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1
Wilson, Sarah J., and Roger J. Wales. "An Exploration of Children's Musical Compositions." Journal of Research in Music Education 43, no. 2 (1995): 94–111. http://dx.doi.org/10.2307/3345672.
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In this study, we examined the musical compositions of children aged 7 and 9 years to discover the nature of childrens melodic and rhythmic representations of music. The compositions were performed using a computer program that did not require formal music training. Post hoc analysis revealed that the compositions could be divided into three melodic and rhythmic developmental stages that varied according to melodic contour, tonality, rhythmic grouping, and meter. Older children created more compositions at higher stages of complexity, and the more private musical training children had received, the more rhythmically complex their compositions were. The girls produced a greater percentage of compositions assigned to the highest stages than did the boys. Qualitative features of the subjects' approach to the task were noted during testing and were also found to vary with developmental stage. The number of parts inherent in the compositions was a nonpredictive variable in this analysis.
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Borуsova, Yu, and A. Fedoriaka. "Musical and rhythmic training of gymnasts 6-7 years old." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 8(128) (December 28, 2020): 27–32. http://dx.doi.org/10.31392/npu-nc.series15.2020.8(128).06.
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Competitive composition in rhythmic gymnastics is a small performance that has its own plot. However, the modern system of training in rhythmic gymnastics involves the implementation of a large amount of complex and super-complex elements, which must be mastered by very young athletes, and almost no methods of forming artistry, expressiveness, musicality. Problems related to the study of sports aesthetics are the subject of research by scientists: Viner-Usmanova I.O., M.E. Plekhanova, L.P. Morozova, V.V. Sydorova, L.A. Karpenko, Kabaieva A.M., Biletska I.H. etc..
 Aim: to scientifically substantiate and develop a program of musical and rhythmic training for 6-7 years old gymnasts.
 Research methods: analysis and generalization of literature sources; pedagogical observation and experiment; testing; expert evaluation of performances of 6-7 years old gymnasts; methods of mathematical statistics.
 Organization of the research. The research was conducted on the basis of the sports club "Rhythmics Star" in Dnipro within the period from October, 2018 till December, 2019. The study involved two groups of 6-7 years old gymnasts: control and experimental ones of 15 girls in each. Classes in groups were held 5 times a week for 90 minutes.
 Research results. After conducting the study of the initial level of musical-rhythmic training of gymnasts 6-7 years old, it was determined that the majority (70.6%) of the athletes have an average level of musical-rhythmic training. The largest difference in the results was observed in the test for coordination of movements with the meter, and the smallest one in improvisation to music. As a result of the study, the program of musical and rhythmic training for gymnasts aged 6-7 was developed and experimentally tested.
 Conclusions. Comparison of indicators of musical-rhythmic preparedness of the studied control and experimental groups at the beginning and end of the pedagogical experiment showed that in the control group the indicators have not changed. Whereas in the experimental group there was a significant statistical increase in the main indicators of musical and motor preparedness.
 Prospects for further research: development of the program for different age groups using other methods and means of musical-rhythmic training.
3
Keller, Peter E., and Denis K. Burnham. "Musical Meter in Attention to Multipart Rhythm." Music Perception 22, no. 4 (2005): 629–61. http://dx.doi.org/10.1525/mp.2005.22.4.629.
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Performing in musical ensembles can be viewed as a dual task that requires simultaneous attention to a high priority �target� auditory pattern (e.g., a performer�s own part) and either (a) another part in the ensemble or (b) the aggregate texture that results when all parts are integrated. The current study tested the hypothesis that metric frameworks (rhythmic schemas) promote the efficient allocation of attentional resources in such multipart musical contexts. Experiment 1 employed a recognition memory paradigm to investigate the effects of attending to metrical versus nonmetrical target patterns upon the perception of aggregate patterns in which they were embedded. Experiment 2 required metrical and nonmetrical target patterns to be reproduced while memorizing different, concurrently presented metrical patterns that were also subsequently reproduced. Both experiments included conditions in which the different patterns within the multipart structure were matched or mismatched in terms of best-fitting meter. Results indicate that dual-task performance was best in matched-metrical conditions, intermediate in mismatched-metrical conditions, and worst in nonmetrical conditions. This suggests that metric frameworks may facilitate complex musical interactions by enabling efficient allocation of attentional resources.
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Martinec, Radan. "Rhythm in Multimodal Texts." Leonardo 33, no. 4 (2000): 289–97. http://dx.doi.org/10.1162/002409400552676.
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The author presents a hier-archical model of rhythm in lan-guage, music and action and ap-plies it to the integration of these semiotic modes in multimodal texts. The model distinguishes be-tween rhythm and meter; meter is shown to synchronize the rhyth-mic hierarchies of musical instru-ments, as well as of voice, music and action. The author identifies the meanings conveyed by variet-ies of multimodal synchronization.
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Nozaradan, Sylvie. "Exploring how musical rhythm entrains brain activity with electroencephalogram frequency-tagging." Philosophical Transactions of the Royal Society B: Biological Sciences 369, no. 1658 (2014): 20130393. http://dx.doi.org/10.1098/rstb.2013.0393.
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The ability to perceive a regular beat in music and synchronize to this beat is a widespread human skill. Fundamental to musical behaviour, beat and meter refer to the perception of periodicities while listening to musical rhythms and often involve spontaneous entrainment to move on these periodicities. Here, we present a novel experimental approach inspired by the frequency-tagging approach to understand the perception and production of rhythmic inputs. This approach is illustrated here by recording the human electroencephalogram responses at beat and meter frequencies elicited in various contexts: mental imagery of meter, spontaneous induction of a beat from rhythmic patterns, multisensory integration and sensorimotor synchronization. Collectively, our observations support the view that entrainment and resonance phenomena subtend the processing of musical rhythms in the human brain. More generally, they highlight the potential of this approach to help us understand the link between the phenomenology of musical beat and meter and the bias towards periodicities arising under certain circumstances in the nervous system. Entrainment to music provides a highly valuable framework to explore general entrainment mechanisms as embodied in the human brain.
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Hagmann, Carl Erick, and Robert G. Cook. "Testing meter, rhythm, and tempo discriminations in pigeons." Behavioural Processes 85, no. 2 (2010): 99–110. http://dx.doi.org/10.1016/j.beproc.2010.06.015.
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Cox, Arnie. "Disanalogies Between Physical Space and Metaphoric Musical Space: Response to Jonathan Still’s Essay." Empirical Musicology Review 10, no. 1-2 (2015): 135. http://dx.doi.org/10.18061/emr.v10i1-2.4600.
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Jonathan Still&rsquo;s exploration of differences in how dancers and musicians experience and conceptualize beats, rhythm, and meter raises issues that scholars interested in these temporal components of music ought to consider, particularly with respect to the relationship between embodiment, physical gravity, and the notion of &ldquo;musical gravity.&rdquo; This response offers a brief explanation of how the musicians&rsquo; concept of <em>downbeat</em> is motivated by a different reasoning than that which motivates a sense of melodic &ldquo;gravity.&rdquo; It also extends another issue raised by Still concerning the range in the degree of congruence, across various kinds of dancing, between dancers&rsquo; steps and musical rhythm and meter.
