Neuroscience research has demonstrated the therapeutic effects of rhythmic drumming. The reason drumming is such a powerful tool is that rhythm is rooted in innate functions of the brain, mind and consciousness. Our relationship with rhythm begins in the womb. At twenty-two days, a single (human embryo) cell jolts to life. This first beat awakens nearby cells and incredibly they all begin to beat in perfect unison. These beating cells divide and become our heart. This desire to beat in unison seemingly fuels our entire lives. Studies show that, regardless of musical training, we are innately able to perceive and recall elements of beat and rhythm.
We respond to rhythm whenever we sense it and seek it out when it is not present, for we are innately rhythmic. Every rhythm has its own quality and touches you in a unique way. These qualities, in fact, exist within each of us, longing to be activated. It is this process of internalization that allows us to access the inaudible yet perceptible soul, so to speak, of a rhythm. One of the paradoxes of rhythm is that the audible pattern is the inverse of the “inaudible matrix.” Every rhythm has both an inaudible and audible aspect—silence and sound.
Silence and sound are the two fundamental aspects of our vibrational world. Silence is the unmanifest essence of the unseen world. Audible sound is the manifest form. It is the inaudible intervals between audible beats that allow us to hear the grouping of beats in a coherent cycle or pattern. We sense the interval as the offbeat, or light element, and the audible beat as the heavy element. The drummer establishes the audible beat, whereas the silent pulse quality unfolds by itself in any rhythmic pattern.
We respond to rhythm whenever we sense it and seek it out when it is not present, for we are innately rhythmic. Every rhythm has its own quality and touches you in a unique way. These qualities, in fact, exist within each of us, longing to be activated. It is this process of internalization that allows us to access the inaudible yet perceptible soul, so to speak, of a rhythm. One of the paradoxes of rhythm is that the audible pattern is the inverse of the “inaudible matrix.” Every rhythm has both an inaudible and audible aspect—silence and sound.
Silence and sound are the two fundamental aspects of our vibrational world. Silence is the unmanifest essence of the unseen world. Audible sound is the manifest form. It is the inaudible intervals between audible beats that allow us to hear the grouping of beats in a coherent cycle or pattern. We sense the interval as the offbeat, or light element, and the audible beat as the heavy element. The drummer establishes the audible beat, whereas the silent pulse quality unfolds by itself in any rhythmic pattern.
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