. . . . "\u30DD\u30EA\u30EA\u30BA\u30E0\uFF08\u82F1: polyrhythm\uFF09\u306F\u3001\u30EA\u30BA\u30E0\u306E\u7570\u306A\u308B\u58F0\u90E8\u304C\u540C\u6642\u306B\u594F\u3055\u308C\u308B\u3053\u3068\u3002\u30AF\u30ED\u30B9\u30FB\u30EA\u30BA\u30E0\uFF08\u82F1: cross-rhythm\uFF09\u3068\u3082\u3044\u3046\u3002\u30A2\u30AF\u30BB\u30F3\u30C8\u3084\u62CD\u5B50\u304C\u305A\u308C\u3066\u3044\u308B\u3068\u304D\u306F\u30DD\u30EA\u30E1\u30C8\u30EA\u30C3\u30AF\uFF08\u82F1: polymetric\uFF09\u3068\u3082\u3044\u3046\u3002"@ja . . . . . . . . . . . . . . . "\u30DD\u30EA\u30EA\u30BA\u30E0\uFF08\u82F1: polyrhythm\uFF09\u306F\u3001\u30EA\u30BA\u30E0\u306E\u7570\u306A\u308B\u58F0\u90E8\u304C\u540C\u6642\u306B\u594F\u3055\u308C\u308B\u3053\u3068\u3002\u30AF\u30ED\u30B9\u30FB\u30EA\u30BA\u30E0\uFF08\u82F1: cross-rhythm\uFF09\u3068\u3082\u3044\u3046\u3002\u30A2\u30AF\u30BB\u30F3\u30C8\u3084\u62CD\u5B50\u304C\u305A\u308C\u3066\u3044\u308B\u3068\u304D\u306F\u30DD\u30EA\u30E1\u30C8\u30EA\u30C3\u30AF\uFF08\u82F1: polymetric\uFF09\u3068\u3082\u3044\u3046\u3002"@ja . . . "Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern."@en . . . . . . . . "Polyrhythmik"@de . "Polyrytmik \u00E4r n\u00E4r tv\u00E5 eller flera inkongruenta, olika, rytmer spelas till varandra, men d\u00E4r rytmernas mest betonade slag, ettan i takten, sammanfaller. I polyrytmik bevaras allts\u00E5 l\u00E4ngden av en takt men takten delas in olika, till exempel en rytm med tre slag per takt mot en med tv\u00E5 slag per takt. Med andra ord: Att spela flera inkongruenta rytmer inom samma takt \u00E4r att spela polyrytmiskt. \u00E4r ett n\u00E4rliggande begrepp, men d\u00E4r \u00E4r det ist\u00E4llet l\u00E4ngden p\u00E5 taktslagen som \u00E4r gemensam, medan takterna har olika l\u00E4ngd."@sv . . . . . . "( \uD37C\uD4F8\uC758 \uB178\uB798\uC5D0 \uB300\uD574\uC11C\uB294 \uD3F4\uB9AC\uB9AC\uB4EC (\uB178\uB798) \uBB38\uC11C\uB97C \uCC38\uACE0\uD558\uC2ED\uC2DC\uC624.) \uD3F4\uB9AC\uB9AC\uB4EC(Polyrhythm)\uC740 \uC131\uBD80\uC5D0 \uC758\uD574 \uBE44\uD2B8\uC758 \uC704\uCE58\uAC00 \uB2E4\uB978 \uAC83, \uB610\uB294 \uADF8\uB7F0 \uB9AC\uB4EC\uC774\uB2E4.\uC774\uB7EC\uD55C \uB9AC\uB4EC\uC758 \uCDA9\uB3CC\uC740 \uC74C\uC545 \uC804\uCCB4\uC5D0 \uAC78\uCCD0 \uB098\uD0C0\uB0A0 \uC218\uB3C4 \uC788\uACE0 \uD2B9\uC815 \uBD80\uBD84\uC5D0\uC11C\uB9CC \uB098\uD0C0\uB0A0 \uC218\uB3C4 \uC788\uB2E4. \uD3F4\uB9AC\uB9AC\uB4EC\uC740 \uB2E8\uC21C\uD55C \uBD84\uBC15 \uD639\uC740 \uC787\uB2E8\uC74C(Tuplet)\uC640\uB294 \uB2E4\uB974\uBA70 \uB450\uAC1C \uC774\uC0C1\uC758 \uB2E4\uB978 \uC787\uB2E8\uC74C \uB9AC\uB4EC\uC774 \uB3D9\uC2DC\uC5D0 \uC5F0\uC8FC\uB418\uB294 \uAC83\uC774\uB2E4."@ko . . . "\u041F\u043E\u043B\u0438\u0440\u0438\u0442\u043C\u0438\u044F \u2014 \u0441\u043E\u0447\u0435\u0442\u0430\u043D\u0438\u0435 \u0432 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u043E\u043C \u043F\u0440\u043E\u0438\u0437\u0432\u0435\u0434\u0435\u043D\u0438\u0438 \u0434\u0432\u0443\u0445 (\u0438 \u0431\u043E\u043B\u0435\u0435) \u0441\u0430\u043C\u043E\u0441\u0442\u043E\u044F\u0442\u0435\u043B\u044C\u043D\u044B\u0445 \u0440\u0438\u0442\u043C\u0438\u0447\u0435\u0441\u043A\u0438\u0445 \u0440\u0438\u0441\u0443\u043D\u043A\u043E\u0432 \u0432 \u0440\u0430\u043C\u043A\u0430\u0445 \u043E\u0434\u043D\u043E\u0433\u043E \u0440\u0430\u0437\u043C\u0435\u0440\u0430."