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Perna, Francesca, Francesco Pavani, Massimiliano Zampini, and Veronica Mazza. "Behavioral Dynamics of Rhythm and Meter Perception: The Effect of Musical Expertise in Deviance Detection." Timing & Time Perception 6, no. 1 (2018): 32–53. http://dx.doi.org/10.1163/22134468-00002100.
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In two behavioral experiments, we explored effects of long-term musical training on the implicit processing of temporal structures (rhythm, non-rhythm and meter), manipulating deviance detection under different conditions. We used a task that did not require an explicit processing of the temporal aspect of stimuli, as this was irrelevant for the task. In Experiment 1, we investigated whether long-term musical training results in a superior processing of auditory rhythm, and thus boosts the detection of auditory deviants inserted within rhythmic compared to non-rhythmic auditory series. In Experiment 2, we focused on the influence of the metrical positions of a rhythmic series, and we compared musicians and non-musicians’ responses to deviant sounds inserted on strong versus weak metrical positions. We hypothesized that musicians would show enhanced rhythmic processing as compared to non-musicians. Furthermore, we hypothesized that musicians’ expectancy level would differ more across metrical positions compared to non-musicians. In both experiments, musicians were faster and more sensitive than non-musicians. Although both groups were overall faster and showed a higher sensitivity for the detection of deviants in rhythmic compared to non-rhythmic series (Experiment 1), only musicians were faster in the detection of deviants on strong positions compared to weak ones (Experiment 2). While rhythm modulates deviance processing also in non-musicians, specific effects of long-term musical training arise when a refined comparison of hierarchical metrical positions is considered. This suggests that long-term musical training enhances sensitivity to the metrical structure and improves temporal prediction mechanisms, even during implicit processing of meter.
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London, Justin, Rainer Polak, and Nori Jacoby. "Rhythm histograms and musical meter: A corpus study of Malian percussion music." Psychonomic Bulletin & Review 24, no. 2 (2016): 474–80. http://dx.doi.org/10.3758/s13423-016-1093-7.
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Marshall, Wayne. ":Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music." Music Theory Spectrum 31, no. 1 (2009): 192–99. http://dx.doi.org/10.1525/mts.2009.31.1.192.
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Ross, Jaan, and Ilse Lehiste. "Timing in Estonian Folk Songs as Interaction between Speech Prosody, Meter, and Musical Rhythm." Music Perception 15, no. 4 (1998): 319–33. http://dx.doi.org/10.2307/40300861.
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Durations of acoustical segments were measured in four Estonian folk songs sung by a single performer, consisting of 152 verse lines, eight syllables each, with one note in the melody normally corresponding to one syllable in the text. The results were analyzed with regard to three aspects: notation, meter, and speech prosody. Three songs out of four are notated as isochronous sequences of 8 eighth notes per each verse line; in one song, certain pairs of eighth notes are replaced by a dotted eighth note plus a sixteenth note. The results revealed a complex interaction between meter, musical rhythm, and speech prosody. Variations in durations of sound events reflect the Kalevala meter on which the songs are based, with average rises in a foot being acoustically longer than falls. The duration differences between rises and falls are reduced in the socalled broken lines, which contain monosyllabic and trisyllabic words and allow for accommodation of short stressed syllables at a fall of a foot as required by the meter. Semantically relevant oppositions of wordinitial short-long and long-short disyllabic units in speech are not kept completely intact in folk songs. Short-long disyllables are treated in a different manner by the performer, depending on whether their initial syllable occurs at a rise or at a fall in a foot.
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Levitin, Daniel J., and Ursula Bellugi. "Musical Abilities in Individuals with Williams Syndrome." Music Perception 15, no. 4 (1998): 357–89. http://dx.doi.org/10.2307/40300863.
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We report evidence for relatively preserved musical rhythm processing in individuals with Williams syndrome, supporting the theory that musical ability constitutes an independent intelligence. Williams syndrome occurs in 1 out of 20,000 births and is associated with a defect in elastin production, impaired cognitive function, and poor spatial, quantitative, and reasoning abilities, coupled with excellent face processing and relatively strong language abilities in adolescents and adults. Previously, informal qualitative observations have revealed an unusual degree of musicality and engagement with musical stimuli in many individuals with Williams syndrome. In the present study, rhythm production was assessed for eight subjects with Williams syndrome and eight subjects in a comparison group by using an echo clapping task. Despite serious deficits in other cognitive domains and generally poor coordination, the subjects with Williams syndrome achieved accuracy scores equivalent to those of subjects in the comparison group and demonstrated equivalent abilities in meter change and beat maintenance. Most interestingly, when the subjects with Williams syndrome made errors in rhythm production, their errors were far more likely than comparison subjects' errors to form rhythmically compatible musical elaborations to the test items; that is, responses of subjects with Williams syndrome, when incorrect, tended to be creative extensions of the reference rhythm.
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Gumboski, Leandro. "A dissonância métrica como elemento de análise da música do período da prática comum: resenha de Hearing rhythm and meter." OPUS 26, no. 1 (2020): 1. http://dx.doi.org/10.20504/opus2020a2612.
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Hearing rhythm and meter: analyzing metrical consonance and dissonance in commom-practice period music é um livro recentemente escrito e publicado pelo professor e pesquisador norte-americano Matthew Santa. Seguindo alto rigor científico na exposição dos conceitos, esta produção tem um forte propósito didático na explicação de conceitos teóricos sobre ritmo e métrica, centrando o discurso na análise de dissonâncias métricas. Importante para especialistas em teoria e análise musical e fundamental para estudantes de Graduação em Música, Hearing rhythm and meter deve alterar a forma com que o leitor ouve repertórios do período da prática comum. O texto que segue abaixo procura resumir os principais tópicos abordados nesta produção bibliográfica.
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Nozaradan, S., I. Peretz, and A. Mouraux. "Selective Neuronal Entrainment to the Beat and Meter Embedded in a Musical Rhythm." Journal of Neuroscience 32, no. 49 (2012): 17572–81. http://dx.doi.org/10.1523/jneurosci.3203-12.2012.
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Lenc, Tomas, Hugo Merchant, Peter E. Keller, Henkjan Honing, Manuel Varlet, and Sylvie Nozaradan. "Mapping between sound, brain and behaviour: four-level framework for understanding rhythm processing in humans and non-human primates." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1835 (2021): 20200325. http://dx.doi.org/10.1098/rstb.2020.0325.
