Surendran recorded two solo CDs in Johannesburg, Ready, Steady, Go! (1994) and Rough’n Reddy (1996), wonderfully illustrate his  crossover style, one of the conventions of which (as with playing Chopin) is maintaining a steady beat in the left hand “while the right hand moves rhapsodically, and with possibilities of rubato, above it” (‘Composer’s Note’).

Glossary of some important musical terms

Appendix A: Drum Kit Notation

Rhythmic Phrasing

South African and U.S.-American Rhythm Sections

Rhythm section

Behind the Beat”Feel

“The pulse, as it has just been defined, is notrhythm. Rhythm is created by a succession of sound events with contrastingfeatures. This contrast may be generated by accents, timbres and durations.”15This is how these three components operate:

ach dominant 7th in mm. 2–4 is subsequently expandedwith the ii≤57–V or ii7–V7 progressions, thereby doubling the rate of harmonic rhythm. Inm. 2, then, A7 becomes Emin7 (≤5)–A7; in m. 3, G7 turns into Dmin7–G7; and, in m. 4,F7 expands into Cmin7–F7.Comparing the second half of each A section shows that the first A is harmonically openand ends on a ii 7–V7 in m. 8, while the second and the last A feature closed harmoniccadences on I in m. 16 and m. 32, respectively. The bridge in mm. 17–24 has a symmetricalphrase structure and slower harmonic rhythm, which redirects the harmony from I to IVin m. 19 and, then, to ≤VI in m. 23. These key areas are tonicized with local ii7–V7progressions. The choice of these tonal areas corroborates an interesting fact about theoverall tonality of bebop tunes with respect to jazz traditions. The subdominant key areahas always had strong blues underpinnings and the flat submediant was one of the fewchromatic regions that ragtime or early jazz tunes allowed in their harmonic structure.3

SERIALIZED RHYTHM AND ISORHYTHM

WRITTEN RHYTHM AND PERCEIVED RHYTHM

With the exception of the blues, the rhythm changes progression is probably the mostimportant chord progression in jazz. The term “rhythm changes” refers to a 32-bar AABAform based on the harmonic structure of “I Got Rhythm” by George and Ira Gershwin.The song appeared in the Aarons and Freedley production Girl Crazy (1930) andoriginally featured a 34-bar AABA form with a two-bar extension in the last A section.The two-bar extension was eventually cut and the chord changes of the last A sectionreplicated those from the second A. A newly composed line based on the rhythm changesprogression is known as a contrafact. The enormous popularity of rhythm changes hasbeen well documented by an ever-increasing number of composed contrafacts andrecordings

The melody of “Moose the Mooche” confirms the premise that contrafacts are far moredexterous than the tunes from which they borrow their chord progressions. The melodicrhythm of “Moose the Mooche” is typical of bebop syntax. In m. 1, the Charleston rhythmis highlighted with an octave leap from F4 to F5. This rhythmic gesture appears in variousguises throughout the tune. Other rhythmic figures, such as 8th-note triplets in mm. 2and 8, and 16th-note triplet turn figures in mm. 14, 31, and 32, are idiomatic decorationsthat enhance the melodic surface.The presence of chromaticism is integral to the structure of bebop melodies. Some of thechromatic additions, such as the metrically accented C≥5s in mm. 2, 6, 26, and 30, makesubtle references to the blues. Other chromatic notes emphasize structurally importantharmonies. For instance, a carefully prepared A≤4 occupies beat 1 in mm. 5 and 29, andconstitutes the ≤7th of the underlying V7/IV harmony. The preparation of A≤4 in mm. 4and 28 features an upward stepwise ascent: F4–G4. The end of m. 12 illustrates anotheridiomatic preparation of this pitch. Here, the A≤4 anticipates V 7/IV by a half beat andoccurs at the “and” of 4 in m. 12. The downward tritone leap from D5–A≤4 furtherintensifies its status and injects yet another blues characteristic into the framework of themelody. Other chromatic notes, such as unaccented passing and pitch enclosures, haveprimarily ornamental functions. The chromatic passing note G≤4 in mm. 5 and 29 moves

Charlie Parker wrote a number of contrafacts on rhythm changes among which “Moosethe Mooche,” shown in Figure 19.1, is one of the most well known

Figure 12.2 illustrates the use of Model II. The R.H. distributes the Charleston rhythmat different locations within the measure

Chapter 2 identifies the main characteristics of jazz rhythm

Chapter 18 provides an analysis of Charlie Parker’s “Confirmation” as a representativecomposition from the Bebop Era. It offers a transcription of the solo by the pianist HankJone

Chapter 19 provides an analysis of Charlie Parker’s “Moose the Mooche” and Hank Jones’simprovised solo on the tune. This chapter also proposes a pedagogy of rhythm changesimprovisation.

