Percussive
instruments, objects that produce sound upon
being
struck, are the most primitive and hence oldest of
our music-making tools. And
yet, or perhaps as a consequence, their place in the
history of Western classical music has been far from
central or influential.
As a corollary, rhythm has been the least creatively explored
element in the development of Western music.
We have Pythagoras and his fascination for mathematical
invariance to blame for this neglect!
His sixth century B.C. invention of the octave scale based on
the definition of intervals by integer ratios is the keystone
of
both acoustical science and Western classical
music.
While the magnitude, potency and enduring value of these
achievements are obvious- this webzine squats on
the shoulders of the giants that crafted them - it may
be argued
that their heavy reliance on tone and its
richness has eclipsed the vibrant possibilities of rhythm
and meter.
Rhythm
is tactile and belongs to the realm of time.
Pitch is perfect and tonal relationships are essentially
immutable, static. But time flows, or stands
still.
Inextricably
immersed in time, we experience it linearly or
otherwise. Time, impermanent yet infinite in expanse
and
divisibility, is ultimately untameable, beyond rationalization.
Anyone who has had to sight read a piece
of contemporary music has surely noticed
how western musical notation quite efficiently codifies
melody and harmony, or the lack of such,
but does a relatively
poor job of depicting
complex rhythms and uneven
time structures.