Rhythm Labyrinth
The perception of rhythm in seven parts: 2:3, 3:4 and 4:5 polyrhythms, shared accents, aksak grouping that changes with the accent, and cycles that drift and meet again. At the end a blind test: 'How many against how many?' There is no claim of any effect.
Why this order? The first stage is ratios: two pulses dividing the same cycle into two and three, three and four, four and five; in each, the low pulse is slow and the high pulse fast. The second stage is accent: the shared stroke of three pulses and the grouping of seven equal units that changes with the accent. The third stage is time: cycles of different lengths drifting and meeting every ten and twenty seconds, and finally a blind test of the three ratios. Strokes come at most eight times a second; the closest strokes of two pulses are 0.125 s apart.
0/7 stops completed
Stop 01/07 · I Ratios
Two and Three
Two pulses, one cycle: 2:3.
Parts
- Evidence level S: Soundscape, no claimDetails
- Evidence level S: Soundscape, no claimDetails
- Evidence level S: Soundscape, no claimDetails
- Evidence level S: Soundscape, no claimDetails
- Evidence level S: Soundscape, no claimDetails
- Evidence level S: Soundscape, no claimDetails
- Evidence level S: Soundscape, no claimDetails
Parts are not locked; progress stays on this device. The parts are listening practice with no claim of any effect. You can see how each session was made in its details.
Sources
The explanations in the parts rest on these sources; they make no claim of any effect. The citations were checked against Crossref, PubMed or the publisher's record.
How the rhythm perceived in a polyrhythm depends on context.
Handel S. Using polyrhythms to study rhythm. Music Percept. 1984;1(4):465-484. doi:10.2307/40285273
How accents induce an internal clock.
Tracking two beats together and the composite pattern.
The definition of aksak.
Arom S. Aksak – principles and typology. Macedón Füzetek. 2024;7(1). doi:10.56309/ckv0xv70
The geometry of rhythms and shared skeletons.