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Humans perceive and spontaneously move to one or several levels of periodic pulses (a meter, for short) when listening to musical rhythm, even when the sensory input does not provide prominent periodic cues to their temporal location. Here, we review a multi-levelled framework to understanding how external rhythmic inputs are mapped onto internally represented metric pulses. This mapping is studied using an approach to quantify and directly compare representations of metric pulses in signals corresponding to sensory inputs, neural activity and behaviour (typically body movement). Based on this approach, recent empirical evidence can be drawn together into a conceptual framework that unpacks the phenomenon of meter into four levels. Each level highlights specific functional processes that critically enable and shape the mapping from sensory input to internal meter. We discuss the nature, constraints and neural substrates of these processes, starting with fundamental mechanisms investigated in macaque monkeys that enable basic forms of mapping between simple rhythmic stimuli and internally represented metric pulse. We propose that human evolution has gradually built a robust and flexible system upon these fundamental processes, allowing more complex levels of mapping to emerge in musical behaviours. This approach opens promising avenues to understand the many facets of rhythmic behaviours across individuals and species. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.
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Pollatou, Elisana, Vassilia Hatzitaki, and Kostandina Karadimou. "Rhythm or Music? Contrasting Two Types of Auditory Stimuli in the Performance of a Dancing Routine." Perceptual and Motor Skills 97, no. 1 (2003): 99–106. http://dx.doi.org/10.2466/pms.2003.97.1.99.
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The purpose of the present study was to investigate whether rhythmic beats only or music would be more effective as accompaniment for the motor performance of specific rhythmic-dance steps by 30 female students of physical education ( M age 20.1 yr.), without prior experience in music or dance. They performed a dance routine in synchronization with a musical phrase of eight rhythmical meters, with the general value of 4/4 each. Each meter involved representative steps of the rhythmical values of 4/4, 1/4, 1/8, and 1/16 like rhythmical walking, small kicks, galloping, chassé, cat leap, and different ways of balancing. Subjects performed these in synchronization to the rhythm played on a tambourine or to music played on an harmonium. All movement performances were registered using two video cameras. Differences between the two groups (“rhythm” and “music”) and across the different meters (4/4, 1/8, 1/8, 1/16, 1/4) were analyzed by a mixed between-within subjects 2 × 3 analysis of variance with repeated measures of “meter.” Students who performed with the tambourine showed better synchrony with that external auditory stimulus than students who performed the same routine guided by music played on the harmonium. Also, students showed better synchrony with the external rhythm when performing a whole (4/4 meter) than when performing either the 1/8 or the mixed 1/8–1/16–1/4 meters. These findings suggest that for highly complex artistic movements such as the ones involved in dance, beginners perform much better when their movements are guided by a rhythmical sequence of single beats than when guided by a musical phrase having identical metrical structure.
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Polak, Rainer. "Pattern and Variation in the Timing of Aksak Meter: Commentary on Goldberg." Empirical Musicology Review 10, no. 4 (2016): 329. http://dx.doi.org/10.18061/emr.v10i4.4883.
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In a chronometric timing study of percussive accompaniment in two recorded live performances from south-eastern Europe, Daniel Goldberg (2015) focuses on timing variations that relate to several levels of grouping structure and musical form. This commentary puts the target study into the context of performance timing research, confirms its empirical validity by a replication of core findings using a slightly different chronometric protocol, and finds a systematic variation of same-category durations within each bar, suggesting that a metric timing pattern (London 2012) might play a role. Finally, I argue that Goldberg’s analysis speaks of both variation <em>and</em> stability of performance timing patterns. While this statement is near banal, it cannot be easily explained, in the studied context of an asymmetric 3-beat/7-subdivisions aksak meter ( | x . . x . x . | ), by contemporary conceptualizations of the cognitive processes that constitute reference frameworks for musical rhythm performance and perception (e.g., metric projection, beat induction, or dynamic attending).
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Grey, Alyssa. "Improving Students’ Aural Skills on the AP Music Theory Exam." Music Educators Journal 107, no. 3 (2021): 47–53. http://dx.doi.org/10.1177/0027432121994658.
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In the past six years, more than 40,000 students have failed the AP Music Theory Exam. Students have struggled especially when sight-singing or taking melodic dictation in compound meter and minor tonality. Research has shown that students can improve these specific aural skills through learning pitch and rhythm patterns, improvisation activities, and learning from musical literature. This article includes research-based practical applications for helping students improve their aural skills for the AP Music Theory Exam.
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Gocman, Małgorzata. "Temperament traits and preferences of music works with specific musical elements." Polish Journal of Applied Psychology 15, no. 1 (2017): 37–57. http://dx.doi.org/10.1515/pjap-2015-0071.
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Abstract The objective of the research was to check the relationship between temperament traits as classified by Pavlov and preferences for works of music containing specified musical elements. 145 students aged 19-26 took part in the study. The respondents completed the Pavlovian Temperament Survey and a Music Preferences Form. Statistical analysis showed that all the temperament traits classified by Pavlov were related to musical elements contained in the subjects’ chosen pieces of music. The following proved to be significant in regard to the subjects’ musical preferences: Tempo, Changes in Tempo, Rhythm Values in Relation to Metrical Basis, Number of Melodic Themes, Scale of Performance, and Meter. The results are consistent with studies indicating the impact of temperament traits (related to the need for stimulation) on music preferences.
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Krzyzaniak, Michael. "Interactive Learning of Timbral Rhythms for Percussion Robots." Computer Music Journal 42, no. 2 (2018): 35–51. http://dx.doi.org/10.1162/comj_a_00459.
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This article presents a machine-learning technique to analyze and produce statistical patterns in rhythm through real-time observation of human musicians. Here, timbre is considered an integral part of rhythm, as might be exemplified by hand-drum music. Moreover, this article considers challenges (such as mechanical timing delays, that are negligible in digitally synthesized music) that arise when the algorithm is executed on percussion robots. The algorithm's performance is analyzed in a variety of contexts, such as learning specific rhythms, learning a corpus of rhythms, responding to signal rhythms that signal musical transitions, improvising in different ways with a human partner, and matching the meter and the “syncopicity” of improvised music.
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Huss, Martina, John P. Verney, Tim Fosker, Natasha Mead, and Usha Goswami. "Music, rhythm, rise time perception and developmental dyslexia: Perception of musical meter predicts reading and phonology." Cortex 47, no. 6 (2011): 674–89. http://dx.doi.org/10.1016/j.cortex.2010.07.010.
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Galbraith, Daniel. "Meter, prosody and performance: evidence from the Faroese ballads." Nordic Journal of Linguistics 42, no. 3 (2019): 227–61. http://dx.doi.org/10.1017/s0332586519000192.
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AbstractIn this paper, I argue that the folk ballad tradition of the Faroe Islands, to date never examined in detail by metrists, offers substantial empirical support for the necessity of maintaining the classic metrical template, as well as the distinction between metrical and prosodic structure: meter is an abstraction which can neither be collapsed into phonology, nor fundamentally detached from it (Kiparsky 2006, Blumenfeld 2015, pace Hayes & MacEachern 1998, Fabb & Halle 2008). The ballad performances also reveal a unidirectional correspondence from strong metrical positions to strong dance steps and strong musical beats, indicating that metrical prominence plays a significant role in determining rhythm. The Faroese tradition thus provides a window into the relation between metrical structure and performance. In support of my conclusions I draw upon both the ballad texts and audio-visual recordings of sections of sample ballads I made on the Faroe Islands.
