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yeah okay...

It's not true that an asymmetric rhythm could be translated into a simetric rhythm (like : 3+3+2 = 3+2+3), because groupings mean where is the stressed note. Like: 1 2 3 1 2 3 1 2 (1s being stresses)

I need to go away and think about this but at first the reference to 3+2+3 being regular doesn't sound right. 3+2+3 is just as irregular as 3+3+2. The weak downbeat halfway through the bar doesn't occur at the start of a rhythmic cell in either case...-- Andybak

After having read this article, I still haven't the slightest clue what additive rhythm actually is. - furrykef ( Talk at me) 11:38, 3 August 2006 (UTC) reply

I think this article needs examples, and I mean musical examples, and not just mentioning African o Indian music. -- Drdq ( talk) 00:14, 13 June 2009 (UTC) reply

A rhythm like 2+2+2+3 can't be made symmetrical just by starting one's count part-way through the sequence. (Try Bartok's Mikrokosmos, No. 152: Dance in Bulgarian Style No. 5.) And even something like 2+2+3, assuming it really constitutes a 7-beat unit, can't be considered symmetrical unless the listener loses count mid-way through the piece. Suggest losing that sentence. Charmii 04:23, 1 October 2006 (UTC) reply

• "In music, an additive rhythm is a rhythm in which larger periods of time [are] constructed from sequences of smaller rhythmic units added to the end of the previous unit."

The first sentence... doesn't appear to make any sense. Is it missing an "are" somewhere? I'm not sure exactly what its saying so I can't try to fix it. Bitwiseb ( talk) 02:57, 21 November 2007 (UTC) reply

Fixed back in December of '07. Hyacinth ( talk) 05:34, 2 April 2010 (UTC) reply

Do we have any sources, such as in the "Divisive structure in African music" section, which simply and clearly make their points rather than implying their points by arguing how the opposite is wrong? Hyacinth ( talk) 23:23, 26 April 2010 (UTC) reply

hi Hyacinth,

I added a couple of quotes in the first three paragraphs on African music. These four sentences make the point:

• Rhythmic patterns are generated by simultaneously dividing a span of musical time by a triple-beat scheme and a duple-beat scheme.

• These beat schemes, in their generic forms, are simple divisions of the same musical period in equal units, producing varying rhythmic densities or motions.

• . . . the entire African rhythmic structure . . . is divisive in nature.

• The following measure is evenly divided by three beats and two beats.

-- Dr clave ( talk) 08:11, 28 April 2010 (UTC) reply

I think Philip Glass summarized the subject of this article rather concisely in this quote:

"I would explain the difference between the use of Western and Indian music in the following way: In Western music we divide time — as if you were to take a length of time and slice it the way you slice a loaf of bread. In Indian music (and all the non-Western music with which I'm familiar), you take small units, or 'beats,' and string them together to make up larger time values."

http://www.philipglass.com/music/recordings/two_pages.php

Should we include it in the article? —Preceding unsigned comment added by Keshidragon ( talk • contribs) 15:54, 27 November 2010 (UTC) reply

• European metres are divisive.{{Citation needed|date=April 2010}}<!--Perhaps the statement needs to be recast?-->

The above has been removed. Hyacinth ( talk) 10:32, 28 March 2011 (UTC) reply

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