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Journal articles on the topic 'Rhythmic-melodic'

Author: Grafiati
Published: 5 June 2025
Last updated: 16 July 2025

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1

Persellin, Diane Cummings. "Effects of Learning Modalities on Melodic and Rhythmic Retention and on Vocal Pitch-Matching by Preschool Children." Perceptual and Motor Skills 78, no. 3_suppl (1994): 1231–34. http://dx.doi.org/10.2466/pms.1994.78.3c.1231.

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To assess whether melodic and rhythmic retention as well as pitch-matching ability could be improved through use of learning modalities, 61 children ages 4 and 5 years were presented music instruction in one of four ways, visually (seeing visual aids with the music), auditorily (singing and listening), kinesthetically (moving to music), or through multimodal presentations. Analysis indicated that preschool children receiving the auditory and multimodal treatments scored significantly higher on both the melodic and rhythmic posttests than on pretests. Children receiving kinesthetic treatment sc
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2

Byrne, Cathy. "The interrelation of rhythm and pitch in Bartók’s first Piano Concerto." Studia Musicologica 53, no. 1-3 (2012): 275–84. http://dx.doi.org/10.1556/smus.53.2012.1-3.19.

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The central hypothesis of this paper is that rhythmic patterns in Bartók’s melodies correlate with intervallic structure. Recognition of a motif or phrase as a distinct musical idea depends on its rhythmic character as well as its ordering of pitches. Rhythmic asymmetry is also significant to the rhythm-pitch interrelation theory. In Bartók’s music, rhythm often varies while the melodic identity is retained. Equally, his use of chromaticism and inversion as forms of melodic variation often occur with the rhythmic identity intact. Many rhythmic patterns form phrases that undergo such extreme ch
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3

Nardo, Davide, Riccardo Brunetti, Enrico Cupellini, and Marta Olivetti Belardinelli. "The influence of melodic and rhythmic redundancies on recognition memory for unknown musical themes." Musicae Scientiae 13, no. 2 (2009): 337–55. http://dx.doi.org/10.1177/102986490901300206.

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The aim of this study was to assess the influence of melodic and rhythmic redundancies, and their interaction with tonality, on recognition memory for music. Forty-four non-musicians performed a recognition task with unknown musical material. Stimuli created for experimental purposes were made up of 48 short melodies (half tonal and half non-tonal) and were characterized by the presence of three kinds of musical redundancy: melodic only, rhythmic only, or both melodicrhythmic. In a first phase, subjects listened to a study list of 24 stimuli. After 20 minutes, a test list containing 48 stimuli
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4

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
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Wang, Wenjing. "Understanding the biomechanics of music-induced emotions: A study of physical responses to rhythm and melody." Molecular & Cellular Biomechanics 21, no. 4 (2024): 702. https://doi.org/10.62617/mcb702.

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This study investigated the biomechanical aspects of music-induced emotions through a comprehensive analysis of physical responses to rhythm and melody among 28 participants in China. Using high-precision physiological monitoring equipment, this study measured Heart Rate Variability (HRV), Muscle Activation (MA), Galvanic Skin Response (GSR), and Body Sway Patterns (BSP) in response to standardized musical stimuli. Results revealed distinct physiological response patterns between rhythmic and melodic elements. Rhythmic stimuli elicited more robust cardiovascular responses, with mean HRV increa
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6

Ismail, Md Jais. "Adapting Rhythmic Movement in Dondang Sayang: Melody and Movement Matching Analysis." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 14 (December 19, 2024): 25–38. https://doi.org/10.30819/aemr.14-3.

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This study aims to analyze the adaptation of rhythmic movement in dondang sayang by examining its melodic and rhythmic structures. While previous research has extensively explored the lyrical content and melodic compositions of dondang sayang, there has been limited focus on the theoretical relationship between its melody and rhythmic elements. To address this gap, this study reviews ex- isting literature and connects the elements of rhythmic movement with the musical framework of dondang sayang. Despite dondang sayang’s deep roots in Malay culture, its rhythmic movements can effectively manif
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7

Pfordresher, Peter Q. "The Role of Melodic and Rhythmic Accents in Musical Structure." Music Perception 20, no. 4 (2003): 431–64. http://dx.doi.org/10.1525/mp.2003.20.4.431.