@ru . . . . . . . . . . . . . . . . . . . . . . . . "\u590D\u8282\u594F\uFF08Cross rhythm\uFF09\u4E5F\u53EB\u4EA4\u9519\u62CD\u5B50\uFF0C\u5728\u4E24\u4E2A\u4EE5\u4E0A\u591A\u4E2A\u58F0\u90E8\u7684\u97F3\u4E50\u4E2D\uFF0C\u4E0D\u540C\u7684\u58F0\u90E8\u540C\u65F6\u4F7F\u7528\u4E0D\u540C\u7684\u5BF9\u6BD4\u7684\u8282\u62CD\uFF0C\u4F7F\u5F97\u5404\u58F0\u90E8\u7684\u5F3A\u5F31\u8282\u62CD\u4EA4\u9519\u8FDB\u884C\uFF0C\u6574\u4E2A\u97F3\u4E50\u4EA7\u751F\u4E00\u79CD\u8FDE\u7EED\u6C34\u6D41\u4F3C\u7684\u8FDB\u884C\u6548\u679C\u3002\u4F8B\u5982\u9AD8\u97F3\u4F7F\u75283/4\u62CD\u5B50\u7684\u8282\u594F\uFF0C\u4F4E\u97F3\u90E8\u5206\u4F7F\u75282/4\u62CD\u5B50\u7684\u8282\u594F\u7B49\u3002"@zh . . . . . . . . . . . . "Polyritmiek"@nl . . . . . . . . . "Polyrhythm"@en . "Polyrhythmik bezeichnet die \u00DCberlagerung mehrerer Rhythmen in einem mehrstimmigen St\u00FCck. Dabei kann jede einzelne Stimme auch einen eigenen Takt oder gar ein eigenes Metrum haben (Polymetrik)."@de . . . . . . "La polir\u00EDtmia \u00E9s un efecte i una t\u00E8cnica de composici\u00F3 i d'execuci\u00F3 musicals consistents a fer coincidir en el temps diversos ritmes diferents. \u00C9s fins a cert punt habitual en les polir\u00EDtmies que els diferents ritmes que l'integren tinguin sistemes m\u00E8trics diferents (polimetria), accentuacions igualment diferents i que les relacions i correspond\u00E8ncies entre ells s'estableixin ja sigui a nivell de pulsaci\u00F3 o a nivell de comp\u00E0s."@ca . . "\u041F\u043E\u043B\u0438\u0440\u0438\u0442\u043C\u0438\u044F"@ru . . . . . . "Polirritmia \u00E9 o uso simult\u00E2neo de duas ou mais estruturas r\u00EDtmicas diferentes, que n\u00E3o s\u00E3o prontamente percebido como derivando uma da outra, na constitui\u00E7\u00E3o de uma pe\u00E7a musical. O conflito r\u00EDtmico pode ser a base de toda uma pe\u00E7a de m\u00FAsica, ou uma interrup\u00E7\u00E3o moment\u00E2nea. A polirritmia pode ser distinguida a partir de ritmos irracionais, o que pode ocorrer dentro do contexto de uma \u00FAnica parte; polirritmos requerem pelo menos dois ritmos para serem utilizados simultaneamente, um dos quais \u00E9 tipicamente um ritmo irracional."@pt . . "Polirytmia (gr. pol\u00FDs czyli liczny i rhytm\u00F3s czyli rytm) - stosowanie zr\u00F3\u017Cnicowanych przebieg\u00F3w rytmicznych w r\u00F3\u017Cnych g\u0142osach, charakterystyczne dla utwor\u00F3w polifonicznych. Nie myli\u0107 z polimetri\u0105."@pl . "La polir\u00EDtmia \u00E9s un efecte i una t\u00E8cnica de composici\u00F3 i d'execuci\u00F3 musicals consistents a fer coincidir en el temps diversos ritmes diferents. \u00C9s fins a cert punt habitual en les polir\u00EDtmies que els diferents ritmes que l'integren tinguin sistemes m\u00E8trics diferents (polimetria), accentuacions igualment diferents i que les relacions i correspond\u00E8ncies entre ells s'estableixin ja sigui a nivell de pulsaci\u00F3 o a nivell de comp\u00E0s."