Academic literature on the topic 'Rhythmic string movements'
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Journal articles on the topic "Rhythmic string movements"
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Giesbrecht, Maia, and Bernard W. Andrews. "Hidden Ground: Exploring an Approach to Educational Music for Strings." String Research Journal 11, no. 1 (July 2021): 39–50. http://dx.doi.org/10.1177/19484992211020746.
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This article presents the findings of a study that explored the composition of Canadian educational music. Particularly, the authors focus on the analyses of composers’ scores on creating new string compositions for young musicians within the New Sounds of Learning Project. On a macro level, the composers predominantly composed multiple movements (three to four), using single section (A), binary (AB), ternary, or variation forms (A, A’, A”, A”’, etc.), and they adopted simple meters throughout. At the micro-level, the majority of the compositions also included a technical element that was used to further skill development, that is, lack of meter to focus attention, syncopation to develop rhythmic fluency, interactive rhythms between parts to promote player coordination, modular structure to address varied skill levels, or free rhythm to promote imaginative thinking. The findings will be of interest to those members of the music profession who promote or would like to promote the dissemination of new music for strings within educational settings in Canadian music classrooms.
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Cooper, Barry. "Rehearsal Letters, Rhythmic Modes and Structural Issues in Beethoven’s Grosse Fuge." Nineteenth-Century Music Review 14, no. 2 (July 26, 2016): 177–93. http://dx.doi.org/10.1017/s1479409816000069.
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Beethoven’s Grosse Fuge, published in 1827 after being detached from his string quartet Op. 130, appears to be the first work ever to have been allocated rehearsal letters. These were added by Beethoven’s friend Karl Holz at the request of the composer and his publisher Mathias Artaria. The rehearsal letters can be compared with the work’s structure, which is best perceived as dividing into three main ‘movements’, the third being much the longest. A different approach is necessary for analysing each of the three. In the first, reference to medieval rhythmic modes helps to clarify Beethoven’s procedure. The second is essentially a fugue, albeit unusually homophonic. The third is multi-partite but mainly in $$\raster="rg4"$$ , and includes a 32-bar theme that returns intact – the only substantial exact reprise of material. This movement also include two fugal expositions. Thus there are four full fugal expositions altogether, and each is a double fugue in which the exposition is more or less regular. Holz’s letters match up well but not perfectly with the structure of the work.
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Hvarkata, Zdravka. "VАRIABILITY, APHORISTIC PHRASE AND PLAYING AS AESTHETIC AND STRUCTURE-FORMING PRINCIPLES IN "MOVEMENTS FOR 13 STRINGS INSTRUMENTS" BY SIMEON PIRONKOV." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1817–22. http://dx.doi.org/10.35120/kij31061817h.
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The composition “Movements for 13 string instruments” was completed in 1967 and belongs to the group of works by Simeon Pironkov whose titles include the word “music” – “Night music”, which is written the year before, “Ballet music in memory of Igor Stravinsky”, created at the beginning of the ‘70s of the last century, and “Music for two pianos and orchestra”. The external connection is the genre uncertainty of their names, which is equally characteristic of the notion “movements” which emphasizes the continuity of the musical process over time without suggesting a connection to a particular genre. At the same time, unlike the three “music”-s, the plural form used in the title – “movements” – draws attention to the plurality of the musical impulses that make up the whole musical thought. The strength of the 13 string instruments indicates the belonging of the work to the chamber orchestral music and fits it into the objective European tendency towards chamberhood, which was established in the first decades of the twentieth century. Listeners are unexpectedly involved in “Movements for 13 string instruments” to hear about eight minutes 37 of micro-episodes – movements that resemble fast-moving movie frames or short theatrical scenes – before the colorful kaleidoscope of parallel-moving melodic lines, clusters, peculiar rhythmic formulas and characteristic strokes to be abruptly cut off by the “guillotine of the four-bars final” (according to the exact expression of the musicologist Rosalia Bix). The versatility of the used vehicles of expression and the masterful handing of them are important prerequisites for the artistic impact of the work, recreating with a laconic expression part of the ever flowing life stream in the form of a series of changing movements. At the same time, it is also a way of the composers playing with its own creation, an expression of the typical for the 20th century tendency for the art to entertain with its means. In any case, “Movements for 13 string instruments” express the youthful spirit of their creator, because, according to the extremely inventive maxim of the theater producer Nicolay Georgiev, “man has stopped playing not because he is old but he is old because he has stopped playing”.
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Ferguson, G. P., D. W. Parsons, A. ter Maat, and H. M. Pinsker. "Spontaneous and elicited bag cell discharges in gonadectomized Aplysia." Journal of Experimental Biology 123, no. 1 (July 1, 1986): 159–73. http://dx.doi.org/10.1242/jeb.123.1.159.