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Two experiments investigated the perception of melodic and rhythmic accents in musical patterns. Musiclike patterns were created in which recurring melodic and/or rhythmic accents marked higher order periods that, when both accents were present, could differ in terms of period and/or phase according to the construct of joint accent structure (M. R. Jones, 1987). Listeners were asked to indicate the location of accents in these patterns by tapping to tone onsets. Each experiment pursued two main questions. First, are accents, as manipulated, salient to listeners? Second, do listeners track high
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8

ISAC, Iuliana. "Repetitive Minimalism in the Work of Philip Glass. Composition Techniques." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 141–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.15.

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The music which renders Philip Glass’ vision is based on repetition. Musical figures are structured according to the so-called additive method – undoubtedly the main technique determining the characteristics of his style. It consists of adding new elements to the basic melodic and/or rhythmic structure, resulting in an expanding musical discourse which is augmented or diminished and is applied more and more melodic and rhythmic constraints, depending on the intentions of the compositional project. There is also the loop technique, which becomes manifest by a series of added elements from elect
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9

Brophy, Timothy S. "A Longitudinal Study of Selected Characteristics of Children's Melodic Improvisations." Journal of Research in Music Education 53, no. 2 (2005): 120–33. http://dx.doi.org/10.1177/002242940505300203.

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This study is an examination of the melodic improvisations of a group of children ( N=62) for 3 years, from ages 7 through 9. Participants improvised as part of a class rondo for Orff instruments, in ABACADA form, in which the B, C, and D sections were 8-measure alto-xylophone improvisations in C pentatonic. Each participant improvised three melodies per year. A total of 558 improvisations were collected. Participants took the IMMA and a researcher-designed measure of mallet skill each year. Improvisations were examined for the presence of repeated and developed melodic motives, repeated and d
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10

Lum, Chee-Hoo. "Musical behaviours of primary school children in Singapore." British Journal of Music Education 26, no. 1 (2009): 27–42. http://dx.doi.org/10.1017/s0265051708008255.

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In this ethnographic study, the musical behaviours of 28 primary school children in Singapore were examined for their meaning and diversity as they engaged in the school day. A large part of these children's musical behaviours stemmed from their exposure to the mass media. Children's musical inventions emerged in the context of play, occasionally using musical play as an aid to academic learning. Instances of rhythmic play were more prevalent compared with melodic utterances. The children tended to motivate and encourage each other in their daily activities through the use of rhythmic play whi
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11

London, Justin, Tommi Himberg, and Ian Cross. "The Effect of Structural and Performance Factors in the Perception of Anacruses." Music Perception 27, no. 2 (2009): 103–20. http://dx.doi.org/10.1525/mp.2009.27.2.103.

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WHEN A MELODY BEGINS WITH AN ANACRUSIS, (i.e.,"pick up" notes), rhythm and meter are out of phase. Three experiments were conducted to investigate the interactions between structural (rhythm and pitch) and performance (articulation and tempo) factors on the perception of anacruses. The independent variables were rhythmic figure, initial melodic direction, initial melodic interval, implied harmony, articulation, and tempo. Participants tapped "every other beat" to melodies composed for each experiment; the phase-alignment of taps with the stimulus was the dependent measure of anacrustic vs. non
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12

David, A. P. "O ritmo das musas." Dramaturgias, no. 22 (April 29, 2023): 651–59. http://dx.doi.org/10.26512/dramaturgias22.48308.

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13

Creel, Sarah C. "Metrical Restoration From Local and Global Melodic Cues." Music Perception 38, no. 2 (2020): 106–35. http://dx.doi.org/10.1525/mp.2020.38.2.106.

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What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previo
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14

Mishra, Jennifer. "Rhythmic and melodic sight reading interventions: Two meta-analyses." Psychology of Music 44, no. 5 (2016): 1082–94. http://dx.doi.org/10.1177/0305735615610925.

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15

Hunter, L. L. "Computer-Assisted Assessment of Melodic and Rhythmic Discrimination Skills." Journal of Music Therapy 26, no. 2 (1989): 79–87. http://dx.doi.org/10.1093/jmt/26.2.79.

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16

Typke, R., and A. C. Walczak-Typke. "Some vantage indexing approaches for rhythmic and melodic search." Musicae Scientiae 13, no. 1_suppl (2009): 201–34. http://dx.doi.org/10.1177/102986490901300109.

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17

Huron, David, and Matthew Royal. "What Is Melodic Accent? Converging Evidence from Musical Practice." Music Perception 13, no. 4 (1996): 489–516. http://dx.doi.org/10.2307/40285700.

