`  hi Hyacinth, When Novotney says: ``the 3:2 relationship (and [its] permutations) is the foundation of most typical polyrhythmic textures found in West African musics,`` and Agawu says ``[The] resultant [3:2] rhythm holds the key to understanding . . . there is no independence here, because 2 and 3 belong to a single Gestalt,`` they assume the reader knows that three beats and two beats existing in the same time span is a form of divisive rhythm. Because of that assumption, the issue of divisive rhythm rarely comes up except in regards to mistaking cross-rhythmic fragments such as the standard pattern and tresillo as forms of additive rhythm.   Do you think it would be sufficient if I wrote something to preface Novotney and Agawu's statements that said something to the effect that 3:2 is a form of divisive rhythm?  `