Bembé, Attis, Orpheus
A couple of years ago, I wrote about the off-beat placement of song syllables (and other other notes) in popular music of the past century. This can be seen as the displacement of events from an underlyingly regular meter, but often it can also be seen as a basic metrical pattern in which events don't fall at evenly-spaced time intervals ("Rock syncopation: stress shifts or polyrhythms?", 11/26/2007). The example that I looked at was a maximally simple one — the 3+3+2=4+4 "habanera" rhythm that rocked America in the late 19th century.
Today's post is about some rhythms that arrange events in a recurring cycle of 12 time-units. And although I'll start with another Afro-Cuban pattern, the Bembé, today's analysis will look at connections in renaissance Italy and ancient Rome, rather than in 20th-century America. (Attention conservation notice: unless you're interested in geeking out on a detailed analysis of metrical patterns, you'll probably want to skip onwards to some of our other fine posts…)
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