Académique Documents
Professionnel Documents
Culture Documents
(Note: audio, video, and other interactive examples are only available online)
http://www.mtosmt.org/issues/mto.10.16.4/mto.10.16.4.burns.php
Figure 1. System of rhythmic gravity
Figure 5. The kagan drum part from Afa, transcribed using TUBS notation
Figure 6. Interpretation of kagan drum from the Afa dance using crossrhythm
Figure 27. The presence of the large interweave within the southern Ewe rhythmic background
Figure 28. Use of RA 3a in Ewe changing signals
Figure 29. Use of RA 3a in the bala arrangement of Kulanjan
Figure 30. Use of RA 3a and 3b in the matepe piece Msengu (2)
Figure 31. Interpretation of Msengu 2 using hemiola and cross-rhythm
Figure 32. Use of RA 3a in the kushaura part for Nyamaropa
Figure 33. Example of RA 3a and RA 3b in the mbira parts for Nyamaropa
Figure 34. Use of RA 3a in the basic pattern of the manman drum in Yavanlou
Figure 35. Use of RA 3 as a lead variation in the Arar dance Sabalu III
Figure 36. Use of all three interweaving archetypes in the toque for Chango
Figure 37. The ups archetype (RA 4) combined with the standard pattern
Figure 38. The ups archetype in the Ewe Afa dance
Figure 39. Transcription of Lissahoun support instruments
Figure 40. Transcription of the djembe and dunun parts from the dance Soli
Figure 41. Use of the ups archetype in the mbira piece Chakwi
Figure 42. Use of RA 4 in the Congolese guitar piece Mwami