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The neuroendocrine bag cells of the hermaphroditic marine gastropod, Aplysia, secrete peptide hormones that induce release of ripe eggs from the ovotestis. The egg string is subsequently deposited on the substrate by means of a complex sequence of rhythmic head and neck movements. Gonadectomy (removal of the ovotestis) was performed in two closely related species of Aplysia to prevent completely the synthesis, build-up and release of eggs. Chronically implanted electrodes were used either to monitor spontaneous bag cell discharges (A. brasiliana) or to selectively elicit bag cell discharges (A. californica) in gonadectomized and mock-operated animals. Gonadectomized animals showed the normal occurrence of spontaneous bag cell discharges in the complete absence of eggs, indicating that feedback from ripe eggs in the ovotestis is not necessary for normal activation of the bag cells. However, gonadectomized animals showed a significant decrease in specific head and neck movements following elicited bag cell discharges. This finding indicates that, once the bag cells fire and the eggs are released, input from the eggs is necessary for normal expression of the behaviour associated with egg deposition.
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Goffman, Lisa. "Kinematic Differentiation of Prosodic Categories in Normal and Disordered Language Development." Journal of Speech, Language, and Hearing Research 47, no. 5 (October 2004): 1088–102. http://dx.doi.org/10.1044/1092-4388(2004/081).
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Prosody is complex and hierarchically organized but is realized as rhythmic movement sequences. Thus, observations of the development of rhythmic aspects of movement can provide insight into links between motor and language processes, specifically whether prosodic distinctions (e.g., feet and prosodic words) are instantiated in rhythmic movement output. This experiment examined 4–7-year-old children’s (both normally developing and specifically language impaired) and adults’ productions of prosodic sequences that were controlled for phonetic content but differed in morphosyntactic structure (i.e., content vs. function words). Primary analyses included kinematic measures of rhythmic structure (i.e., amplitude and duration of movements in weak vs. strong syllables) across content and function contexts. Findings showed that at the level of articulatory movement, adults produced distinct rhythmic categories across content and function word contexts, whereas children did not. Children with specific language impairment differed from normally developing peers only in their ability to produce well-organized and stable rhythmic movements, not in the differentiation of prosodic categories.
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Hattori, Yuko, and Masaki Tomonaga. "Rhythmic swaying induced by sound in chimpanzees (Pan troglodytes)." Proceedings of the National Academy of Sciences 117, no. 2 (December 23, 2019): 936–42. http://dx.doi.org/10.1073/pnas.1910318116.
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Music and dance are universal across human culture and have an ancient history. One characteristic of music is its strong influence on movement. For example, an auditory beat induces rhythmic movement with positive emotions in humans from early developmental stages. In this study, we investigated if sound induced spontaneous rhythmic movement in chimpanzees. Three experiments showed that: 1) an auditory beat induced rhythmic swaying and other rhythmic movements, with larger responses from male chimpanzees than female chimpanzees; 2) random beat as well as regular beat induced rhythmic swaying and beat tempo affected movement periodicity in a chimpanzee in a bipedal posture; and 3) a chimpanzee showed close proximity to the sound source while hearing auditory stimuli. The finding that male chimpanzees showed a larger response to sound than female chimpanzees was consistent with previous literature about “rain dances” in the wild, where male chimpanzees engage in rhythmic displays when hearing the sound of rain starting. The fact that rhythmic swaying was induced regardless of beat regularity may be a critical difference from humans, and a further study should reveal the physiological properties of sound that induce rhythmic movements in chimpanzees. These results suggest some biological foundation for dancing existed in the common ancestor of humans and chimpanzees ∼6 million years ago. As such, this study supports the evolutionary origins of musicality.
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Santoso, Ahmad Teguh, and Wimbrayardi Wimbrayardi. "ANALISIS TARI PIRING KREASI SANGGAR SYOFYANI DALAM STUDI KASUS MUSIK IRINGAN TARI." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 18. http://dx.doi.org/10.24036/jsu.v8i1.106414.
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Abstract The purpose of this study is to describe results of the analysis of creative Piring Dance at Syofyani's studio in the Case Study of Dance Accompaniment which is viewed from the relationship of the dance movements to the music rhythm. This type of research was qualitative research with using a content analysis approach. The instrument of this research was the researcher and it was assisted by supporting instruments such as stationery, camera and laptop. The types of data used were primary and secondary data. Techniques of data collection were conducted by doing library research, observation, interviews and documentation. The steps to analyze data were done by collecting data, listening to audio recording, playing music, transcribing and analyzing scores. The result shows that music and Piring dance is made based on "Alam Takambang Takambang jadi Guru", therefore the process that is passed by imagining (visualizing) the movement of the dance , it is like stretching a shade (weaving place) then describing the movement above the shade. Music and Piring Dance are also made based on the nuance of music and dance that are presented and related in rhythmic between music and dance. Based on the rhythmic relationship between music and dance, there are several parts of music and dance that have strong accents so that it support the rhythm that is shown from music and dance from the intro section, core A and B and their variations. B rhythmic which is used in music uses more of a 2/4 with a different tempo from the beginning to the final climax. Keywords: analysis, creative Piring dance, syofyani studio, dance accompaniment music.
