polyrhythm


Also found in: Encyclopedia, Wikipedia.

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.
Mentioned in ?
References in periodicals archive ?
I know that, scientifically, once a person learns something called polyrhythm, which is inherent in prog music, the person needs that kind of music in life.
Essentially, they are etudes focusing on problems different to those that instructive compositions usually target: rhythmic cycles and polyrhythm, work with the sound mass, purity of articulation and the use of the phraseology of a particular style.
This drama takes place over a complex polyrhythm typical to the accordion-led tipica music that listeners outside of Panama are likely unfamiliar with.
While watching the men perform, my feet started moving to the polyrhythm of talking drums.
Other polyrhythm phrases contributed were for teaching three against two 'Eas-ter bun-ny', four against three 'eat the big fat chicken', and four against five 'how did we meet in our past life' (D).
But the program can tell at any place in the middle of this complicated polyrhythm exactly where it needs to be.
The French band, which played a mix of European electro-beat, West African polyrhythm, haunting Arabic and Middle Eastern melodies and all-stops-out rock, underscored that it knew no borders.
In the 1890s and the first decade of the twentieth century, he also pioneered the use of intricate polyrhythm and polymeter, which have two or more rhythms or meters running simultaneously, atonality, chance effects, musical collage, and spatial music (in which performers are situated in different places, with different conductors).
Indeed, when informed by the "sense" of "polyrhythm" that Welsh Asante lists as first in her seven sense of the West African dance aesthetic, these "rhythms of reciprocity" function in a similar way as polyrhythm functions in West African dance (1996).
We can hear the various economic, social, cultural and religious patterns as a part of the polyrhythm of our city.
This newest undertaking, however, posed several immediate practical concerns, foremost among which was whether the ensemble could grasp the polyrhythm between reong and gangsa parts.