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The theoretical and experimental literatures pertaining to pitch-related accent are reviewed. From these literatures, eight competing notions of melodic accent are identified. All eight conceptions of melodic accent were investigated through correlational studies of three contrasting samples of music. Statistical correlations were calculated for each accent type with respect to the corresponding metric position or with respect to the syllabic/melismatic status of associated sung text. The results for all three studies are most consistent with a perceptual model of melodic accent developed by J
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18

Lesner, Emil. "O tłumaczeniu piosenki Toss a coin to your witcher na język polski i niemiecki. Analiza porównawcza." Applied Linguistics Papers 3/2023, no. 27 (2023): 34–49. http://dx.doi.org/10.32612/uw.25449354.2023.3.pp.34-49.

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The subject of this paper is a translation analysis of the song "Toss a coin to your witcher". The song was translated into Polish and German and is a part of the first season of "The Witcher", a screen adaptation of Andrzej Sapkowski's prose. The film was developed by the streaming platform Netflix. In the theoretical part of his paper, the author focuses on the description of the textual-melodic level of source texts and, among others, on the ways of creating rhyme and rhythmic systems in the song lyrics. The analytical part consists of a description of the translation of the song into Polis
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19

McFarlane, Stuart J., Jair E. Garcia, Darrin S. Verhagen, and Adrian G. Dyer. "Auditory Countermeasures for Sleep Inertia: Exploring the Effect of Melody and Rhythm in an Ecological Context." Clocks & Sleep 2, no. 2 (2020): 208–24. http://dx.doi.org/10.3390/clockssleep2020017.

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Sleep inertia is a decline in cognition one may experience upon and following awakening. A recent study revealed that an alarm sound perceived as melodic by participants displayed a significant relationship to reports of reductions in perceived sleep inertia. This current research builds on these findings by testing the effect melody and rhythm exhibit on sleep inertia for subjects awakening in their habitual environments. Two test Groups (A and B; N = 10 each) completed an online psychomotor experiment and questionnaire in two separate test sessions immediately following awakening from noctur
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20

Gfeller, Kate, and Charissa R. Lansing. "Melodic, Rhythmic, and Timbral Perception of Adult Cochlear Implant Users." Journal of Speech, Language, and Hearing Research 34, no. 4 (1991): 916–20. http://dx.doi.org/10.1044/jshr.3404.916.

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The purpose of this pilot study was to investigate adult Ineraid and Nucleus cochlear implant (CI) users’ perceptual accuracy for melodic and rhythmic patterns, and quality ratings for different musical instruments. Subjects were 18 postlingually deafened adults with CI experience. Evaluative measures included the Primary Measures of Music Audiation (PMMA) and a Musical Instrument Quality Rating. Performance scores on the PMMA were correlated with speech perception measures, music background, and subject characteristics. Results demonstrated a broad range of perceptual accuracy and quality rat
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21

Grigorjeva, Veronika. "Principles of stratification of melodic formulas of old Russian out-of-ichos chants (with “opekalovo” “sepulchral” chants)." St. Tikhons' University Review. Series V. Christian Art 50 (June 30, 2023): 9–23. http://dx.doi.org/10.15382/sturv202350.9-23.

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Out-of-ichos chants constitute an integral and extensive layer in the Old Russian tradition. Their structure is based on melodic formulas, the principles of stratification of which are insufficiently defined and developed in modern musical medieval studies. This article presents the result of a study in this aspect of the melodic formulas of the "opekalovsky" "sepulchral" Trisagion and the stichera "Come to please Joseph". On the basis of 9 known pre-reform lists of stichera and 11 selected lists of the Trisagion the author compiled a set of "opekalov" melodic formulas, determined their total
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22

Sallat, Stephan, and Sebastian Jentschke. "Music Perception Influences Language Acquisition: Melodic and Rhythmic-Melodic Perception in Children with Specific Language Impairment." Behavioural Neurology 2015 (2015): 1–10. http://dx.doi.org/10.1155/2015/606470.

