Latest News for: tresillo (rhythm)
- 1
Tresillo is a more basic form of the rhythmic figure known as the habanera. It is the most fundamental duple-pulse rhythmic cell in Cuban and other Latin American musics. Tresillo was introduced in the New World through the Atlantic slave trade during the Colonial period. The pattern is also the most fundamental and most prevalent duple-pulse rhythmic cell in Sub-Saharan African music traditions. Anglicized pronunciation: tray-see-yo.
The cinquillo pattern is another common embellishment of tresillo. Cinquillo is used frequently in the Cuban contradanza (the "habanera") and the danzón.
Tresillo is a Spanish word meaning ‘triplet’—three equal notes within the same time span normally occupied by two notes. In its formal usage, tresillo refers to a subdivision of the beat that does not normally occur within the given structure. Therefore, it is indicated by the number 3 (in brackets) as shown below. The top measure divides each beat in three: one, and, ah, two, and, ah. The bottom measure divides the span of two main beats by three (hemiola): one, one-ah, two-and.
Rhythm (from Greek ῥυθμός, rhythmos, "any regular recurring motion, symmetry" (Liddell and Scott 1996)) generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions" (Anon. 1971, 2537). This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to millions of years.
In the performance arts rhythm is the timing of events on a human scale; of musical sounds and silences, of the steps of a dance, or the meter of spoken language and poetry. Rhythm may also refer to visual presentation, as "timed movement through space" (Jirousek 1995, ) and a common language of pattern unites rhythm with geometry. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston (Yeston 1976), Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty (Hasty 1997), Godfried Toussaint (Toussaint 2005), William Rothstein, and Joel Lester (Lester 1986).
Isochrony is the postulated rhythmic division of time into equal portions by a language. Rhythm is an aspect of prosody, others being intonation, stress and tempo of speech.
Three alternative ways in which a language can divide time are postulated:
The idea as such was first expressed by Kenneth L. Pike in 1945, though the concept of language naturally occurring in chronologically and rhythmically equal measures is found at least as early as 1775 (in Prosodia Rationalis). This has implications for language typology: D. Abercrombie claimed "As far as is known, every language in the world is spoken with one kind of rhythm or with the other ... French, Telugu and Yoruba ... are syllable-timed languages, ... English, Russian and Arabic ... are stress-timed languages'. While many linguists find the idea of different rhythm types appealing, empirical studies have not been able to find acoustic correlates of the postulated types, calling into question the validity of these types.
HIDDEN ERROR: Usage of "children" is not recognized
Luke Vibert is a British recording artist and producer known for his work in many subgenres of electronic music. Vibert began his musical career as a member of the Hate Brothers, only later branching out into his own compositions. Vibert has recorded under several different aliases, most notably Plug and Wagon Christ.
Vibert's first musical output was in a variety of bands, including a punk act called Five Minute Fashion and later a Beastie Boys-esque group called the Hate Brothers, but he quickly moved into the low-cost environment of solo electronic composition. Although Vibert originally had no intention of ever releasing any of the recordings, his reputation as a creative young voice in his field created a demand for his work.
Vibert originally became involved in electronic music through his interest in hip-hop as well as the environment of bedroom experimentalism associated with the swelling late 1980s UK dance scene.