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Ried, Bettina, Graciele Massoli Rodrigues, and Cassio M. Meira Junior. "Instruction on rhythmic structure during learning enhances the breaststroke kick efficiency." Revista Brasileira de Educação Física e Esporte 32, no. 1 (December 18, 2018): 95–108. http://dx.doi.org/10.11606/1807-5509201800010095.
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Motor learning can be fostered by visual or auditory instruction conveying information on different features of the skill, like spatial and rhythmic characteristics. For swimming skills like the breaststroke kick, manuals predominantly emphasise spatial features, neglecting rhythmic aspects – even though motor learning considers movement rhythm crucial for distinguishing one skill from another. We aimed to analyse the impact of instruction containing or not the adequate rhythmic pattern information, conveyed by visual or auditory stimulus, on learning the breaststroke kick. Fifty university students, assigned to four experimental groups (auditory, visual, with and without rhythmic information), performed 400 acquisition plus 50 retention and 50 transfer trials during which stroke index, rhythmic and spatial pattern indices and instruction request frequency were mapped. Results showed a marginal difference (p= .075) between higher indices in the retention test of participants receiving information about adequate rhythm, as well as a strong correlation between stroke index and rhythm pattern index, but not with spatial pattern index. No difference between auditory and visual groups was found. This result supports earlier research on the impact of rhythmic information on the learning of complex motor skills, and emphasises the role rhythm plays in skill efficiency and consequently in motor learning.
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Thaut, Michael H., and Mutsumi Abiru. "Rhythmic Auditory Stimulation in Rehabilitation of Movement Disorders: A Review Of Current Research." Music Perception 27, no. 4 (April 1, 2010): 263–69. http://dx.doi.org/10.1525/mp.2010.27.4.263.
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PHYSIOLOGICAL RESEARCH HAS SHOWN THAT AUDITORY rhythm has a profound effect on the motor system. Evidence shows that the auditory and motor system have a rich connectivity across a variety of cortical, subcortical, and spinal levels. The auditory system——a fast and precise processor or temporal information——projects into motor structures in the brain, creating entrainment between the rhythmic signal and the motor response. Based on these physiological connections, a large number of clinical studies have researched the effectiveness of rhythm and music to produce functional change in motor therapy for stroke, Parkinson's disease, traumatic brain injury, and other conditions. Results have been strong in favor of rhythmic auditory stimulation (RAS) to significantly improve gait and upper extremity function. Comparative studies also have shown RAS to be more effective than other sensory cues and other techniques in physical rehabilitation.
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HOPYAN, TALAR, E. GLENN SCHELLENBERG, and MAUREEN DENNIS. "Perception of strong-meter and weak-meter rhythms in children with spina bifida meningomyelocele." Journal of the International Neuropsychological Society 15, no. 4 (July 2009): 521–28. http://dx.doi.org/10.1017/s1355617709090845.
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AbstractNeurodevelopmental disorders such as spina bifida meningomyelocele (SBM) are often associated with dysrhythmic movement. We studied rhythm discrimination in 21 children with SBM and in 21 age-matched controls, with the research question being whether both groups showed a strong-meter advantage whereby rhythm discrimination is better for rhythms with a strong-meter, in which onsets of longer intervals occurred on the beat, than those with a weak-meter, in which onsets of longer intervals occurred off the beat. Compared to controls, the SBM group was less able to discriminate strong-meter rhythms, although they performed comparably in discriminating weak-meter rhythms. The attenuated strong-meter advantage in children with SBM shows that their rhythm deficits occur at the level of both perception and action, and may represent a central processing disruption of the brain mechanisms for rhythm. (JINS, 2009, 15, 521–528.)
Dissertations / Theses on the topic "Rhythmic string movements"
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Xia, Ruiping. "Electromyographic patterns of hand muscles during rhythmic finger movements and handwriting." Thesis, University of Bristol, 1997. http://hdl.handle.net/1983/b4f7348f-7dec-4be8-b461-ed7242c178c4.
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Clifford, Robert John. "Aspects of meter and accent in selected string quartet movements by Beethoven and Bartok." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277928.
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Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.
Books on the topic "Rhythmic string movements"
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Two temperaments seen through Strindberg's Miss Julie. Lund, Sweden: Copenhagen University, Denmark, 2012.
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Yust, Jason. Syncopation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0009.
