A Cross-Cultural Approach to Metro-Rhythmic Patterns

Abstract

t is obvious that application of specifically Western concepts to non-Western musical styles will result in a more or less distorted assessment of the musics involved. In the case of metro-rhythmic patterns the situation becomes all the more disturbing since, as we shall see, even with regard to our own music certain aspects of the current views on the nature of metrorhythmic structure are quite controversial. Therefore, essential precondition for adequate broadly comparative metro-rhythmic analysis is a re-evaluation of these approaches, designed to pave the way for appropriate crosscultural investigation of metro-rhythmic patterns. In his book Rhythm and Tempo (1953), Curt Sachs refers to de Groot's statement, made 40 years ago, that the term has been used in at least fifty different meanings, not to mention the conflicting interpretations of the term metre and of its correlation with rhythm. Sachs complains confusion is terrifying indeed and Paul Creston, in his Principles of Rhythm comments, must be admitted, there is confusion; and a sampling of the usual definitions of the term reveals distorted logic, vague fantasy or downright ignorance. He qualifies as probably the masterpiece of intellectual egotism G. Egerton Lowe's pronouncement, published in Musical Times, July, 1942, which states: term Rhythm is constantly erroneously applied. It has only one true meaning in music-the number of bars in a phrase. Nevertheless, since Plato's lucid definition of rhythm as kineseos taxis, an order of movement, much thought has been devoted to a clarification of this elusive matter. Why then is there admittedly such a degree of confusion? It seems to me that the causes are to be traced to certain inappropriate approaches and to certain misconceptions upon which a great deal of serious investigation has been based. The study of the correlation between music and words both in Western and non-Western cultures represents undoubtedly important field of investigation. As far as metro-rhythmic structure is concerned, music and text may display a certain degree of affinity; but we should keep in mind that musical structure is often not only far more complex than textual but also shows essential specific characteristics not present in the text. Therefore, the use by some scholars of a number of ancient Greek poetic feet as a tool for analysis of both instrumental and vocal music can hardly be

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