Remerciez-le!

Remerciez @Admin pour avoir partagé cet document gratuitement, de la manière la plus simple, en partageant sur les réseaux sociaux.

Tous droits réservés © Revue Intermédialités, 2010 Ce document est protégé par

Tous droits réservés © Revue Intermédialités, 2010 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Document généré le 30 mai 2020 00:43 Intermédialités Histoire et théorie des arts, des lettres et des techniques Intermediality History and Theory of the Arts, Literature and Technologies Articulating the African Diaspora through Rhythm Diatonic Patterns, Nested Looping Structures, and the Music of Steve Coleman Jesse Stewart rythmer rhythmize Numéro 16, automne 2010 URI : https://id.erudit.org/iderudit/1001961ar DOI : https://doi.org/10.7202/1001961ar Aller au sommaire du numéro Éditeur(s) Revue intermédialités (Presses de l’Université de Montréal) ISSN 1920-3136 (numérique) Découvrir la revue Citer cet article Stewart, J. (2010). Articulating the African Diaspora through Rhythm: Diatonic Patterns, Nested Looping Structures, and the Music of Steve Coleman. Intermédialités / Intermediality, (16), 167–184. https://doi.org/10.7202/1001961ar Résumé de l'article Cet article analyse les structures rythmiques cycliques qui caractérisent plusieurs traditions musicales issues de la diaspora africaine en examinant les « rythmes diatoniques » et ce que Steve Coleman a nommé des « nested looping structures ». Ces structures rythmiques ne sont pas uniquement l’expression d’un patrimoine musical et culturel africain. Elles présentent également un modèle d’interprétation des continuités entre des cultures et des musiques disparates ayant des racines africaines communes qui, par ailleurs, ont été altérées dans le temps par les contacts interculturels et l’hybridité musicale. De surcroît, l’auteur soutient que les rythmes diatoniques et les « nested looping structures » permettent d’articuler des liaisons entre différentes traditions musicales diasporiques, comme le démontre, entre autres, la pratique du compositeur et saxophoniste Steve Coleman au sein du groupe Metrics. 167 intermédialités • no 16 automne 2010 Articulating the African Diaspora through Rhythm Diatonic Patterns, Nested Looping Structures, and the Music of Steve Coleman JESS E ST E WAR T T his essay examines rhythmic concepts associated with the African diaspora. The ﬁrst section provides an overview and general introduction to the concept of cyclical rhythm, focusing in particular on “diatonic patterns” and nested rhythms. I argue that such rhythmic structures can be fruitfully regarded not only as retentions of African musical and cultural heritage, but also as a way of theorizing the threads of continuity that exist between many of the disparate musics and cultures that have shared African roots, but have been radically altered by the passage of time, musical hybridity, and cross-cultural contact. Using the music of composer and saxophonist Steve Coleman as a case study, the second part of this essay examines some ways through which nested looping structures facilitate and articulate intercultural connections between different diasporic musical traditions, offering what might be seen as a creative response to the diasporic condition itself. THE GROOVES THAT MAKE US MOVE: CYCLICITY, TIME LINES, AND MAXIMAL EVENNESS As both a researcher and drummer, I have often wondered if certain rhythmic patterns are inherently groove-oriented, encouraging bodily connections and responses to the music (in the form of dancing, toe tapping, head swaying, etc.) more readily than others. Of course, a sense of groove depends a great deal on performance practice as well as on a range of individually and culturally- determined aesthetic factors. But personal experience and a growing body of 168 art ic ula ting the a frica n d ia s por a t h r ou gh r h y t h m musical research suggest that some rhythmic patterns do indeed groove more than others.1 Consider the image in Fig. 1 which represents a cyclical eight-pulse frame- work. Along with cycles of twelve and sixteen pulses, this is one of the most common cyclical rhythmic frameworks in the world. If we cluster four sounded pulses next to one another within this eight-pulse cycle, we end up with the time cycle represented in Fig. 2. Beginning in the 12 o’clock position and traveling in a clockwise direction around the diagram, we end up with a rhythm that can be notated as (✓ ∞ ✓ ∞ ≤ ≤). To my ears, this is not particularly groove-oriented—the clustering of the sounded pulses creates a stilted rhythm that