ABSTRACT
This chapter focusses on murakkabat, who is not the last to deal with rhythmic phenomena, but as one approach the end of the first muqaddima it marks a transition away from conventionally fixed structures and the specific forms of variation to which a given cycle be subjected, and the shift continues with further emphasis being placed upon processes perceived primarily in relation to the performance of a composition amal. It states that one cannot perform two novel far' in the durations 'specific to it', and unless the 'it' is a slip for 'them' the antecedent is presumably the rhythmic cycle, wazn. A parallel of sorts be detected in the urge to identify an element of a novel combination with its normative origin and what be viewed as an emphasis on the need to remain, at least for the most part, within what be identified as belonging to the habitual, the norm, the muala.