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Thaut, Michael, Pietro Trimarchi, and Lawrence Parsons. "Human Brain Basis of Musical Rhythm Perception: Common and Distinct Neural Substrates for Meter, Tempo, and Pattern." Brain Sciences 4, no. 2 (2014): 428–52. http://dx.doi.org/10.3390/brainsci4020428.
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Kołodziejski, Maciej. "2. Rhythmical Creativity in Duple and Triple Meter of Students of Early-School Education in the Light of Their Stabilised Musical Aptitudes and Rhythm Readiness to Improvise." Review of Artistic Education 15, no. 1 (2018): 13–28. http://dx.doi.org/10.2478/rae-2018-0002.
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Abstract The article presents the results of (author's) own research on the students of earlyschool education imitation and the rhythmical improvisation in the light of their stabilised musical aptitudes measured with Edwin E. Gordon's AMMA test and also Edwin E. Gordon's readiness to rhythm improvisation readiness record (RIRR). In the first part of the research the students imitated some rhythmical patterns diversified in terms of difficulty in duple and triple meter and the subsequent part concerned guiding the oral rhythmical dialogue (on the BAH syllable) by the teacher with the application of various rhythmical motives in different metres. The students' both imitative and improvising performances were rated by three competent judges. What was undertaken was searching for the relations between musical aptitudes, improvisation readiness and the pupils' rhythmical imitation and improvisation abilities.
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Ebert, Dietrich, Harald Hefter, Ferdinand Binkofski, and Hans-Joachim Freund. "Coordination between Breathing and Mental Grouping of Pianistic Finger Movements." Perceptual and Motor Skills 95, no. 2 (2002): 339–53. http://dx.doi.org/10.2466/pms.2002.95.2.339.
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6 pianists (age 22 to 43 years) performed a simple finger exercise at a spontaneously chosen most comfortable tempo on a Yamaha-Disklavier piano. Five versions of the exercise, notated in quarter notes, were presented with different types of meters: (1) 3/4, (2) 4/4, (3) 5/4, (4) 6/4, and (5) 7/4. The onsets of finger strokes were measured while respiration was recorded in parallel by means of a thermistor placed at the front of the dominant nostril. The chosen tempo (finger-beat-rate) was about 3 Hz on all trials but not exactly constant. Correspondingly, the meter-rate chosen was faster for 3/4 and 4/4 meter (around 1Hz), slower for 5/4, 6/4, and 7/4 meter (around 0.5 Hz). Mean breathing rate while playing the piano (0.38 Hz) was significantly higher than while resting (0.22 Hz, p<.05). Pooling the data of all subjects, the ratios of instantaneous meter and breathing rates clustered around different integer values, depending on the type of meter. Also the individual data indicated integer ratios between instantaneous meter and breathing rates. Even periods of constant phase relations between onsets of the meter and of inspiration could be observed. Thus, the mental process of grouping the same piece of music by various musical meters interacts with unconscious breathing rhythm.
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Maw, David. ""Trespasser mesure": Meter in Machaut's Polyphonic Songs." Journal of Musicology 21, no. 1 (2004): 46–126. http://dx.doi.org/10.1525/jm.2004.21.1.46.
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Comments by Jacques de Lige suggest that Ars nova notation operated metrically at more than one rhythmic level. This is borne out by Machaut's compositions, the lais in particular. Inconsistencies within and between the two complete editions of Machaut's works in the reductions of note-values used for transcription indicate that the matter has not been fully resolved; uncertainty concerning metrical level in the polyphonic songs is evident in the different barrings of modus-level rhythmic organization. The system of 12 "modes" (mensural types) in the Compendium de discantu mensurabili by Petrus frater dictus Palma Ociosa reveals that meters centering on both "modus" and "tempus" levels were equally part of polyphonic practice in the mid 1330s. Editors have been wary of recognizing the modus level in Machaut's polyphonic songs because of the frequent irregularities in metrical grouping at this level; yet variation in modus is acknowledged by the Ars nova treatises. A full re-evaluation of the presence of modus in Machaut's songs is warranted. Coordinated analysis of rhythmic "layers" (figural grouping, agogic accent, simultaneous attack, and syllabic rhythm) in two ballades (B35 and B25) justifies the irregular modus recognized by both editions and points to an important distinction between mensuration (pertaining to the notation) and meter (pertaining to the rhythmic organization). Figural disposition, varied recurrence of material, and syllabic rhythm provide other criteria for recognizing variable metrical form. A full-scale analysis on these terms reveals the extent and nature of Machaut's use of modus. His technique of metrical variation conforms to four types (phrasal "distension" and "contraction"; cadential "contraction" and "extension"), and ties in with a 14th-century aesthetic viewpoint that attached great significance to "variety." Machaut himself recognized it as a musical corollary of the amorous condition in lyric song ("trespasser mesure," Motet 7). Reassessment of the modus level has consequences for the editorial approach to notae finales, sectional rests, and also for the choice of tempo in performance.
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Bregman, Micah R., John R. Iversen, David Lichman, Meredith Reinhart, and Aniruddh D. Patel. "A method for testing synchronization to a musical beat in domestic horses (Equus ferus caballus)." Empirical Musicology Review 7, no. 3-4 (2013): 144. http://dx.doi.org/10.18061/emr.v7i3-4.3745.
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According to the &ldquo;vocal learning and rhythmic synchronization hypothesis&rdquo; (Patel, 2006), only species capable of complex vocal learning, such as humans and parrots, have the capacity to synchronize their movements to a musical beat.&nbsp; While empirical research to date on a few species (e.g., parrots and monkeys) has supported this hypothesis, many species remain to be examined. Domestic horses are particularly important to study, as they are vocal non-learners who are occasionally reported to move in synchrony with a musical beat, based on informal observations. If these reports are substantiated by scientific experiments, this would refute the vocal learning hypothesis and provide a new species for the comparative study of musical rhythm.&nbsp; Here we present a new method for testing whether horses can synchronize their trotting to a musical beat, including an illustration of data analysis based on data collected from one horse.&nbsp;&nbsp;
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Andrew Toe, Yuan Loong. "SHANGHAI JAZZ MUSIC FROM 1930 TO 1949." International Journal of Applied and Creative Arts 1, no. 1 (2018): 1–12. http://dx.doi.org/10.33736/ijaca.833.2018.
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Jazz music emerged in Shanghai, China between the late 1920s and early 1930s. This paper documented and analysed Shanghai jazz music that was recorded from 1930 to 1949. Shanghai jazz music recorded and performed within this period was selected through stratified random sampling technique. All samples were analysed in terms of melody, harmony, rhythm and form. The results showed that Western diatonic scale was apparent in the melodies, instead of the usual Chinese pentatonic scale; primary chords were prevalent with minimal use of secondary chords in the harmony; the “oom-pah” rhythm in duple meter was most widely utilized; and the musical form has evolved from the earlier through-composed song form to the later “AABA” form. In conclusion, this research characterised Shanghai jazz music that were recorded between 1930 to 1949. It served to elevate the identity of this music and to prompt further research into Shanghai jazz music spanning from 1950s until present time.