@ca . . . . . . . . . . . . "Plurritmaro a\u016D plurritmeco signifas la interferon de pluraj malsamaj ritmoj en plurvo\u0109a peco. Je tio \u0109iu unuopa vo\u0109o povas havi anka\u016D apartan takton a\u016D e\u0109 apartan mezuron (plurmezuraro). Plurritmaro estas konsiderebla kiel karakteriza\u0135o de tradicia afrika muziko kaj trovebla ekde la 1950-aj jaroj anka\u016D en \u0135azo kaj tango argentina, kvankam simplaj formoj de plurritmeco jam troveblas en klasika muziko. Deire de la diversaj frapinstrumentoj de afrikaj kulturoj rezultis por \u0109iu instrumento karakteriza mezuro. Ekzistas en Afriko tamen granda varieco da muzikadospecoj. Dum kiam la Masajoj kreas siajn ritmojn je la dancado, sin surpendigante per diversaj rasliloj kaj simila\u0135oj, la najbaraj popoloj, ekzemple la Luoj, kreis komplikajn dancojn al tambura akompano. Plurritma muziko troveblas anka\u016D je okcidentafrikaj kulturoj same kiel je \u0109iuj popoloj kun paroltamburistoj. Rezulto de plurritma muzikado estas komplikaj strukturoj. El \u0109i tiuj regionoj la plurritmeco disvasti\u011Dis kaj en suda Afriko kaj anka\u016D je la Berberoj kaj Tuaregoj en la nordo. Anka\u016D en maroka muziko trovi\u011Das plurritmaro. Nun oni trovas plurritman muzikon anka\u016D en \u0109iuj regionoj de Latinameriko, precipe en la Karibio, kien \u011Din enportis sklavigitaj afrikanoj. En popularmuziko plurritmaroj troveblas unuflanke en partaj kampoj de latinida rokmuziko, aliaflanke \u011Din praktikas diversaj afrikaj popularmuzikistoj. En Nova Muziko ilin alprenis inter alie Gy\u00F6rgy Ligeti."@eo . . . "\u30DD\u30EA\u30EA\u30BA\u30E0"@ja . . . . . "La polyrythmie consiste \u00E0 superposer plusieurs rythmes d'accentuations diff\u00E9rentes, par exemple binaires et ternaires. Chaque partie rythmique est appel\u00E9e \u00AB motif \u00BB quand il s\u2019agit d\u2019un rythme qui se r\u00E9p\u00E8te. La notion de rythmique, et donc de polyrythmie, ne se limite pas \u00E0 des parties de percussions."@fr . . . . . . . "La polyrythmie consiste \u00E0 superposer plusieurs rythmes d'accentuations diff\u00E9rentes, par exemple binaires et ternaires. Chaque partie rythmique est appel\u00E9e \u00AB motif \u00BB quand il s\u2019agit d\u2019un rythme qui se r\u00E9p\u00E8te. La notion de rythmique, et donc de polyrythmie, ne se limite pas \u00E0 des parties de percussions."@fr . . . "\uD3F4\uB9AC\uB9AC\uB4EC"@ko . . . . . . . . . . . . . . . . . . . . . . . . . "\u590D\u8282\u594F"@zh . . . . "Polirritmia \u00E9 o uso simult\u00E2neo de duas ou mais estruturas r\u00EDtmicas diferentes, que n\u00E3o s\u00E3o prontamente percebido como derivando uma da outra, na constitui\u00E7\u00E3o de uma pe\u00E7a musical. O conflito r\u00EDtmico pode ser a base de toda uma pe\u00E7a de m\u00FAsica, ou uma interrup\u00E7\u00E3o moment\u00E2nea. A polirritmia pode ser distinguida a partir de ritmos irracionais, o que pode ocorrer dentro do contexto de uma \u00FAnica parte; polirritmos requerem pelo menos dois ritmos para serem utilizados simultaneamente, um dos quais \u00E9 tipicamente um ritmo irracional."