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Language and music share many properties, with a particularly strong overlap for prosody. Prosodic cues are generally regarded as crucial for language acquisition. Previous research has indicated that children with SLI fail to make use of these cues. As processing of prosodic information involves similar skills to those required in music perception, we compared music perception skills (melodic and rhythmic-melodic perception and melody recognition) in a group of children with SLI (N=29, five-year-olds) to two groups of controls, either of comparable age (N=39, five-year-olds) or of age closer
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23

Bobylev, B. G. ""He is still waiting – when will the native steppe..." ("Vsyo zhdet on – skoro l’ step’ rodnaya…"): the poem "Emshan" by A. N. Maikov (to the 200th anniversary of the poet’s birth)." Russian language at school 82, no. 3 (2021): 44–52. http://dx.doi.org/10.30515/0131-6141-2021-82-3-44-52.

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This article provides a philological analysis of A. N. Maykov’s poem "Emshan". The purpose of this work includes demonstrating the poet’s stylistic and diverse craftsmanship, revealing the semantic, sonic, and rhythm-melodic refrains in the poem’s text, and a deeper understanding of its content. This has required using the methods of slow reading, historical and linguistic commenting, as well as the line-by-line, rhythmic-semantic, and immanent analysis. The results show that Apollon Maykov’s poetry is distinguished by a harmonious combination of pictoriality and expressiveness, the recreation
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24

Tekman, Hasan Gürkan. "Effects of Melodic Accents on Perception of Intensity." Music Perception 15, no. 4 (1998): 391–401. http://dx.doi.org/10.2307/40300864.

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Melodically accented tones are perceived as having higher intensity. Subjects judged whether or not all of the tones in a sequence were of equal intensity. Melodic accents were created by pitch skips, and the intensity of the tones that followed the skips was manipulated. Introduction of the melodic accents reduced detection of lower intensity tones more than it reduced the detection of higher intensity tones. This effect did not change as a result of regular or irregular timing of the tones whose intensity was manipulated. Contrary to results from an earlier experiment in which listeners trie
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Yadaei, Afsaneh, Mohammad Reza Azadehfar, and Behnam Alizadehashrafi. "Creation of Melodic and Rhythmic Patterns Based on Cultural Heritage." Journal of Sound and Music in Games 3, no. 2-3 (2022): 1–27. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.1.

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Globalization is an explicit threat to intangible cultural heritage. Preservation of the traditional dance and music of a variety of cultures and ethnic groups is a subject of many studies and projects of scholars in different disciplines. In the current project, we focus on the same theme by applying a combination of new technology and creative ideas. Our compound method applies choreographic computer game technologies to the elements of intangible cultural heritage, informed by a careful consideration of intrinsic elements of the culture. Using a tool that transforms body movement to musical
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Lum, Chee-Hoo, and Patricia Shehan Campbell. "The Sonic Surrounds of an Elementary School." Journal of Research in Music Education 55, no. 1 (2007): 31–47. http://dx.doi.org/10.1177/002242940705500104.

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In this ethnographic study, we examined the musicking behaviors of schoolchildren at one American elementary school. The aim was to gain an understanding of the nature and context of rhythmic and melodic expressions made and heard by children, emanating from other children, as well as adults within the school environment. Time, place, and function figured as contextual considerations in the investigation of the sonic surrounds of the school; knowing when, where, and why the music occurred added meaningful dimensions to the description of children's soundscapes. The open-ended sociability of mu
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Villalvazo, David. "Avondale Dogs: The parallelism between music and film." Short Film Studies 9, no. 1 (2019): 57–60. http://dx.doi.org/10.1386/sfs.9.1.57_1.

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Film editing deals with shots composed by melodic, harmonic and rhythmic elements and combines them into unities developed through time. In Avondale Dogs, cinematic passages about an ill mother, a dead pigeon, friendly neighbours and scattered pies provide eloquent clues about some fundamental characteristics shared by music and film.
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Rahman, Surya, Berlian Denada, and Abdul Rozak. "Musical Phenomenon in the Traditional Art of Alee Tunjang in Aceh." Grenek Music Journal 12, no. 2 (2023): 232. http://dx.doi.org/10.24114/grenek.v12i2.49597.

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Alee Tunjang is an art form originating from North Aceh Regency that consists of melodic and rhythmic music elements. The form of this art instrument is in the form of vocals that chant verses, and mortar beaten by alu/alee in the form of percussion rhythms with six sound colors. These two types of musical instruments form a distinctive musical fabric in the presentation of the performance, where melodic and rhythmic instruments are played not only as the main melody and melodic musical accompaniment, but the two elements become inseparable, as evidenced by the musical fills of Alee Tunjang th
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Torres, Ben. "Extending the Discussion: Introductory Improvisation Applications for Elementary Educators." Update: Applications of Research in Music Education 37, no. 1 (2018): 49–51. http://dx.doi.org/10.1177/8755123318791254.

