polyrhythm

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pol·y·rhythm

 (pŏl′ē-rĭth′əm)
n. Music
The use or an instance of simultaneous contrasting rhythms.

pol′y·rhyth′mic adj.

polyrhythm

(ˈpɒlɪˌrɪðəm)
n
(Music, other) music a style of composition in which each part exhibits different rhythms

pol•y•rhythm

(ˈpɒl iˌrɪð əm)

n.
the simultaneous juxtaposition of two or more contrasting rhythms in music.
pol`y•rhyth′mic, adj.
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References in periodicals archive ?
Despite being particularly complex in the way it is written (as it includes polyrhythms of 19, 17 or 27 beats for instance), we (the three musicians surrounding me and myself) have arranged this music in a way that the heaviness of the writing would never be heard.
In my Double Concerto, I had found an ending that involved an oscillating, wavelike fading in and out of different sonorities and characters, making polyrhythms out of whole systems of musical technique that I wanted to carry out in a full-length piece.
They provide the strong yet suspended framework on which popular dance styles build their polyrhythms.
This change might indicate that Calvesi became more metrically secure, or perhaps Salieri's willingness to experiment with polyrhythms.
Influenced at an early age by folklore and Byzantine music, he has developed a wide range of composing techniques such as polyrhythms, improvisation, harmony-based scales and microtones.
Infectious polyrhythms formed a jubilant spine to the euphoric melody, making it a standout.
With its driving, complex polyrhythms, soaring melodies and spiritual depth, African music [ETH] either from Africa or from various points in the African diaspora [ETH] has led musical movements for a century.
The conductor also demonstrated an adept grasp of Bartok's complex polyrhythms - but everything was oversmooth.
The challenges of those polyrhythms help a dancer in learning how to move through space," he observes, adding that tap can even help with ballet because of the quick rhythmic steps in the legs, ankles, and lower body.
Williams played on classic albums such as Miles Smiles (1967), Miles in the Sky (1968) and In a Silent Way (1969), and was described in Davis' autobiography as "the centre that the group's sound revolved around" with his inventive polyrhythms and a modal approach that helped create a fusion of jazz and rock.
The four musicians come from wildly different musical places, from the experimental polyrhythms of Stravinsky to the more prosaic and predictable punk.
The melodic freedom found within the music of jazz with its intricate and complex polyrhythms and repetitions allowed for a freer dance expression as well.