Rhythm in Sub-Saharan Africa
Sub-Saharan African music is characterised by a "strong rhythmic interest"[1] that exhibits common characteristics in all regions of this vast territory, so that Arthur Morris Jones (1889–1980) has described the many local approaches as constituting one main system.[2] C. K. Ladzekpo also affirms the profound homogeneity of approach.[3] West African rhythmic techniques carried over the Atlantic were fundamental ingredients in various musical styles of the Americas: samba, forró, maracatu and coco in Brazil, Afro-Cuban music and Afro-American musical genres such as blues, jazz, rhythm & blues, funk, soul, reggae, hip hop, and rock and roll were thereby of immense importance in 20th century popular music. The drum is renowned throughout Africa.
"African rhythm" redirects here. For the song by Exuma, see Exuma II.Cross-rhythm[edit]
African rhythmic structure is entirely divisive in nature[11] but may divide time into different fractions at the same time, typically by the use of hemiola or three-over-two (3:2), which Novotney has called the foundation of all West African polyrhythmic textures.[12] It is the interplay of several elements, inseparable and equally essential, that produces the "varying rhythmic densities or motions" of cross-rhythmic texture.[13] 3 and 2 belong to a single Gestalt.[14]
Cross-rhythm is the basis for much of the music of the Niger–Congo peoples, speakers of the largest language family in Africa. For example, it "pervades southern Ewe music".[15]