The musicology of western culture has the tendency of assuming the existence of metre being a precondition with respect to the rhythm of music that cannot be considered as being a surprise with the point of view that the music of western culture is completely based on being metresthat is equal amongst all kinds of different genres of music such as music of art, jazz, pop, rock and several genres of music as well (Smith, 2005). Some forms with respect to be unmetered those are present within the western culture being labelled as a rhythm being free. In addition to this, considering a view ahead, their dimension with respect to rhythm is barely being considered. From the universal perspective, however, such free rhythm or unmetered is a phenomenon that is extremely important and widespread towards which attention has been paid in an insufficient manner through the ethnomusicologists (Stein, 2008). In the relative manner, the role of free rhythm being played is unimportant within the music of western culture, along with the apparent absence with respect to the theories being indigenous on the rhythm being free within the cultures where there is a significant degree of prominency that contributes towards being neglected.