Amalgama vs. Aksak. About the Conceptualization of Asymmetric Rhythm in Popular Music
Every musical activity, and the elements that take part in its social construction, are closely related to the culture in which they appear. The study of these elements can lead us to a better understanding of the way music works as a human activity and, also, it can help us notice the contrasts bet...
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| Autores principales: | , |
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2016
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7511 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7511_oai |
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| Sumario: | Every musical activity, and the elements that take part in its social construction, are closely related to the culture in which they appear. The study of these elements can lead us to a better understanding of the way music works as a human activity and, also, it can help us notice the contrasts between its various ways of conceptualization. The analysis of rhythm, and more precisely, of the so called asymmetric rhythm, is particularly interesting because, after reviewing the different theories that have been developed in the academic field of music, we reach different points of view that are linked to different musicological models and, therefore, can even be in conflict. Taking the approaches of ethnomusicology as a starting point, this work aims to clarify the links. |
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