@pt . . . . "Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. The rhythmic layers may be the basis of an entire piece of music (cross-rhythm), or a momentary section. Polyrhythms can be distinguished from irrational rhythms, which can occur within the context of a single part; polyrhythms require at least two rhythms to be played concurrently, one of which is typically an irrational rhythm. Concurrently in this context means within the same rhythmic cycle. The underlying pulse, whether explicit or implicit can be considered one of the concurrent rhythms. For example, the son clave is poly-rhythmic because its 3 section suggests a different meter from the pulse of the entire pattern."@en . . . . . . . . "Plurritmaro"@eo . . . . . "Polyrytmik"@sv . . . . . . . . . . . . . . . "1115270517"^^ . . . . "Polirytmia"@pl . . . . . . . . . . "149310"^^ . . . "Polyrhythm 3 against 4.ogg"@en . . . . . . "Poliritmia"@it . . "Plurritmaro a\u016D plurritmeco signifas la interferon de pluraj malsamaj ritmoj en plurvo\u0109a peco. Je tio \u0109iu unuopa vo\u0109o povas havi anka\u016D apartan takton a\u016D e\u0109 apartan mezuron (plurmezuraro). Plurritmaro estas konsiderebla kiel karakteriza\u0135o de tradicia afrika muziko kaj trovebla ekde la 1950-aj jaroj anka\u016D en \u0135azo kaj tango argentina, kvankam simplaj formoj de plurritmeco jam troveblas en klasika muziko. Deire de la diversaj frapinstrumentoj de afrikaj kulturoj rezultis por \u0109iu instrumento karakteriza mezuro. Ekzistas en Afriko tamen granda varieco da muzikadospecoj. Dum kiam la Masajoj kreas siajn ritmojn je la dancado, sin surpendigante per diversaj rasliloj kaj simila\u0135oj, la najbaraj popoloj, ekzemple la Luoj, kreis komplikajn dancojn al tambura akompano. Plurritma muziko troveblas anka\u016D je"@eo . . . "\u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u043A\u0430, \u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u2014 \u043F\u043E\u0454\u0434\u043D\u0430\u043D\u043D\u044F \u0432 \u043C\u0443\u0437\u0438\u0447\u043D\u043E\u043C\u0443 \u0442\u0432\u043E\u0440\u0456 \u0434\u0432\u043E\u0445 (\u0456 \u0431\u0456\u043B\u044C\u0448\u0435) \u0441\u0430\u043C\u043E\u0441\u0442\u0456\u0439\u043D\u0438\u0445 \u0440\u0438\u0442\u043C\u0456\u0447\u043D\u0438\u0445 \u043C\u0430\u043B\u044E\u043D\u043A\u0456\u0432 \u0432 \u0440\u0430\u043C\u043A\u0430\u0445 \u043E\u0434\u043D\u043E\u0433\u043E \u0440\u043E\u0437\u043C\u0456\u0440\u0443. \u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0448\u0438\u0440\u043E\u043A\u043E \u0432\u0438\u043A\u043E\u0440\u0438\u0441\u0442\u043E\u0432\u0443\u0454\u0442\u044C\u0441\u044F \u0432 \u043D\u0430\u0446\u0456\u043E\u043D\u0430\u043B\u044C\u043D\u0456\u0439 \u043C\u0443\u0437\u0438\u0446\u0456 \u0410\u0444\u0440\u0438\u043A\u0438 . \u0406\u043D\u0448\u0438\u0439 \u043F\u0440\u0438\u043A\u043B\u0430\u0434 \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u0457 \u2014 \u0433\u0440\u0430 \u0432 \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0456, \u043A\u043E\u043B\u0438 \u043E\u0434\u0438\u043D \u0432\u0438\u043A\u043E\u043D\u0430\u0432\u0435\u0446\u044C \u0433\u0440\u0430\u0454 \u0456\u043D\u0448\u0438\u0439 \u0440\u0438\u0442\u043C\u0456\u0447\u043D\u0438\u0439 \u043C\u0430\u043B\u044E\u043D\u043E\u043A, \u043D\u0456\u0436 \u0456\u043D\u0448\u0456. \u0425\u0430\u0440\u0430\u043A\u0442\u0435\u0440\u043D\u0430 \u0434\u043B\u044F \u0434\u0436\u0430\u0437\u0443. \u0422\u0430\u043A\u043E\u0436, \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0454 \u043E\u0434\u043D\u0456\u0454\u044E \u0437 \u043E\u0441\u043D\u043E\u0432\u043D\u0438\u0445 \u0440\u0438\u0441 math metal, \u0434\u0435 \u0433\u0456\u0442\u0430\u0440\u0438 \u0456 \u0443\u0434\u0430\u0440\u043D\u0456 \u0432\u0438\u043A\u043E\u043D\u0443\u044E\u0442\u044C \u043F\u0430\u0440\u0442\u0456\u0457 \u0437 \u0440\u0456\u0437\u043D\u0438\u043C\u0438 \u0440\u0438\u0442\u043C\u0430\u043C\u0438. \u041D\u0430\u0439\u0447\u0430\u0441\u0442\u0456\u0448\u0435 \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0437\u0443\u0441\u0442\u0440\u0456\u0447\u0430\u0454\u0442\u044C\u0441\u044F \u0432\u0441\u0435\u0440\u0435\u0434\u0438\u043D\u0456 \u0443\u0434\u0430\u0440\u043D\u043E\u0457 \u043F\u0430\u0440\u0442\u0456\u0457. \u041F\u0440\u0438\u043A\u043B\u0430\u0434\u043E\u043C \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u0457 \u043C\u043E\u0436\u0435 \u043F\u043E\u0441\u043B\u0443\u0436\u0438\u0442\u0438 \u043F\u0456\u0441\u043D\u044F Question! \u0433\u0440\u0443\u043F\u0438 System of a Down."@uk . . "A 3 against 4 polyrhythm"@en . "Nella teoria musicale, la poliritmia in musica consiste nell'impiego simultaneo di ritmi diversi tra le voci di una composizione e si differenzia dal semplice impiego di gruppi irregolari (es. terzine) in una sola voce che produce soltanto una diversione melodica. Una poliritmia, per essere detta tale, richiede che l'impiego simultaneo dei ritmi nelle diverse parti produca una ricchezza di variet\u00E0 ritmica, piuttosto che semplicemente melodica. Gli esempi pi\u00F9 frequenti di poliritmia coinvolgono ritmi pari e dispari o comunque non multipli della stessa unit\u00E0 temporale, in modo da ottenere figure ritmiche diverse da quelle gi\u00E0 presenti in ognuno dei ritmi presi singolarmente. Ritmo tre contro due (3:2). Le note colorate vengono suonate contemporaneamente Una comune poliritmia \u00E8 il tre contro due (3:2) corrispondente all'esecuzione simultanea di terzine e duine, rappresentato in figura. Analogamente possono essere costruite poliritmie 3:4, 5:4, 7:4. All'ascolto esse suonano come segue: \n* \n* Impiegata occasionalmente in ogni ambito musicale, la poliritmia \u00E8 stata per\u00F2 usata estensivamente da alcune tradizioni musicali popolari, soprattutto in quelle Africane (soprattutto per quello che riguarda la musica per percussioni). Da queste, la poliritmia ha trovato spazio anche in ambiti musicali pi\u00F9 moderni quali jazz, jazz-fusion, musica latina, math rock e progressive metal. In ambito rock e metal, gruppi come i Meshuggah hanno sovrapposto tempi dispari particolarmente insoliti (9/16 - 13/16 - 17/16 - 27/16 ecc..) su una base ritmica ostinata in 4/4."