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Demorest, Steven M., and Ronald C. Serlin. "The Integration of Pitch and Rhythm in Musical Judgment: Testing Age-Related Trends in Novice Listeners." Journal of Research in Music Education 45, no. 1 (1997): 67–79. http://dx.doi.org/10.2307/3345466.
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Results of a previous study revealed that musically untrained listeners showed a significant, age-related increase in their sensitivity to rhythmic information when judging the degree of difference between a theme and selected pitch and rhythm variations. There was no corresponding increase in their sensitivity to pitch information, and there were no age-related differences in the overall integration process used to reach their judgments. The purpose of this study was to test the possibility that the developmental differences found in the earlier study were due to specific characteristics of the test melody used. Musical novices were randomly sampled from Grades 1, 5, and 9 of three elementary schools and three high schools from three different suburban school districts. Adult musical novices were chosen from elementary education majors tested at the beginning of their required music course. Results using a new, contrasting test melody confirmed the findings of the first study regarding the increased importance of rhythmic information. However, some melody-related differences were found. Implications for early music education experiences and future research in perceptual development are discussed.
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Iyer, Vijay. "Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. By Mark Butler. Bloomington: Indiana University Press, 2006." Journal of the Society for American Music 2, no. 2 (2008): 269–76. http://dx.doi.org/10.1017/s1752196308081182.
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Doğantan-Dack, Mine. "Tonality: The Shape of Affect." Empirical Musicology Review 8, no. 3-4 (2013): 208. http://dx.doi.org/10.18061/emr.v8i3-4.3943.
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The last decade has witnessed an increasing interest in studying music as it relates to human evolution, leading to the establishment of so-called evolutionary musicology<em> </em>as a new field of enquiry. Researchers in this field maintain that music indeed played as crucial a role as the development of language in the evolution of humankind. The most frequently cited musical phenomena in relation to various adaptive functions include rhythm, meter, and melodic contour. In this connection, the universal phenomenon of tonal organisation of pitch in musical systems received no attention. This article provides a hypothesis regarding the evolutionary origins of tonality as a system for the dynamic shaping of affect, and establishes further connections between music and affective states by proposing a link between the emergence of tonality and of the human capacity to regulate inter-subjective dynamics by shaping the course of affect towards stable states. The article also proposes that tonality provides an archetypal psychological space within which the human ability to shape different paths towards stable affective states could evolve.&nbsp;
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PARASKEVOPOULOS, EVANGELOS, KYRANA TSAPKINI, and ISABELLE PERETZ. "Cultural aspects of music perception: Validation of a Greek version of the Montreal Battery of Evaluation of Amusias." Journal of the International Neuropsychological Society 16, no. 4 (2010): 695–704. http://dx.doi.org/10.1017/s1355617710000494.
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AbstractDespite music’s universality, people perceive and interpret music according to their cultural background. The existing music perception batteries, however, do not take into account possible cultural differences. We adapted the Montreal Battery of Evaluation of Amusias (MBEA) into the requirements of Eastern (Greek) music, where rhythm and melody scales are different from the ones used in Western music. We obtained norms for both the original version of MBEA and its Greek adaptation from the same Greek participants because they are exposed to both genres (traditional and Eastern). Results indicate that some parts of the original MBEA such as the meter test would not be suitable for evaluating the musical abilities of populations with a different musical tradition. Instead, our version of the MBEA, the Greek Battery of Evaluation of Amusia (GBEA) should be preferred in assessing music perception in cultures or individuals influenced by Eastern or both traditions. We also report the results of a congenitally amusic individual (B.Z.) evaluated with both batteries showing that GBEA is a more sensitive tool to evaluate her impairment in music perception. (JINS, 2010, 16, 695–704.)
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Gecevičiūtė, Agnė. "A plastic approach to musical meaning: An analysis of The Barbarian by Emerson, Lake & Palmer." Semiotika 12 (December 22, 2016): 37–54. http://dx.doi.org/10.15388/semiotika.2016.16734.
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The aim of the present analysis is discussing a particular piece trying to answer rather impenetrable question of musical meaning. It is assented that in various contexts the same sound can create different meanings and that music can produce different meanings to separate people at different times. Thus music is considered as being more similar to plastic dimension of visual arts than submitting to a figurative reading. Therefore an aesthesic approach – the adaptation of plastic semiotics, which suggests reading the text in a more abstract way – might be also effective to music analysis. This is demonstrated in present analysis where trying to explore musical meaning in a particular piece, development of dynamics, rhythm, tempo, height and duration of sounds, timbres, accents, meter, (in)completeness, pulsation, curves of tension, etc. is discussed.The first piece of the debut album by one of progressive rock founding bands is analysed. It appears that in this object the main ideas of the band and of all progressive rock genre are expressed as well as roles of “high” and “mass” cultures are established.
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Harwanto, Dody Candra, and Sunarto Sunarto. "The Form and Structure of Kentrung Art Performance in Jepara." Resital: Jurnal Seni Pertunjukan 19, no. 1 (2018): 35–45. http://dx.doi.org/10.24821/resital.v19i1.2450.
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This study aims to analyze the form and structure of Kentrung Art Performance in Ngasem Village, Batealit Sub-district, Jepara. The research method is a descriptive qualitative method with an interpretative case study as the research design. The data were collected by doing the observation, interview, and document study. The data analysis technique was done throughout the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate that Kentrung musical form consists of two elements of time and elements of melody. For the element of time, Allegretto tempo is used with its speed between 104-112 steps per minute; its meter uses 4/4, in which there are four beats of one-fourth on each bar; and the rhythmic pattern is divided into two sorts (senggakan and sautan) which generally use the value of half tap, and the outcrop rhythm pattern is used for the big terbangan. Most melodies use a half-tone note with the highest tone of G#5 (la), and the lowest tone is F#4 (sol). The musical structure of Kentrung consists of two sentences or periods namely A B which is respectively repeated.
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Skrukwa, Marek. "Biblical Inspirations in the Works of Krzysztof Penderecki: At the Crossroads of Theology and Music." Perspektywy Kultury 26, no. 3 (2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2603.06.
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By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach.
 In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even experimenting with their construction (tubaphone). He also introduced a spatially-distributed orchestra, assigning the human voice its original, purely declamatory function, without limitations of rhythm or meter. The composer thus took steps to theatricalize the musical work, in order to enable a deeper reception of the Biblical content by the audience.
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Dalmonte, Rossana. "Rethinking the Influence of Italian Poetry and Music on Liszt The Petrarca Sonnet Benedetto sia ‘l giorno." Studia Musicologica 54, no. 2 (2013): 177–98. http://dx.doi.org/10.1556/smus.54.2013.2.5.