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Based on the concepts introduced in Chandler’s article “Improvisation in Elementary General Music: A Review of the Literature” this “Extending the Discussion” article provides a rhythmic improvisation lesson for primary grades and a melodic improvisation lesson for intermediate grades to assist practicing teachers in pragmatically applying improvisation activities in their classes.
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Wimmer, Benedikt, and Esteban Gómez. "Temporal Evolution of Makam and Usul Relationship in Turkish Makam." Musicological Annual 58, no. 2 (2022): 107–19. http://dx.doi.org/10.4312/mz.58.2.107-119.

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Turkish makam music is transmitted orally and learned through repetition. Most previous computational analysis works focus either on makam (its melodic structure) or usul (its rhythmic pattern) separately. The work presented in this paper performs a combined analysis to explore the descriptive potential of the relationship between these in over 600 makam pieces.
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Neuhaus, Christiane, and Thomas R. Knӧsche. "Processing of Rhythmic and Melodic Gestalts—An ERP Study." Music Perception 24, no. 2 (2006): 209–22. http://dx.doi.org/10.1525/mp.2006.24.2.209.

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In two experiments with event-related potentials (ERPs), we investigated the formation of auditory Gestalts. For this purpose, we used tone sequences of different structure. In the first experiment, we contrasted a rhythmic section to a section with random time values, each embedded in rhythmically irregular context. In the second experiment, melodies were contrasted to randomized sequences. Nonmusicians either had to detect the rhythmic pattern or to memorize short tone excerpts. Random versions in both experiments evoked a significant increase in the amplitude of P1 and P2. Randomized rhythm
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SAGEE, ALONA. "Bessie Smith: ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ revisited." Popular Music 26, no. 1 (2006): 117–27. http://dx.doi.org/10.1017/s026114300700116x.

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A re-examination of Bessie Smith's first two released blues recordings – ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ – demonstrates that her interpretative originality and expressive individuality were evident from the start of her recording career in 1923. The micro-components of Bessie's early vocal tendencies are revealed through full transcriptions of her vocal line on each of these recordings combined with detailed description and analysis of the pitch content, the main rhythmic and melodic characteristics, and the melodic-harmonic and text-music relationships. The method demonstrates tha
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Харлов, А. В. "Структурные инварианты нижегородской фольклорной традиции". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 2(73) (8 липня 2024): 95–100. https://doi.org/10.26086/nk.2024.73.2.012.

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В статье рассматриваются типовые мелодические формулы, способствующие сохранности фольклорной традиции в современных условиях, а также ритмические схемы, применяемые народными музыкантами при исполнении фольклорного образца «под движение» (в жанрах с характерной опорой на акцентнопериодическую структурную константу). Предлагается классификация выявленных структурных мелодикоритмических инвариантов, являющихся результатом естественного отбора наиболее выразительных, запоминающихся мотивных образований. Показано, что из простых, первичных интонационных формул, складываются вторичные (мастеровые)
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Castillo, Julio. "Sinú Sax Quartet: un laboratorio musical." Avances en Educación y Humanidades 1, no. 2 (2017): 57. http://dx.doi.org/10.21897/25394185.1113.

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En el presente artículo se listan algunas características de tipo formal y rítmico constituyentes de la música del Caribe Colombiano y algunas consideraciones de tipo melódico, armónico y funcional para la composición y elaboración de arreglos en el formato de cuarteto de saxofones.Palabras claves: música tradicional, patrones rítmicos, forma, rearmonización, rol.AbstractIn this article, some characteristics of formal nature and constituents of rhythmic music in the Colombian Caribbean music are listed, and considerations of melodic, harmonic and functional type for the composition and prepara
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London, Justin, and Katherine Jones. "Rhythmic Refinements to the nPVI Measure: A Reanalysis of Patel & Daniele (2003a)." Music Perception 29, no. 1 (2011): 115–20. http://dx.doi.org/10.1525/mp.2011.29.1.115.

