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n. Music
The use or an instance of simultaneous contrasting rhythms.

pol′y·rhyth′mic adj.


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


(ˈpɒl iˌrɪð əm)

the simultaneous juxtaposition of two or more contrasting rhythms in music.
pol`y•rhyth′mic, adj.
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References in periodicals archive ?
The regional dances, with their luxuriant freedom in the pelvis and spine, isolations in the body, and percussive polyrhythms, would later be codified into Dunham technique, a studio curriculum she insisted required study as thorough as that of ballet.
It starts out in unison and slowly develops through layering and use of polyrhythms.
POLYRHYTHMS The foundation of rhythmic music across all cultures.
From April 7 to 9, Riga's neo-baroque, neo-Rococo Splendid Palace will resound with jazz chords, improvisation, polyrhythms, syncopation, blue notes, and New and Old World harmonies as the world's finest young jazz artists descend on the Latvian capital to compete in Riga Jazz Stage 2016.
There is an interesting illustration of how the Arditti Quartet, long associated with Ferneyhough's music, deconstructs and deciphers seemingly untenable polyrhythms in the Sixth String Quartet (p.
The book is organized into 22 chapters covering everything from notation and polyrhythms to rhythmic transposition, as well as ideas on how to apply these concepts to skills like composing, arranging and improvising.
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.
The piano parts are quite virtuosic, but not in complex ways, except for some passages in "The Concert" where polyrhythms at a fast tempo are a challenge.
While the book provides a thoughtful and thorough critique of discourses that alternatively lionize speed or slowness and directs us to the complicated polyrhythms that construct our everyday lives, the types of interventions that this understanding make possible are a little unclear.
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.
Throughout, all of the rhythmic figures are complicated only by the honest representation of the rhythm of the text, so although occasionally notated as polyrhythms (such as four against three), they all feel very natural.
The other part of the stigma centered on the African origins of the musicians with their differences in musical forms; their use of polyrhythms, call-and-response structures, and masquerade.