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A network of rhythmic relations could be composed based on the properties of a set of beats, which determines which beats have properties relative to which others, and when. The musical texture is the sum total of all that is in composition. The state would have to be ascribed to a correlation between the music and the listener, but this listener in turn would have to form part of the music! A rhythmic structure exists partly in all its theoretically possible states (or, configuration of its beats) simultaneously; but, when composed to music or get listened, it gives a result corresponding to only one of the possible configurations! Improvisatory approaches are also present, to explore mere coincidence. Collections of two or more rhythmic events or other musical conditions, appear unlikely to bear a relationship as either cause to effect or effects of a shared cause, within the listener's understanding of what cause can produce what effects. Alignment of beats within a counter-tempo polyrhythmic texture creates a hybrid timing of events: interaction of two levels of motion, higher tempo provides the pulse and lower organizes the beats. The properties are no longer well defined relative to a listener after unitary evolution breaks down for that listener.