@it . . . . . . "Polir\u00EDtmia"@ca . . . . . . . . . . . . . . "( \uD37C\uD4F8\uC758 \uB178\uB798\uC5D0 \uB300\uD574\uC11C\uB294 \uD3F4\uB9AC\uB9AC\uB4EC (\uB178\uB798) \uBB38\uC11C\uB97C \uCC38\uACE0\uD558\uC2ED\uC2DC\uC624.) \uD3F4\uB9AC\uB9AC\uB4EC(Polyrhythm)\uC740 \uC131\uBD80\uC5D0 \uC758\uD574 \uBE44\uD2B8\uC758 \uC704\uCE58\uAC00 \uB2E4\uB978 \uAC83, \uB610\uB294 \uADF8\uB7F0 \uB9AC\uB4EC\uC774\uB2E4.\uC774\uB7EC\uD55C \uB9AC\uB4EC\uC758 \uCDA9\uB3CC\uC740 \uC74C\uC545 \uC804\uCCB4\uC5D0 \uAC78\uCCD0 \uB098\uD0C0\uB0A0 \uC218\uB3C4 \uC788\uACE0 \uD2B9\uC815 \uBD80\uBD84\uC5D0\uC11C\uB9CC \uB098\uD0C0\uB0A0 \uC218\uB3C4 \uC788\uB2E4. \uD3F4\uB9AC\uB9AC\uB4EC\uC740 \uB2E8\uC21C\uD55C \uBD84\uBC15 \uD639\uC740 \uC787\uB2E8\uC74C(Tuplet)\uC640\uB294 \uB2E4\uB974\uBA70 \uB450\uAC1C \uC774\uC0C1\uC758 \uB2E4\uB978 \uC787\uB2E8\uC74C \uB9AC\uB4EC\uC774 \uB3D9\uC2DC\uC5D0 \uC5F0\uC8FC\uB418\uB294 \uAC83\uC774\uB2E4."@ko . . . . . . . . . . "Polyrythmie"@fr . . . . . . . . . . "\u041F\u043E\u043B\u0438\u0440\u0438\u0442\u043C\u0438\u044F \u2014 \u0441\u043E\u0447\u0435\u0442\u0430\u043D\u0438\u0435 \u0432 \u043C\u0443\u0437\u044B\u043A\u0430\u043B\u044C\u043D\u043E\u043C \u043F\u0440\u043E\u0438\u0437\u0432\u0435\u0434\u0435\u043D\u0438\u0438 \u0434\u0432\u0443\u0445 (\u0438 \u0431\u043E\u043B\u0435\u0435) \u0441\u0430\u043C\u043E\u0441\u0442\u043E\u044F\u0442\u0435\u043B\u044C\u043D\u044B\u0445 \u0440\u0438\u0442\u043C\u0438\u0447\u0435\u0441\u043A\u0438\u0445 \u0440\u0438\u0441\u0443\u043D\u043A\u043E\u0432 \u0432 \u0440\u0430\u043C\u043A\u0430\u0445 \u043E\u0434\u043D\u043E\u0433\u043E \u0440\u0430\u0437\u043C\u0435\u0440\u0430."@ru . . . . . "Polyritmiek is het gebruiken van meerdere ritmes tegelijkertijd, of een zodanig ritme, dat dat op meerdere manieren gehoord kan worden. Veel muziek uit West-Afrika en Cuba heeft een polyritmisch karakter. In dergelijke gevallen zal zijn ritmes zowel in drie als in vier tellen te horen, of kunnen tegelijkertijd de tel in triolen en zestiende noten onderverdeeld worden. Ook binnen de metalscene zijn er bands die van polyritmiek gebruikmaken, zoals Meshuggah, Textures of The Dillinger Escape Plan. Ook veel bands uit het New Weird America en progressive rock en jazz genre maken gebruik van polyritmische patronen."@nl . "Polyrytmik \u00E4r n\u00E4r tv\u00E5 eller flera inkongruenta, olika, rytmer spelas till varandra, men d\u00E4r rytmernas mest betonade slag, ettan i takten, sammanfaller. I polyrytmik bevaras allts\u00E5 l\u00E4ngden av en takt men takten delas in olika, till exempel en rytm med tre slag per takt mot en med tv\u00E5 slag per takt. Med andra ord: Att spela flera inkongruenta rytmer inom samma takt \u00E4r att spela polyrytmiskt. \u00E4r ett n\u00E4rliggande begrepp, men d\u00E4r \u00E4r det ist\u00E4llet l\u00E4ngden p\u00E5 taktslagen som \u00E4r gemensam, medan takterna har olika l\u00E4ngd."