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the normalized pairwise variability index (npvi) , originally developed for the analysis of speech prosody, has been shown to be a useful tool in the analysis of the rhythmic variability present in individual melodies and melodic corpuses (Patel & Daniele, 2003a; Huron & Ollen, 2003; Patel, Iverson, & Rosenberg, 2006). Here we suggest a number of rhythmic refinements for the application of the nPVI in musical contexts. These include (a) applying the nPVI metric to higher levels of rhythmic structure, (b) taking metrical structure (duple versus triple) into account, and (c) using al
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Dzhakhonovna, Tursunova Dilorom. "Creation of Composers - Basis of Music Culture." European Journal of Contemporary Business Law & Technology: Cyber Law, Blockchain, and Legal Innovations 1, no. 1 (2023): 24–29. http://dx.doi.org/10.61796/ejcblt.v1i1.77.

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The composer has performed various tasks in the past. First, he is a creator of new, original melodies and songs. Secondly, the composer created their rhythmic and melodic variants on the topic of ready-made tunes.
 In the article, the author elaborated on the topic of the basis of composers' creativity-musical culture, and explained the history, origin and prospects of composition.
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Sutcliffe, W. Dean. "Haydn’s Wandering Sextuplets and Ideals of Melodic Eloquence." Music Theory and Analysis (MTA) 11, no. 2 (2024): 242–75. https://doi.org/10.11116/mta.11.2.4.

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A belief in the power of melody pure and simple is commonly agreed to be a cornerstone of later eighteenth-century musical aesthetics. However, a good number of Haydn’s instrumental slow movements eschew the ideal of melodic eloquence, and among these there is a previously unidentified category. Such movements, mostly in simple time, feature streams of triplet or more commonly sextuplet values in the leading voice. Unremarkable in themselves, since this is a standard form of rhythmic diminution, these sextuplets behave in distinctive ways. The shapes that they outline lack the complex balance
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Martin, Philippe. "Génération automatique de la structure prosodique en français." Journal of Speech Sciences 7, no. 2 (2019): 79–91. http://dx.doi.org/10.20396/joss.v7i2.15002.

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An automated process for building a prosodic structure form transcribed speech recordings in French is presented, based on the incremental prosodic model [1, 2, 3]. In this model, the prosodic structure is defined incrementally by dependency relations instantiated by melodic contours located on the last syllable of the last word of stress groups, subject to a rhythmic constrain limiting the gap between successive stressed syllable to a 250-1250 ms range. Although they frequently contain lexical words (noun, verb, adverb, adjective), stress groups in French can also include only grammatical wor
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Yanez, Alvaro. "The Musical Geometry of Genes: Generating Rhythms from DNA." Leonardo Music Journal 29 (December 2019): 45–49. http://dx.doi.org/10.1162/lmj_a_01052.

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DNA encodes all sorts of information that makes us human, but, aside from encoding genes, could DNA also encode for a mapping of musical rhythms in a very abstract way? This project sought to generate rhythms out of DNA and compose a musical piece out of a gene's rhythmic sequence. Computational rules inspired by geometric analyses of rhythms guided the mapping of DNA's molecular structure into rhythmic timelines and melodic scales; these basic structures were then used to compose a song according to the sickle cell gene DNA sequence. The rhythms generated by this ‘genetic analysis’ alternate
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Bengtsson, Sara L., and Fredrik Ullén. "Dissociation between melodic and rhythmic processing during piano performance from musical scores." NeuroImage 30, no. 1 (2006): 272–84. http://dx.doi.org/10.1016/j.neuroimage.2005.09.019.

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Dyer, J. F., P. Stapleton, and M. W. M. Rodger. "Advantages of melodic over rhythmic movement sonification in bimanual motor skill learning." Experimental Brain Research 235, no. 10 (2017): 3129–40. http://dx.doi.org/10.1007/s00221-017-5047-8.

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42

Michael Yalda, Ameer, and Maysam Hirmiz Toma. "Melodic and rhythmic characteristics in the hymns of Abdel Ahad Al-Rayes." Al-Academy, no. 115 (March 15, 2025): 23–36. https://doi.org/10.35560/jcofarts1458.