does not lead the ear, or the body, through the time cycle. This problem can be alleviated if we spread out the sounded pulses as evenly as possible within the cycle as shown in Fig. 3. This rhythm, which we can notate as a steady quarter note pulse (± ± ± ±), is maximally even. That is to say, the sounded pulses are spread out as much as possible within the cycle. In addition to yielding a variety of compelling musical time structures, the quality of maximal evenness—spreading out as much as 1. Included among the growing body of academic literature on the notion of groove are John Brownell, The Changing Same: Asymmetry and Rhythmic Structure in Repetitive Idioms, Ph.D. dissertation, Toronto, York University, 2002; Mark J. Butler, Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Bloomington, Indiana University Press, 2006; Mark Doffman, “Making It Groove! Entrainment, Partici- pation and Discrepancy in the ‘Conversation’ of a Jazz Trio,” Language & History, vol. 52, no 1, May 2009, p. 130-147; Vijay Iyer, “Embodied Mind, Situated Cognition, and Expres- sive Microtiming in African-American Music,” Music Perception, vol. 19, no 3, Spring 2002, p. 387-414; Vijay Iver, “Microstructures of Feel, Macrostructures of Sound: Embodied Cognition in West African and African-American Musics,” Ph.D. dissertation, Berkeley, University of California, 1998; Charles Keil, “Motion and Feeling Through Music,” Journal of Aesthetics and Art Criticism, vol. 24, no 3, Spring 1966, p. 337-349; Charles Keil, “Participatory Discrepancies and the Power of Music,” Cultural Anthropology, vol. 2, no 3, August 1987, p. 275-283; Charles Keil and Steven Feld, Music Grooves: Essays and Dialogues, Chicago, University of Chicago Press, 1994; Guy Madison, “Experiencing Groove Induced by Music: Consistency and Phenomenology,” Music Perception, vol. 24, no 2, December 2006, p. 201-208; Ingrid Monson, “Riffs, Repetition, and Theories of Globali zation,” Ethnomusicology, vol. 43, no 1, Winter 1999, p. 31-65; Jeff Pressing, “Black Atlantic Rhythm: Its Computational and Transcultural Foundations,” Music Perception, vol. 19, no 3, Spring 2002, p. 285-310; and David Temperley, “Meter and Grouping in African Music: A View from Music Theory,” Ethnomusicology, vol. 44, no 1, Winter 2000, p. 65-96. 169 art ic ula ting the a frica n d ia s por a t h r ou gh r h y t h m possible—provides a point of connection with many natural phenomena ranging from the distribution of electrons in atomic shells to the many plant species that distribute their leaves as evenly as possible around a central stalk, thereby maxi- mizing exposure to the sun. In music, maximal evenness in temporal structures, such as the one represented in Fig. 3, contributes to a sense of groove as they are very effective at leading ears and bodies through time cycles as evidenced by the pounding quarter-note bass loops that ﬁll dance ﬂoors on a nightly basis all over the world. However, in addition to being maximally even, this particular time cycle is maximally redundant, a function of the fact that four sounded pulses divide evenly into an eight-pulse framework when they are spread out as much as possible. Fig. 1 Fig. 3 Fig. 2 Fig. 4 170 art ic ula ting the a frica n d ia s por a t h r ou gh r h y t h m But what if the sounded pulses did not divide evenly into our eight-pulse framework? In Fig. 4, we have three sounded pulses, spread out as much as possible, within the eight-pulse cycle. Unlike the four-pulse rhythm in Fig. 3, the three sounded pulses are maximally even without being maximally redun- dant due to the fact that 3 is a prime number and cannot divide evenly into eight; there will always be a rhythmic remainder. This creates a dynamic asym- metry within the cycle, a sense of forward momentum and groove that tends to elicit kinesthetic responses from listeners and dancers in a wide variety of musical and cultural contexts. Beginning at the 12 o’clock position and reading the cycle in a clockwise direction, we have the following rhythm (±. ±. ±) which we can describe as a 3-3-2 pattern (counted 1-2-3 1-2-3 1-2). This rhythm has a number of interesting proper- ties, not the least of which is the fact that it is probably the most common dance rhythm in the world. It is particularly common among musics of the African diaspora: it forms the bell time line (or a part thereof) of numerous West African musical forms; it is a common bass-drum pattern in the “second line” drumming of New Orleans funeral marches; and we hear it in many styles of Afro-Cuban uploads/Ingenierie_Lourd/ articulating-n.pdf