@sv . "Polyritmiek is het gebruiken van meerdere ritmes tegelijkertijd, of een zodanig ritme, dat dat op meerdere manieren gehoord kan worden. Veel muziek uit West-Afrika en Cuba heeft een polyritmisch karakter. In dergelijke gevallen zal zijn ritmes zowel in drie als in vier tellen te horen, of kunnen tegelijkertijd de tel in triolen en zestiende noten onderverdeeld worden. Ook binnen de metalscene zijn er bands die van polyritmiek gebruikmaken, zoals Meshuggah, Textures of The Dillinger Escape Plan."@nl . . . . . . . . "Polirytmia (gr. pol\u00FDs czyli liczny i rhytm\u00F3s czyli rytm) - stosowanie zr\u00F3\u017Cnicowanych przebieg\u00F3w rytmicznych w r\u00F3\u017Cnych g\u0142osach, charakterystyczne dla utwor\u00F3w polifonicznych. Nie myli\u0107 z polimetri\u0105."@pl . . . . . . . . . . . . "\u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u043A\u0430, \u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u2014 \u043F\u043E\u0454\u0434\u043D\u0430\u043D\u043D\u044F \u0432 \u043C\u0443\u0437\u0438\u0447\u043D\u043E\u043C\u0443 \u0442\u0432\u043E\u0440\u0456 \u0434\u0432\u043E\u0445 (\u0456 \u0431\u0456\u043B\u044C\u0448\u0435) \u0441\u0430\u043C\u043E\u0441\u0442\u0456\u0439\u043D\u0438\u0445 \u0440\u0438\u0442\u043C\u0456\u0447\u043D\u0438\u0445 \u043C\u0430\u043B\u044E\u043D\u043A\u0456\u0432 \u0432 \u0440\u0430\u043C\u043A\u0430\u0445 \u043E\u0434\u043D\u043E\u0433\u043E \u0440\u043E\u0437\u043C\u0456\u0440\u0443. \u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0448\u0438\u0440\u043E\u043A\u043E \u0432\u0438\u043A\u043E\u0440\u0438\u0441\u0442\u043E\u0432\u0443\u0454\u0442\u044C\u0441\u044F \u0432 \u043D\u0430\u0446\u0456\u043E\u043D\u0430\u043B\u044C\u043D\u0456\u0439 \u043C\u0443\u0437\u0438\u0446\u0456 \u0410\u0444\u0440\u0438\u043A\u0438 . \u0406\u043D\u0448\u0438\u0439 \u043F\u0440\u0438\u043A\u043B\u0430\u0434 \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u0457 \u2014 \u0433\u0440\u0430 \u0432 \u0430\u043D\u0441\u0430\u043C\u0431\u043B\u0456, \u043A\u043E\u043B\u0438 \u043E\u0434\u0438\u043D \u0432\u0438\u043A\u043E\u043D\u0430\u0432\u0435\u0446\u044C \u0433\u0440\u0430\u0454 \u0456\u043D\u0448\u0438\u0439 \u0440\u0438\u0442\u043C\u0456\u0447\u043D\u0438\u0439 \u043C\u0430\u043B\u044E\u043D\u043E\u043A, \u043D\u0456\u0436 \u0456\u043D\u0448\u0456. \u0425\u0430\u0440\u0430\u043A\u0442\u0435\u0440\u043D\u0430 \u0434\u043B\u044F \u0434\u0436\u0430\u0437\u0443. \u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0447\u0430\u0441\u0442\u043E \u0432\u0438\u043A\u043E\u0440\u0438\u0441\u0442\u043E\u0432\u0443\u0454\u0442\u044C\u0441\u044F \u0432 \u043C\u0430\u0442\u0435\u043C\u0430\u0442\u0438\u0447\u043D\u043E\u043C\u0443 \u0440\u043E\u043A\u0443. \u041A\u043E\u043C\u043F\u043E\u0437\u0438\u0446\u0456\u0457 \u0445\u0430\u0440\u0430\u043A\u0442\u0435\u0440\u0438\u0437\u0443\u044E\u0442\u044C\u0441\u044F \u0434\u0438\u043D\u0430\u043C\u0456\u0447\u043D\u0456\u0441\u0442\u044E, \u0441\u043A\u043B\u0430\u0434\u043D\u0456\u0441\u0442\u044E \u0432\u0438\u043A\u043E\u043D\u0430\u043D\u043D\u044F, \u0430\u043A\u0446\u0435\u043D\u0442\u043E\u043C \u043D\u0430 \u0456\u043D\u0441\u0442\u0440\u0443\u043C\u0435\u043D\u0442\u0430\u043B\u044C\u043D\u0443 \u043F\u0430\u0440\u0442\u0456\u044E. Bitch