← 140 | 141 → Conclusion
This chapter summarizes the findings of the rock pattern research with particular reference to The Rhythm of Rock chapter. Theoreticians agree on the basic premise that rhythm is a specific element in jazz music, and by extension must also be a specific element in rock music.
When researching rhythm as a driving movement with its own inner organisation62, in jazz and rock music particular aspects need to be considered when analysing their rhythm patterns.
Firstly, rhythm is associated with various musical and non-musical attributes, which explains its differing roles in musical cultures around the world.63 It also means that research into rhythm needs to combine an analysis of specific musical characteristics (such as musical thinking, and specific perceptions of time in music and its organisation) with a study of the psychological (emotionality in rhythm), acoustic (physical measurability of time) and sociological factors (including the close relationship of the rhythm with geographically definied societies64). However, comprehensive rhythm analysis, when using specialised computer or statistical methods, requires a distancing from the larger aspects to allow focusing on the measurable specifics.
← 141 | 142 → A complementarity of rhythm65, polyrhythm66 and polymetrical part settings67 in either rock or jazz will also contribute to a perception of a complex rhythm. The beat-off beat principle, complementarity, polyrhythm, and polymetrics are at the origin of rhythm patterns. However, the question remains as to whether such patterns are rhythm archetypes specific to rock or jazz. According to Ivan Poledňák, who follows Carl...
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