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The article aims to clarify some intricate points about the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ‘l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for granted; then that of the dates — of composition, of revision(s), of publication(s) — which has been covered much more widely in the literature than that of the language, but that still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means of analysis, the author suggests the cooperation of external hands in the setting of the words. Discussing the form of the piece, the paper tries to confute the various commonplaces of the literature; the difficulties inherent in the meter (the hendecasyllable) and the various ways in which its rhythm is interrupted — through repetitions, pauses and vocalizations etc. — are examined. The conclusion is that in Benedetto sia ‘l giorno the relationship between music and poetry does not reflect any particular model of lied nor of opera aria; the piece instead hints slightly to the old Italian madrigal. Benedetto is not the occurrence of a known musical form, but an example of the crisis of the form.
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Cherla, Srikanth, Hendrik Purwins, and Marco Marchini. "Automatic Phrase Continuation from Guitar and Bass Guitar Melodies." Computer Music Journal 37, no. 3 (2013): 68–81. http://dx.doi.org/10.1162/comj_a_00184.
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A framework is proposed for generating interesting, musically similar variations of a given monophonic melody. The focus is on pop/rock guitar and bass guitar melodies with the aim of eventual extensions to other instruments and musical styles. It is demonstrated here how learning musical style from segmented audio data can be formulated as an unsupervised learning problem to generate a symbolic representation. A melody is first segmented into a sequence of notes using onset detection and pitch estimation. A set of hierarchical, coarse-to-fine symbolic representations of the melody is generated by clustering pitch values at multiple similarity thresholds. The variance ratio criterion is then used to select the appropriate clustering levels in the hierarchy. Note onsets are aligned with beats, considering the estimated meter of the melody, to create a sequence of symbols that represent the rhythm in terms of onsets/rests and the metrical locations of their occurrence. A joint representation based on the cross-product of the pitch cluster indices and metrical locations is used to train the prediction model, a variable-length Markov chain. The melodies generated by the model were evaluated through a questionnaire by a group of experts, and received an overall positive response.
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Martinova, N. P. "Results of experimental testing of hee girl students’ motor skills at aerobic trainings." Physical education of students 19, no. 5 (2015): 46–53. http://dx.doi.org/10.15561/20755279.2015.0507.
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Purpose: to analyze dynamic of motor skills’ formation in girl students, who practice aerobic by experimental program. Material: in the research 40 girl students participated. Motor skills level was tested with the help of state and additional tests. Results: it was found that for training quickness it is necessary to use rope skipping in mode, corresponding to development of this quality. For training maximal strength it is purposeful to use more complex power exercises in ground part of the complex. Conclusions: implementation of rope skipping means in dance aerobic trainings increases training influence on practically all motor skills. Rope skipping permits to doze and regulate training load. The same under musical accompaniment develop sense of rhythm. In some modes such jumps facilitate training of speed power qualities and power endurance.
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Madsen, Clifford K., and Katia Madsen. "Perception and Cognition in Music: Musically Trained and Untrained Adults Compared to Sixth-Grade and Eighth-Grade Children." Journal of Research in Music Education 50, no. 2 (2002): 111–30. http://dx.doi.org/10.2307/3345816.
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We investigated different levels of age and musical training in relation to subjects' melodic perception in music by testing their ability to perceive a target melody when extremely similar melodies are interpolated between this original melody and its reoccurrence. Participants were sixth graders, eighth graders, young adults, and trained musicians who listened to 16 original melodies, each of which was followed by 8 extremely similar melodies. Two different experiments (A and B) tested different arrangements of mode and meter interpolations. We also asked the adult musicians to specify cognitive strategies for accomplishing the task. Results demonstrated greater accuracy among experienced musicians, yet results show that even young students are capable of remembering and discriminating similar melodies with high accuracy. Written analyses of strategies used by musicians indicated they considered the task extremely difficult and that their past musical training helped with the task; they also indicated that children could not do this task, which was not the case.
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Окунева, Е. Г. "Rhythm in the Works of Luigi Dallapiccola." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 6–24. http://dx.doi.org/10.26156/om.2020.12.1.001.
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Творчество Луиджи Даллапикколы 1950-1960-х годов отмечено активными экспериментами в области метра и ритма. У композитора сложилась концепция так называемого плавающего ритма (schwebender Rhythmus). В статье данное понятие интерпретируется как связанное со свободной метрикой, ритмической нерегулярностью, безакцентностью. К комплексу приемов, способствующих нарушению метроритмического равновесия, автор относит вуалирование сильных долей, использование внутритактовых и межтактовых синкоп, добавочной длительности, полиметрию. Принципы композиторской работы с ритмом демонстрируются на примере отдельных сочинений 1950-1960-х годов: Музыкальной тетради Анналиберы , вокальных циклов Песни на стихи Гёте и Пять песен , концерта для виолончели с оркестром Диалоги , оперы Улисс . Даллапиккола синтезирует достижения старых мастеров полифонии и композиторов новой венской школы. Он автономизирует звуковысотные и ритмические каноны, оперирует длительностями как конструктивными элементами, работает с ритмическими ячейками как синтаксическими единицами, ищет эквивалент звуковысотной инверсии в ритмическом параметре путем обращения долгих длительностей в короткие и наоборот. Автор проводит параллели между ритмическим мышлением Даллапикколы и ритмическими идеями Мессиана, Булеза, других сериальных композиторов. Прослеживается тенденция к усложнению ритмических структур: Даллапиккола обращается к разнообразным способам числовой организации ритма и наделяет его образно-символическим смыслом. The work of Luigi Dallapiccola of the 19501960s is characterized by active experiments in the field of meter and rhythm. The composer has developed the concept of the socalled floating rhythm (schwebender Rhythmus). In the article, this concept is interpreted as associated with a free metric, rhythmic irregularity, and lack of focus. The complex of techniques mentioned by the author as contributing to violation of the metro-rhythmic equilibrium, includes the veiling of accented beats, the use of in-bar and inter-bar syncopes, additional duration, polymetry. The principles of composers work with rhythm are demonstrated by particular compositions of the 19501960s: Quaderno musicale di Annalibera Musical Notebook of Annalibera, the vocal cycles Goethe-Lieder and Cinque canti, Five Songs, the concert for cello and orchestra Dialoghi Dialogues, and the opera Ulisse. Dallapiccola synthesizes the achievements of ancient polyphony and composers of the new Viennese school. It autonomizes pitch and rhythmic rules, operates with du-rations as constructive elements, works with rhythmic cells as syntactic units, searches for the equivalent of pitch inversion in the rhythmic parameter by converting long dura-tions into short ones and vice versa. The author draws parallels between the rhythmic thinking of Dallapiccola and the rhythmic ideas of Messian, Boulez and other compos-ers-serialists. There is a tendency toward complication of rhythmic structures: Dallapiccola re-fers to various methods of numerical organization of rhythm and gives it figurative and symbolic meaning.
