important area of research among music scholars.

Some genres of music make different use of rhythm than others. Most Western music is based on divisive rhythm, while non-Western music uses more additive rhythm. African music makes heavy use of polyrhythms, and Indian music uses complex cycles such as 7 and 13, while Balinese music often uses complex interlocking rhythms. In the 20th century, composers like Igor Stravinsky, Philip Glass, and Steve Reich wrote more rhythmically complex music using odd meters, and techniques such as phasing and additive rhythm. At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity. This use may be explained by a comment of John Cage's where he notes that regular rhythms cause sounds to be heard as a group rather than individually; the irregular rhythms highlight the rapidly changing pitch relationships that would otherwise be subsumed into irrelevant rhythmic groupings (Sandow 2004, p.257). LaMonte Young also wrote music in which the sense of a regular beat is absent because the music consists only of long sustained tones (drones). In the 1930s, Henry Cowell wrote music involving multiple simultaneous periodic rhythms and collaborated with Léon Theremin to invent the Rhythmicon, the first electronic rhythm machine, in order to perform them.

Clave is a common underlying rhythm in African, Cuban music, and Brazilian music.

A rhythm section generally consists of percussion instruments, and possibly chordal instruments (e.g., guitar, banjo) and keyboard instruments, such as piano (which, by the way, may be classified as any of these three types of instruments). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive.

A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et.

In recent years, music theorists have attempted to explain connections between rhythm, meter, and the broad structure and organization of sound events in music. Some have suggested that rhythm (and its essential relationship to the temporal aspect of sound) may in fact be the most fundamental aspect of music. 3), for example, notes that "Among the attributes of rhythm we might include continuity or flow, articulation, regularity, proportion, repetition, pattern, alluring form or shape, expressive gesture, animation, and motion (or at least the semblance of motion). "The Stratification of Musical Rhythm". "Rhythm and Self-Consciousness: New Ideals for an Electronic Civilization". "Structure and interpretation of rhythm and timing."