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اهتم الباحث بدراسة موضوع مفيد للموسيقى الغنائية الدينية والتي تعد أرث فني حضاري وثقافي للمجتمع العراقي بشكل عام، وللدراسات الموسيقية الدينية والدنيوية في البلد بشكل خاص، فانطلق بالبحث عن الشخصيات الفنية ممن كان لإنتاج أعمالهم تأثيرا واضحا على الثقافة الموسيقية الغنائية الدينية في العراق، محددا (عبد الأحد الريس) وترانيمه التي برزت منذ مطلع قرن العشرين في الكنيسة العراقية الكلدانية وتواصل تداولها منذ ظهورها الى وقت اعداد هذا البحث، مؤثرة في متلقيها ومتأثرة في محيطها وبيئتها الاجتماعية والثقافية. فكان من الضروري دراسة خصائصها الموسيقية من بنية اللحن والايقاع العنصران الاساسيان في تكوين المادة الم
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Indrawan, Andre, Noer Iskandar Albarsani, Kustap Kustap, and Suryati Suryati. "Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis." Harmonia: Journal of Arts Research and Education 21, no. 2 (2022): 204–20. http://dx.doi.org/10.15294/harmonia.v21i2.31750.

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This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure a
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Karácsony, Noémi, and Mădălina Dana Rucsanda. "Indian Culture and Music as a Source of Inspiration for French Opera Composers." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (2021): 99–121. http://dx.doi.org/10.24193/subbmusica.2021.2.08.

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"The current paper strives to discover and reveal the influences of Indian culture and classical Indian music in French operas. At first, the evocation of India was obtained through the subjects of the operas and stunning scenic designs, fulfilling the requirements of exoticism. Gradually, the composers attempted to include in their musical discourses exotic rhythmic and melodic elements, in some instances inspired by Indian classical music, thus aiming to evoke a genuine image of India. At the same time, the use of elements pertaining to Indian music (rāgas, rhythmic patterns, timbres) offere
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SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without
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Paney, Andrew S., and Nathan O. Buonviri. "Teaching Melodic Dictation in Advanced Placement Music Theory." Journal of Research in Music Education 61, no. 4 (2013): 396–414. http://dx.doi.org/10.1177/0022429413508411.

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In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusi
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Shikhragimova, Emiliya Robertovna. "The realization of M. Tsvetaeva's poetry in the choral concert "Trinity Day" by Y. Falik." PHILHARMONICA. International Music Journal, no. 4 (April 2022): 1–9. http://dx.doi.org/10.7256/2453-613x.2022.4.38280.

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The name of the St. Petersburg composer Yuri Alexandrovich Falik is known both in Russia and abroad. He has created a large number of compositions in different genres. Falik pays considerable attention to choral music. His choral legacy is represented by a wide range of genres. These are miniatures, a choral concert, a poem and a choral cycle, Orthodox hymns and a Catholic ordinary mass. The range of the composer's poetic preferences is also rich. Falik refers to the poems of A. S. Pushkin, M. Y. Lermontov, A.A. Tarkovsky, A.I. Solzhenitsin, N. A. Klyuev, A.A. Akhmatova, N.S. Gumilev and M.I.
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BOENN, GEORG, MARTIN BRAIN, MARINA DE VOS, and JOHN FFITCH. "Automatic music composition using answer set programming." Theory and Practice of Logic Programming 11, no. 2-3 (2011): 397–427. http://dx.doi.org/10.1017/s1471068410000530.

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AbstractMusic composition used to be a pen and paper activity. These days music is often composed with the aid of computer software, even to the point where the computer composes parts of the score autonomously. The composition of most styles of music is governed by rules. We show that by approaching the automation, analysis and verification of composition as a knowledge representation task and formalising these rules in a suitable logical language, powerful and expressive intelligent composition tools can be easily built. This application paper describes the use of answer set programming to c
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Jamey, Kevin, Nicholas E. V. Foster, Megha Sharda, Carola Tuerk, Aparna Nadig, and Krista L. Hyde. "Evidence for intact melodic and rhythmic perception in children with Autism Spectrum Disorder." Research in Autism Spectrum Disorders 64 (August 2019): 1–12. http://dx.doi.org/10.1016/j.rasd.2018.11.013.

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Ustinskovs, Jevgeņijs. "Kinds of Improvisation Activity in Music Secondary Schools." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 163. http://dx.doi.org/10.17770/sie2012vol1.32.

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<p>Pedagogical experience and findings of different scholars testify to the fact that mastering improvisation can be based on essentially different didactic approaches. Therefore, at developing the didactic model of mastering improvisation in music secondary school, a necessity arises to study kinds of improvisation activity and define the more important kinds of improvisation activities for mastering improvisation in music secondary schools. The research method: analysis of literature, analysis of the author’s pedagogical experience.<br />We consider that for mastering improvisati
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