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Cross-beat
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece.
The term "cross rhythm" was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980), who, with Klaus Wachsmann, took-up extended residence in Zambia and Uganda, respectively, as missionaries, educators, musicologists, and museologists.
Cross-rhythm. A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallenged.
— The New Harvard Dictionary of Music (1986: 216)
African cross-rhythm is most prevalent within the greater Niger-Congo linguistic group, which dominates the continent south of the Sahara Desert. (Kubik, p. 58) Cross-rhythm was first identified as the basis of sub-Saharan rhythm by A.M. Jones. Later, the concept was more fully explained in the lectures of Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of David Locke. Jones observes that the shared rhythmic principles of Sub-Saharan African music traditions constitute one main system. Similarly, Ladzekpo affirms the profound homogeneity of sub-Saharan African rhythmic principles. In Sub-Saharan African music traditions (and many of the diaspora musics) cross-rhythm is the generating principle; the meter is in a permanent state of contradiction.
At the center of a core of rhythmic traditions and composition is the technique of cross-rhythm. The technique of cross-rhythm is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter ... By the very nature of the desired resultant rhythm, the main beat scheme cannot be separated from the secondary beat scheme. It is the interplay of the two elements that produces the cross-rhythmic texture.
— Ladzekpo, a: "Myth"
From the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the main beats, prepares one for maintaining a life-purpose while dealing with life’s challenges. Many sub-Saharan languages do not have a word for rhythm, or even music. From the African viewpoint, the rhythms represent the very fabric of life itself; they are an embodiment of the people, symbolizing interdependence in human relationships.
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Cross-beat
In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece.
The term "cross rhythm" was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980), who, with Klaus Wachsmann, took-up extended residence in Zambia and Uganda, respectively, as missionaries, educators, musicologists, and museologists.
Cross-rhythm. A rhythm in which the regular pattern of accents of the prevailing meter is contradicted by a conflicting pattern and not merely a momentary displacement that leaves the prevailing meter fundamentally unchallenged.
— The New Harvard Dictionary of Music (1986: 216)
African cross-rhythm is most prevalent within the greater Niger-Congo linguistic group, which dominates the continent south of the Sahara Desert. (Kubik, p. 58) Cross-rhythm was first identified as the basis of sub-Saharan rhythm by A.M. Jones. Later, the concept was more fully explained in the lectures of Ewe master drummer and scholar C.K. Ladzekpo, and in the writings of David Locke. Jones observes that the shared rhythmic principles of Sub-Saharan African music traditions constitute one main system. Similarly, Ladzekpo affirms the profound homogeneity of sub-Saharan African rhythmic principles. In Sub-Saharan African music traditions (and many of the diaspora musics) cross-rhythm is the generating principle; the meter is in a permanent state of contradiction.
At the center of a core of rhythmic traditions and composition is the technique of cross-rhythm. The technique of cross-rhythm is a simultaneous use of contrasting rhythmic patterns within the same scheme of accents or meter ... By the very nature of the desired resultant rhythm, the main beat scheme cannot be separated from the secondary beat scheme. It is the interplay of the two elements that produces the cross-rhythmic texture.
— Ladzekpo, a: "Myth"
From the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the main beats, prepares one for maintaining a life-purpose while dealing with life’s challenges. Many sub-Saharan languages do not have a word for rhythm, or even music. From the African viewpoint, the rhythms represent the very fabric of life itself; they are an embodiment of the people, symbolizing interdependence in human relationships.