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DJOKOVIĆ, Predrag. "Towards perfect unity: himnography and some musical reinterpretations within Serbian chanting practice." Fontes Slaviae Orthodoxae 1, no. 1 (2019): 71–79. http://dx.doi.org/10.31648/fso.3042.
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This paper explains the musical treatment of the hymnographic genres within the Serbian chanting practice. As it is known, the original Byzantine poetic structure written in verse — which was in perfect unity with the Byzantine chant concerning the rhythm and meter — was lost in Church-Slavonic translations. The Slavonic hymnography in prose inevitably caused modification of the music language, i.e. establishing of the new bond between the word and a tone. Accordingly, a creative practise of “tailoring” the church melodies to the structure and semantics of the particular hymnographic genre occurred within Serbian chanting practise. Eventually, many songs from the Octoechos, General Chanting, as well as certain songs of the Festal Chanting, gained the status of the “fixed” chants, the proof of which are the first Serbian chanting collections from the 19th century written in staff notation. In these chants semantics and music are set in a specific manner and they represent a model by which the chanters govern themselves while singing other church hymns. Ideal unity of hymnography and music in the fixed chants is reflected in coinciding of textual and music phrases. Such an ideal balance contributes to the clear transmission of the hymnographic content to the faithful. However, sticheras, irmoses, troparions and kontakions which lack the ideal balance, may cause the hymnographic narration and, at some places, even the theological points to be incomprehensible and imprecise. To creative chanters it is an opportunity to “tailor”, i.e. to reinterpret the chants in order to compensate for these imperfections. Such a creative interpretation is possible only by skilled chanters who, above all, thoroughly understand the meaning and structure of a particular hymnographic work. Amongst such chanters were some of the bishops and patriarchs of the Serbian Orthodox Church. Certain chants related to this problem are examined in this paper.
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Parncutt, Richard. "A Perceptual Model of Pulse Salience and Metrical Accent in Musical Rhythms." Music Perception 11, no. 4 (1994): 409–64. http://dx.doi.org/10.2307/40285633.
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In Experiment 1, six cyclically repeating interonset interval patterns (1,2:1,2:1:1,3:2:1,3:1:2, and 2:1:1:2) were each presented at six different note rates (very slow to very fast). Each trial began at a random point in the rhythmic cycle. Listeners were asked to tap along with the underlying beat or pulse. The number of times a given pulse (period, phase) was selected was taken as a measure of its perceptual salience. Responses gravitated toward a moderate pulse period of about 700 ms. At faster tempi, taps coincided more often with events followed by longer interonset intervals. In Experiment 2, listeners heard the same set of rhythmic patterns, plus a single sound in a different timbre, and were asked whether the extra sound fell on or off the beat. The position of the downbeat was found to be quite ambiguous. A quantitative model was developed from the following assumptions. The phenomenal accent of an event depends on the interonset interval that follows it, saturating for interonset intervals greater than about 1 s. The salience of a pulse sensation depends on the number of events matching a hypothetical isochronous template, and on the period of the template—pulse sensations are most salient in the vicinity of roughly 100 events per minute (moderate tempo). The metrical accent of an event depends on the saliences of pulse sensations including that event. Calculated pulse saliences and metrical accents according to the model agree well with experimental results (r &gt; 0.85). The model may be extended to cover perceived meter, perceptible subdivisions of a beat, categorical perception, expressive timing, temporal precision and discrimination, and primacy/recency effects. The sensation of pulse may be the essential factor distinguishing musical rhythm from nonrhythm.
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Bravi, Paolo, and Teresa Proto. "Intra-line and inter-individual variation in Sardinian arrepentina." Open Linguistics 5, no. 1 (2019): 496–510. http://dx.doi.org/10.1515/opli-2019-0027.
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AbstractS’arrepentina is a genre of extemporary poetry performed by semi-professional poets, both at informal gatherings and in public contests in south-central Sardinia. The name arrepentina refers both to the genre/performance in its entirety, and to the set of metrical forms and rhyme schemes used during the performance. Lines occur in non-strophic (stichic) form, and are made up of halflines linked by a complex system of rhymes. Unlike similar metrical forms, s’arrepentina is not performed in a “free rhythm” singing style. Typically, poets improvise their verses accompanied by an accordion, which provides a steady pulse. In this study, we investigate variation in nine arrepentinas and we aim to determine the degree of rhythmical variability in each halfline by measuring it against the underlying meter provided by the musical accompaniment. From the analysis, it emerges that the rhythmical variants are concentrated at specific positions, and their distribution suggests an asymmetry between the two halflines. Some inter-individual variation among the poets also appears in their preference for one type of variant over others.
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Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.
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<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>
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Berezutsky, V. I., and M. S. Berezutska. "Sonification of cardiac arrhythmias in the Beethoven’s music, or «The heartfelt music of Ludwig van Beethoven»-2." Ukrainian Journal of Cardiology 26, no. 2 (2019): 63–75. http://dx.doi.org/10.31928/1608-635x-2019.2.6375.
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Researchers S. Vaisrub, B. Lüderitz, T.O. Cheng, Z.D. Goldberger et al. in different years (1980–2014) discovered the similarity of the rhythmic figure of the fragment of Ludwig van Beethoven’s piano sonata op. 81a «Les adieux» with an auscultative and electrocardiographic picture of ventricular premature beats. This allowed them to assume that the composer expressed in music his own irregular heartbeat. The hypothesis is very relevant, since sonification (the use of non-speech audio to convey information) of biological signals has a long history and is actively developing both in music and in medicine. This article is devoted to testing the hypothesis of sonification of cardiac arrhythmias in Beethoven’s music. An analysis of numerous musicological studies has shown that a variety of rhythmic figures, similar to the electrocardiographic signs of all known disorders of the cardiac rhythm, are found in many Beethoven’s works throughout 1799–1826. It is established that each of the revealed musical equivalents of cardiac arrhythmias is a certain means of musical expressiveness (musical language), the meaning and origin of which is known. Pathographic analysis showed the absence of a chronological link between «arrhythmic» music and the diseases of the composer. Any indication of the cardiac disease in Beethoven has not been found. Such results allow us to connect the music of Beethoven with his heart only in a some romantic sense.
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GEARY, JASON. "Reinventing the Past: Mendelssohn's Antigone and the Creation of an Ancient Greek Musical Language." Journal of Musicology 23, no. 2 (2006): 187–226. http://dx.doi.org/10.1525/jm.2006.23.2.187.