Chapter 10 embarks on a study of improvisation. After some introductory remarks, theimportance of melody in improvisation is discussed. A few basic improvisational strategiesinvolving blues riffs, guide tones, and motifs are closely examined and implemented inpractice

Swing

Rhythmic and Harmonic Anticipation

Melodic Rhythm

SWING RHYTHMS

Syncopation

Figure 1.1

MELODIC RHYTHMS»

there is some evidence that microtiming patterns are genre-specific.

In the early 1940s, he said, many black bands — among them the newly-formed Harlem Swingsters as well as the veteran Jazz Maniacs — started playing in what he termed an African stomp style: We call it African stomp because there was this heavy bealt... There’s more of the beat of Africa in it... the heavy beat of the African, the Zulu traditional...’ The rhythm of this stomp, as he demonstrated it, is immediately recog- nisable as the typical indlamu rhythm:

What separates mbaqanga from previous styles is the straight beat. Previously urbanblack music was rhythmically swung in general

Mbaqanga incorporates the instrumentation and musical references of American big band jazzsuch as the use of swing rhythms, multiple brass and/or woodwind instruments (includingarranged parts for brass and woodwind sections), as well as aspects of marabi, mostnoticeably the I-IV-V progression and rhythms from traditional Zulu dances, notably indlamu(see Figure 1.2) (Sepuru, 2019:12; Ballantine, 2012:7, 80). Mbaqanga was also called ‘AfricanJazz’ in colloquial settings, as it contained more identifiable jazz elements than marabi.Stellenbosch University https://scholar.sun.ac.za

Cross-RhythmsJazz Aesthetics in African-American Literature

Circles and Time: A Theory of StructuralOrganization of Rhythm in African Music

MbaqangaAllen suggests that the term “mbaqanga”, which refers to the staple maize-meal diet of manyof the working-class musicians who played the music to earn a living wage, stems from “theneed to define and express an independent and valuable black South African urban identity”by renaming what had become generally referred to as African Jazz (Allen 1993, 26).Although the terms are sometimes used interchangeably by musicians and musicologists,Allen arguest that the style of mbaqanga developed in the 1960s is markedly different fromAfrican Jazz (Allen 1993, 26). As the name suggests, mbaqanga is viewed as a morecommercially appealing style than African Jazz and has been popularised in South Africa byartists such as Simon ‘Mahlatini’ Nkabinde and internationally by Paul Simon’s heavilymbaqanga influenced Graceland album. The roots of mbaqanga lie in traditional Zulu musicmixed with influences of marabi and kwela. Rhythmically, mbaqanga is, like tsaba tsaba,generally based on a straight-eighth note feel with a driving bass drum on all four downbeatsof the bar. This quarter note bass drum pattern, commonly referred to as “four on the floor”,is complemented by the hands performing various orchestrations of the rhythm below. Thisuniversal rhythm is known as the Charleston in American jazz, the Habanera in Cuban Latinmusic, and the Ghoema in South Africa.Figure 1.2 Charleston/ Habanera/ Ghoema rhythm

Swing Rhythm

GoEMA

Grooveindrumpatternsasa functionofbothrhythmicpropertiesandlisteners’attitudes

GrooveA Phenomenology of Rhythmic Nuance

Samba (jazz)

Downbeat delays are a key component of swingin jazz

Ontology of the Son

The Aesthetics of Sabor

From Afro-Cuban Rhythms to Latin Jazz

If

RHYTHM, METER, AND SWING

Rhythm Section

Rhythm

Ragtime

Expressive Microrhythm

Bossa nova

This rhythm is typically played with brushes on the snare drum. The first of the three notes is omitted on the snare drum as it is played by the bass drum in the four-note note “four-on-the-floor” pattern. This creates the feel of the groove as a heavyemphasis is placed on the eighth note after beat two and beat four of the bar. An additional snare accent is consistently placed on the last sixteenth note before beat two and beat four of the bar to set up the anticipations before beat three and beat one of each bar. The bass guitar generally phrases around this same three-note rhythmic pattern and plays an important role in defining many of the stylistic features of the music. This will be elaboratedon in the following chapter.

