| The use of rhythm in contemporary music must address cultural elements that are quite antagonistic in nature. On one side, there is the notion of an uncompromising avant-garde music---often experimental and independent. On the other, popular rhythms that have crossed centuries and have been pivotal elements in mass culture manifestations. In this dissertation, I bring both notions together, first, by discussing a greater force: physics, in particular the concept of a plastic-rhythm. Then, by intersecting concepts such as a rhythmic sphere, time units, kinetics, and torque, I illustrate a personal rhythmic treatment to music.Finally, I analyze the roots of globalization, its political, social, and economical developments, and how this phenomenon has affected the music produced today. Geared toward consumerism and economical expansion, most of the societies in today's world are in a collision path with cultural values of less materialistic nature. Some questions arise from the analysis: Is it possible to go beyond mere flirtation with other cultures around the world---especially the 'exotic' ones---to pursue a balanced and enriching cross-fertilization among these cultures? I also show the use of an African-Brazilian instrument---the berimbau---as a form of in-depth research and exchange among different creative practices. |