Magnet, Rodan, Crain, The For Carnation, June of 44, Sonora Pine, Roadside Monument \u0456 Shipping News \u2014 \u0433\u0440\u0443\u043F\u0438, \u044F\u043A\u0456 \u0432\u0432\u0430\u0436\u0430\u044E\u0442\u044C\u0441\u044F \u0437\u0430\u0441\u043D\u043E\u0432\u043D\u0438\u043A\u0430\u043C\u0438 \u0432\u0438\u0449\u0435\u0437\u0433\u0430\u0434\u0430\u043D\u043E\u0433\u043E \u0441\u0442\u0438\u043B\u044E. \u0422\u0430\u043A\u043E\u0436, \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0454 \u043E\u0434\u043D\u0456\u0454\u044E \u0437 \u043E\u0441\u043D\u043E\u0432\u043D\u0438\u0445 \u0440\u0438\u0441 math metal, \u0434\u0435 \u0433\u0456\u0442\u0430\u0440\u0438 \u0456 \u0443\u0434\u0430\u0440\u043D\u0456 \u0432\u0438\u043A\u043E\u043D\u0443\u044E\u0442\u044C \u043F\u0430\u0440\u0442\u0456\u0457 \u0437 \u0440\u0456\u0437\u043D\u0438\u043C\u0438 \u0440\u0438\u0442\u043C\u0430\u043C\u0438. \u041D\u0430\u0439\u0447\u0430\u0441\u0442\u0456\u0448\u0435 \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F \u0437\u0443\u0441\u0442\u0440\u0456\u0447\u0430\u0454\u0442\u044C\u0441\u044F \u0432\u0441\u0435\u0440\u0435\u0434\u0438\u043D\u0456 \u0443\u0434\u0430\u0440\u043D\u043E\u0457 \u043F\u0430\u0440\u0442\u0456\u0457. \u041F\u0440\u0438\u043A\u043B\u0430\u0434\u043E\u043C \u043F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u0457 \u043C\u043E\u0436\u0435 \u043F\u043E\u0441\u043B\u0443\u0436\u0438\u0442\u0438 \u043F\u0456\u0441\u043D\u044F Question! \u0433\u0440\u0443\u043F\u0438 System of a Down."@uk . . . . "Polyrhythmik bezeichnet die \u00DCberlagerung mehrerer Rhythmen in einem mehrstimmigen St\u00FCck. Dabei kann jede einzelne Stimme auch einen eigenen Takt oder gar ein eigenes Metrum haben (Polymetrik)."@de . . . . . . "Nella teoria musicale, la poliritmia in musica consiste nell'impiego simultaneo di ritmi diversi tra le voci di una composizione e si differenzia dal semplice impiego di gruppi irregolari (es. terzine) in una sola voce che produce soltanto una diversione melodica. Una poliritmia, per essere detta tale, richiede che l'impiego simultaneo dei ritmi nelle diverse parti produca una ricchezza di variet\u00E0 ritmica, piuttosto che semplicemente melodica. Ritmo tre contro due (3:2). Le note colorate vengono suonate contemporaneamente \n* \n*"@it . . . . . . . . . . . . "\u041F\u043E\u043B\u0456\u0440\u0438\u0442\u043C\u0456\u044F"@uk . . . . . . . . "Polirritmia"@pt . . "42932"^^ . . "\u590D\u8282\u594F\uFF08Cross rhythm\uFF09\u4E5F\u53EB\u4EA4\u9519\u62CD\u5B50\uFF0C\u5728\u4E24\u4E2A\u4EE5\u4E0A\u591A\u4E2A\u58F0\u90E8\u7684\u97F3\u4E50\u4E2D\uFF0C\u4E0D\u540C\u7684\u58F0\u90E8\u540C\u65F6\u4F7F\u7528\u4E0D\u540C\u7684\u5BF9\u6BD4\u7684\u8282\u62CD\uFF0C\u4F7F\u5F97\u5404\u58F0\u90E8\u7684\u5F3A\u5F31\u8282\u62CD\u4EA4\u9519\u8FDB\u884C\uFF0C\u6574\u4E2A\u97F3\u4E50\u4EA7\u751F\u4E00\u79CD\u8FDE\u7EED\u6C34\u6D41\u4F3C\u7684\u8FDB\u884C\u6548\u679C\u3002\u4F8B\u5982\u9AD8\u97F3\u4F7F\u75283/4\u62CD\u5B50\u7684\u8282\u594F\uFF0C\u4F4E\u97F3\u90E8\u5206\u4F7F\u75282/4\u62CD\u5B50\u7684\u8282\u594F\u7B49\u3002"@zh . . . . . . . . . . . . .