Rhythmically, mbaqanga is, like tsaba tsaba, generally based on a straight-eighth note feel with a driving bass drum on all four downbeats of the bar. This quarter note bass drum pattern, commonly referred to as “four on the floor”, is complemented bythe hands performingvarious orchestrationsof the rhythm below. This universal rhythm is known as the Charleston in American jazz, the Habanerain Cuban Latin music, and the Ghoema in South Africa.Figure 1.2 Charleston/Habanera/Ghoema rhythm

Cross-RhythmsJazz Aesthetics in African-American Literature

Circles and Time: A Theory of Structural Organization of Rhythm in African Music

Mbaqangaincorporates the instrumentation and musical references of American big band jazzsuch as the use of swing rhythms, multiple brass and/or woodwind instruments (including arranged parts for brass and woodwind sections), as well as aspects of marabi, most noticeably the I-IV-V progression and rhythms from traditional Zulu dances, notablyindlamu(see Figure 1.2) (Sepuru, 2019:12; Ballantine, 2012:7, 80). Mbaqanga was also called ‘African Jazz’ in colloquial settings, as it contained more identifiable jazz elements than marabi.Stellenbosch University https://scholar.sun.ac.za11 Figure 1.2 Indlamu rhythm(Ballantine, 2012:80)In an interview with Ballantine in 1986 (2013:38), the South African jazz pianist Chris McGregor described the dynamics of playing mbaqanga:These (performances) were also my first experiences of building things from riffs. You’d get the mbaqanga chords going, the lead trumpeter or sax player would improvise a melody, and then, in the next eight-bar sequence, out it would come, voiced and all. [...] Out of this would emerge the most amazing complexity of texture, instrumental colour, melodic interactions, the rhythmic interactions of three or four riffs going together, and a soloist in front, improvising. [...] With mbaqanga music, because you’ve simplified the thing and made it circular, you are always confronted with the result: a circuit works itself out, and then you invent very much on formal implications. In contrast, in quite a lot of American jazz you say something and then leave it and do something else. (Ballantine, 2013:37, 39)In other words, the cyclicity of mbaqanga, specifically the repetition of a short harmonic progression, encourages musicians to turn to rhythmic, textural, timbral and melodic interplay among the ensemble members to create interest. Several important elements of mbaqanga survived and characterize South African jazz practices today, such as the use of a rhythmic pattern as a key driver in composition. This has become the basis for South African jazz practice.

Groove

Jazz Rhythm

Melodic rhythms

Rhythms

Tenemos tres tiempos que rigen nuestra cronobiología: el interno, que es el tiempo que nuestras células sienten como producto de habernos adaptado al ecosistema dónde vivimos; el externo, que es el de la luz solar y artificial; y el social, que es el de la hora a la que vamos a trabajar o comemos. Si están desincronizados, aparece un desequilibrio molecular y fisiológico denominado cronodisrupción

Además del tiempo ambiental, que es el ciclo de luz y oscuridad natural, está el tiempo social: los hábitos horarios, como ir al trabajo o los contactos sociales, ayudan a sincronizar. El otro sincronizador es el tiempo metabólico, como los horarios de comida, que ayudan a controlar los relojes del tubo digestivo o del hígado

su reloj biológico generaba ciclos de más de 24 horas.

finger zingers

User studies and intuition both suggest that the activities that a knowledge worker engages in change—sometimes dramatically—over time. Projects and milestones come and go, and the tools and information resources used within an activity often change over time as well. Furthermore, activities completed in the past and their outcomes often impact activities in the present, and ongoing activities will, in turn, affect activities that will be undertaken in the future. Capturing activity over the course of time has long been a problem for desktop computing.

