Our Analyses

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Badra Song from Buzi, Papua New Guinea

John Lai's analysis of a metric cycle with microtiming sung by a mixed group from South New Guinea.
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Flute Music from the Kuna of Panama (Part 1)

John Lai's analysis of a flexible length cycle played by panflutes in Panama, where different material is inserted between identical starting and ending phrases.
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Flute Music from the Kuna of Panama (Part 3)

John Lai's analysis of a Panama flute cycle where the cycle length is varied by extending a fragment of material.
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Folk Dance from Pakistan

John Lai's Analysis of a Pakistani folk dance from Sindh, played by a double-reeded instrument, featuring a cycle with consistent beginnings and endings, but flexible material in between.
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Konnakol Duet in 75/16: Using Non-Isochronous Cycles as a Framework for Durational Transformations

Oscar Smith's analysis of the various time-shaping strategies occurring in a collaborative online konnakol video by South-Indian musicians B.C. Manjunath and Varijashree Venugopal.
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Paane ni Rokera, Panflute Music of the ‘Are ‘Are people of Malaita, Solomon Islands

John Lai's analysis of an interlocking flute duet from the Solomon Islands that uses small variations to create a large-scale directed formal process across cycle repetitions.
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Shop Diaphonic Singing from Dyakovo, Bulgaria

Nathan Bernacki's analysis of a long, strophic, rhythmically flexible cycle sung by two women from Western Bulgaria.
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Tangsulangga, Tratnien (guitar) Music from East Tibet

John Lai's analysis of a strummed string instrument playing a cycle with a very flexible form; a stretch to make a template of the cycles.
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Uusuusuha, Panflute Music of the ‘Are ‘Are people of Malaita, Solomon Islands

John Lai's analysis of a Solomon islands panpipe quartet that clusters several smaller cycles together to form a meta-cycle.
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