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ABSTRACT In 1841, Sophocles's Antigone was performed at the Prussian court theater with staging by Ludwig Tieck and music by Felix Mendelssohn. Commissioned by King Friedrich Wilhelm IV, this production aimed to re-create aspects of Greek tragedy by, among other things, using J. J. Donner's 1839 metrical translation and having an all-male chorus sing the odes. Mendelssohn initially experimented with imitating the purported sound of ancient music by composing primarily unison choral recitative and limiting the accompaniment to flutes, tubas, and harps; but he quickly abandoned this approach in favor of a more traditional one. Yet despite his overall adherence to modern convention, he did employ several strategies to evoke ancient Greek practice and thus to meet the unique demands of the Prussian court production. Highlighting important distinctions between verse-types in the original poetry, Mendelssohn retained a vestige of his initial approach by composing unison choral recitative to indicate the presence of anapestic verse while turning to melodrama for the lyric verse of the play's two main characters. In addition, he reproduced the poetic meter by shaping the rhythm of the vocal line to reflect both the accentual pattern of Donner's translation and, in some cases, the long and short syllables of Sophocles's Greek verse. Owing largely to the irregular line lengths characteristic of Donner's text, the music is marked by conspicuously asymmetrical phrases, which serve to defamiliarize the otherwise straightforward choral styles being employed to convey the various moods of Sophocles's choruses. In the opening chorus, Mendelssohn alludes to the familiar sound of a Mäännerchor accompanied by a wind band, thereby suggesting the ode's celebratory and martial associations while recalling his own Festgesang written for the 1840 Leipzig festival commemorating the 400th anniversary of Gutenberg's printing press. The listener is thus presented with a thoroughly recognizable musical idiom and yet simultaneously distanced from it in a way that underscores the historical remoteness of ancient Greek tragedy.
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Lajic-Mihajlovic, Danka. "The word and music of epic song: From syncretism to sung poetry." Muzikologija, no. 15 (2013): 9–28. http://dx.doi.org/10.2298/muz1315009l.
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This study concerns the relationship between verbal and musical components of Serbian epic songs with rhythm seen as a morphological dominant. My aim is to enrich the musicological inquiry of this issue and provide a contribution that complements existing folkloristic and philological research outcomes. In terms of methodology, the study promotes the necessity of recording the performers? recited versions of songs for the purposes of investigating the relationships between verbal and musical communication, as well as an interdisciplinary approach to these issues. Two paradigmatic examples are examined, each performed by the guslar representative of his respective period of guslar practice: Tanasije Vucic (1883-1937) and Bosko Vujacic (b. 1947). The observed periods span less than one century, yielding an insignificant passage of time in terms of epic historicism, but nonetheless indicate significant differences between these two guslars? sung and narrated rhythms. Compared to Vujacic, Vucic?s singing demonstrates a considerably smaller range of the absolute duration of the sung syllables (and therefore of an entire verse), and subsequently a much stricter syllabicity. Furthermore, Vucic?s singing reflects the ideal type of ?isochronous pulse in duple meter? in a rather high degree, while Vujacic more consistently refers to narration, whereas the trochaic tendency is noticeable only at the initial part of the verse. The connections between these focused individual styles are discussed through the lens of guslars? transition from amateur to professional capacity and the changed function of epics. Considering the consequences of the policy of invalid representation and experiencing epic song as poetry (void of musical component), and on the other hand, the effects of the strategy insistent on ?citatory? (verbatim) treatment of poetic templates that leads to suppressing poetic creativity, I intend to draw attention of the responsible authorities in the areas of education, culture, and science. This is of particular importance in the context of ongoing endeavors towards preservation of singing with gusle as part of Serbian inherent cultural heritage.
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Gordon, Reyna L., Andrea Ravignani, Julia Hyland Bruno, et al. "Linking the genomic signatures of human beat synchronization and learned song in birds." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1835 (2021): 20200329. http://dx.doi.org/10.1098/rstb.2020.0329.
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The development of rhythmicity is foundational to communicative and social behaviours in humans and many other species, and mechanisms of synchrony could be conserved across species. The goal of the current paper is to explore evolutionary hypotheses linking vocal learning and beat synchronization through genomic approaches, testing the prediction that genetic underpinnings of birdsong also contribute to the aetiology of human interactions with musical beat structure. We combined state-of-the-art-genomic datasets that account for underlying polygenicity of these traits: birdsong genome-wide transcriptomics linked to singing in zebra finches, and a human genome-wide association study of beat synchronization. Results of competitive gene set analysis revealed that the genetic architecture of human beat synchronization is significantly enriched for birdsong genes expressed in songbird Area X (a key nucleus for vocal learning, and homologous to human basal ganglia). These findings complement ethological and neural evidence of the relationship between vocal learning and beat synchronization, supporting a framework of some degree of common genomic substrates underlying rhythm-related behaviours in two clades, humans and songbirds (the largest evolutionary radiation of vocal learners). Future cross-species approaches investigating the genetic underpinnings of beat synchronization in a broad evolutionary context are discussed. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.
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Голенкова, Ю. В., and А. В. Галкіна. "Development of Coordination Abilities in Girls of Senior School Age through Artistic Gymnastics." Teorìâ ta Metodika Fìzičnogo Vihovannâ, no. 4 (December 25, 2015): 39–44. http://dx.doi.org/10.17309/tmfv.2015.4.1155.
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The purpose of the research is to theoretically ground and experimentally verify the effectiveness of the effect of artistic gymnastics exercises on the development of coordination abilities of female high-schoolers.
 To achieve the tasks set, the research used the following methods: study and analysis of pedagogical, scientific and methodological literature, interviews with experts, pedagogical observations, pedagogical testing, methods of mathematical statistics.
 Research results. The paper grounds and experimentally verifies the effectiveness of the effect of artistic gymnastics exercises on the development of coordination abilities in female high-schoolers. It proves that the use of exercises borrowed from artistic gymnastics in physical training classes of high school (particularly: with no object (specific movements, balance, turns and jumps) and with objects (skipping rope, hoop, ball)) and of auxiliary exercises (classical choreography, ballroom and folk dances, musical-rhythmic and acrobatic exercises) helps improve the ability to feel the rhythm, movement coordination, the ability to maintain balance and spacial awareness.
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Zufriady, Zufriady. "MODEL PENGEMBANGAN KREATIVITAS ANAK MELALUI PEMBELAJARAN SENI BUDAYA BERBASIS MUSIK RIAU BAGI SISWA SEKOLAH DASAR KELAS ATAS." Primary: Jurnal Pendidikan Guru Sekolah Dasar 6, no. 1 (2017): 344. http://dx.doi.org/10.33578/jpfkip.v6i1.4113.
Full textAbstract:
Competency of primary school teachers in teaching low SBK can not increase the creativity of students. When viewed from the musical wealth of Riau which are many and varied, lessons should SBK can be done well. It is not so considered by the art educators and is the background for the model-based development of student creativity Riau music performed by R & D through the stages of survey, design models, testing, and validation. The use of this model can enhance students' creativity as the ability to develop rhythm, choose the color of the instrument, tool making, composing music, and composing music grooves. This model also helps the teacher in the learning process and simultaneously lift Riau music. SBK learning can enhance students' creativity and preserve the values of social, educational, religious, and human values contained in Riau music, if teachers can perform well. Instead of learning SBK who have not yet developed the art of Riau tradition as a foundation for creative, cultural roots will gradually disappear.