Additive rhythm and divisive rhythm
In music designate divisiv and additively different types of rhythm and meter, and their grouping structure. The terms appear for the first time in Curt Sachs ' book Rhythm and Tempo in 1953.
A divisiver rhythm is a rhythm in which the notes will be divided into smaller note values or vice versa increases in longer note values , while the entire rhythm remains the same length.
In contrast is the additive rhythm (metric) constructed by smaller rhythms of different lengths are concatenated, so for example a 4 /4 beat generated by the concatenation of a 3/8, a 2/8 and a 3/8 bar.
The terms found in ethnomusicological research and theory to their use in particular those of African rhythm. [Note 1]
Divisiver rhythm
Divisiver rhythm shares (halves, quarters, etc.) to change a given rhythm in small groups, without the underlying meter. Four quarters are divided, for example, in eight eighths. The smaller divisive groups rely on no other meter. In European signatures as, for example, districts are divided into eighths, without changing a four- four time, even if an eighth should be replaced by a break. In general, a magnification of rhythm is meant by that, so four quarters, two half. That will probably also referred to as multiplicative.
One example is the double offbeat rhythms of reggae, arising from the division of a simple off-beats.
Additive rhythm
Additive rhythm (also shift in emphasis towards the accents of meter called ) builds sequentially now within a metrical with groups of different lengths on a rhythm which may very well be contradictory to the underlying meter. This is done in time, between the clock or clock groups.
Example, the ragtime, especially the Maple Leaf Rag and Easy Winners.
A four- quarter time can be divided into 3 3 2/8 groups, which contradicts with the underlying emphasis on the four quarter clock, as it is emphasized in contrast to one and three, not on " and two " and four. In additive form these emphases are but the emphasis. See clave.
Remark
He is asymmetric or odd, not when you conceives it as 3 2 3 grouping. Folklore, Bela Bartok or Philip Glass, with its minimalist music using additive rhythms. If such rhythms of different groups and lengths against each other ( out of phase, with a very slow beat ) played arises polymetric, possibly sometimes a cross rhythm.