This means also that the predominantly linear time is comp-lemented by greater awareness of cyclical times and temporal routines which are overlapping each other.

phase-angle differ­ences simply refer to whether the phases, the parts of one rhythmic pattern,

So does polychronicity scale? Or is it a nested phenomenon whereby someone might be monochronic within hour- long intervals but polychronic when the frame enlarges to a month? And if so, what might be the consequences of different nesting combinations?

. When creating tools for schedulingandcoordination, it is crucial to provide ways for people to take into account not just the multiplicity of (potentially dissonant) rhythms [22, 46], but also the differential affective experiencesof time rendered by such rhythms.

In contrast to the assumption oftime as linear, with ordered chunks progressing ina straightforward manner, people often negotiate time rhythmically, arranging timein patterns and tempos that do not always co-exist harmoniously.

In contrast to the assumption oftime as linear, with ordered chunks progressing ina straightforward manner, people often negotiate time rhythmically, arranging timein patterns and tempos that do not always co-exist harmoniously. In line with earlier CSCW findings [e.g., 4, 9, 45, 46], we term thisrhythmic time, which acknowledges both the rhythmic nature of temporal experience as well a potential disorderliness or ‘dissonance’ when temporal rhythms conflict.Like mosaic time, bringing dissonant rhythms into semi-alignment requires adaptation, work, and patience.

In previous temporalities research,scholars have drawn productively on Zerubavel’s similar concept of a sociotemporal order–an orientation to time that is shared amongst a social group and thusly produces coordinated rhythms and temporal alignments [15, 53]

CSCW has been investigating the relationship of time and work practically from its inception as a scholarly fiel

Timing as a

Trajectories and rhythms frame temporal horizons, de-scribed as knowledge of likely future activities that are drawn upon in the organization of current work. The three together bring orderliness to the working day, with the na-ture of temporal horizons dictating how flexibly work can be organised, and the urgency with which it needs to be carried out.

Plastic time is described as unanticipated, un-reflexive and fluid, as the “experience of temporal ‘scraps’, of gapsin the schedule”, and as “the negative space of busyness”[p. 233]. Plastic time flies under the radar, being unplanned and non-immersive, and associated with neither productivi-ty nor leisure. It is interruptible, but can also expand until some other activity presents itself.

The broad pattern of work in the unit is governed by sets of large-scale andfiner-grained rhythms

An analytical approach that highlights a temporalcharacteristic of work at a collective level is the concept oftemporal rhythms.The concept of rhythms directs our attention to the re-occurring patterns ofwork and how people use their knowledge of these re-occurring patternsduring their patient care and organizational activities in the unit.

There are major differences between the rhythms of the day shift and nightshift nurses (Zerubavel, 1979

The first period of intense activity is at the beginning of the shift.The nurse going off duty ‘‘gives report’’ to the incoming nurse taking over forher. During this information exchange, which usually lasts for 30 minutes,the incoming nurse must rapidly assimilate all the information about thepatient and the daily plan of care for the patient. Immediately after shiftreport, the nurse ensures that all the medications are available and checks onthe patient. The next intense period of activities follows the SICU teammorning rounds; the nurse implements or helps the physicians implement theplan of care decisions made during the rounds. The final intense period ofactivity occurs at the end of the shift.

ess but all. I have

, it seems. Snatches

You, too, have seenthe bulbs flash from the sea. You, too, have feltit breathing down your neck. You eat fish. You’ve heardthat mermaids sing.

generating virtuous recursive loops

speeds, rhythms, and duration patternsplay an important role in performing a sense of place and time that is asunique as the flows themselve

Depending on schedules, dis-tance, lifestyle, and other variables, some people may travel as frequently asalmost every day or as infrequently as once, twice, or half a dozen times ayear, or even never.

These three clauses are best pronounced when the voice is suspended on the first two members of the period, and comes to a pause on the third.

but in a speech we need dignity and the power of taking the hearer out of his ordinary self.

We have now seen that our language must be rhythmical and not destitute of rhythm, and what rhythms, in what particular shape, make it so.

Prose, then, is to be rhythmical, but not metrical, or it will become not prose but verse.

These are the three things -- volume of sound, modulation of pitch, and rhythm -- that a speaker bears in mind.

various rhythms that suit various subjects