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Syncopation is notoriously hard to define, and is sometimes understood as a rhythmic property, sometimes as a rhythmic transformation. This chapter disambiguates many forms of syncopation—contrapuntal syncopation, tonal syncopation, structural syncopation, and metrical and rhythmic dissonance. These are united by a common source in some type of displacement. Extended analysis of Mozart’s “Prague” Symphony, first movement, and a related C.P.E. Bach symphony, illustrates the use of rhythmic dissonance and interactions between syncopation and counterpoint. Further examples demonstrate the possibility of syncopation at hypermetrical levels, concluding with two extended analyses of hypermetric syncopation in Beethoven’s “Eroica” Symphony Scherzo and op. 95 String Quartet where rhythmic irregularities play crucial roles in the formal narrative.
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Parsons, Laurel, and Brenda Ravenscroft. Marianna Martines, Sonata in A Major, I (1765). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0006.
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Marianna Martines, a Viennese contemporary of Haydn and Mozart, combined the fruits of instruction in the strict style with the devices and schemata of the new galant style. She was an excellent harpsichordist and singer as well as composer, and her compositional craft is amply displayed in the opening movement of her Sonata in A Major for Keyboard, written around 1765. This movement skillfully handles various layouts, schemata, and compositional devices that were standard at the time. Furthermore, it cleverly manipulates these features with rhythmic and formal devices—some of which are quite daring—in an expressive and dramatic fashion.
Book chapters on the topic "Rhythmic string movements"
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Butz, Karel. "Intermediate-Advanced Level—Part 2." In Achieving Musical Success in the String Classroom, 203–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190602888.003.0008.
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The chapter provides several rehearsal concepts that develop stronger rhythmic precision and phrasing concepts within the intermediate-advanced orchestra. Rhythmic precision depends the students’ ability to cognitively interpret and intrinsically feel the rhythmic notation correctly, as well as the students’ ability to maneuver the bow in such a way that the articulation is rhythmically precise. The author discusses ensemble development activities designed to promote better intrinsic pulse, hand-eye coordination with the bow, leadership, listening, and left- and right-hand coordination. In addition, the chapter discusses how beautiful phrasing is developed by listening, singing, using imagery, identifying harmonic structure, and incorporating body movement.
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Manning, Jane. "COREY FIELD (b. 1956)Three Lullabies (1990)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 94–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0027.
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This chapter focuses on works by Corey Field. Field has added two songs to his earlier Escape at Bedtime to form a nicely balanced trio of lullabies. Each movement is neatly constructed, and shows considerable flair and sensitivity to the relationship of voice and piano. The first poem also comes from Robert Louis Stevensons’s A Child’s Garden of Verses (1885), but the third sets a W. B. Yeats text (from The Rose, 1893). The cycle is relatively undemanding vocally and has an attractive immediacy. It will suit either a tenor or soprano, giving them a chance to shine vocally, while the piano’s luminous contribution gives strong rhythmic support. The style is a fresh, accessible mix of tonality and light chromaticism, with strophic verses treated conventionally but never rigidly. Each song has its own distinctive character. The simpler outer songs frame a middle movement that is a little more ambitious, and the work begins and ends with piano solos.
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Lounsberry, Barbara. "Voice and Motion." In Virginia Woolf's Modernist Path. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062952.003.0005.
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Virginia Woolf moves toward her distinctive voice and finds her rhythmic movement in her 1922 and 1923 diary books. Her 1922 diary stands out as one of her most resilient diaries. Across the year, she turns from male voices repeatedly—and with assurance. In fact, she replaces “unsympathetic” male voices, male sites, and male works with female. She feels she is striking now closer to her own voice. She also activates the “quick change” movement envisioned in her 1921 diary. In her 1923 diary she moves on many levels. She writes six (surface) play scenes in her diary while also pursuing her soul and the rush of “extraordinary emotions” she begins to feel. She seeks greater freedom and movement and sets her eyes on London once more. In 1922, Woolf reads Alie Badenhorst’s Boer War Diary, a powerful anti-war document and important addition to her understanding of women and war. In July 1923, she receives James Boswell’s Journal of a Tour to Corsica. She finds there a journal bold in experiment; rich in portraits, voice, and movement; and baring of the soul.
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Manning, Jane. "EDWIN ROXBURGH (b. 1937)Reflections (2010)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 197–99. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0061.
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This chapter highlights British composer Edwin Roxburgh’s Reflections (2010). This exciting diptych set to Richard Cutler’s galvanizing poems offers a challenging but ultimately beneficial workout for both singer and pianist. The baritone gets directly into his stride in a bold, relatively short opening song, priming him to tackle the more substantial demands of the second, much longer movement. As a wind player, Roxburgh is aware of the desirability of using air as economically as possible, making full use of lung capacity when spanning lengthy phrases. The singer is frequently stretched to the limit of breath, with just enough time to refuel between phrases, before relaunching a firm, carrying tone for long-drawn lines, against a piano part packed with flurries of repetitive figurations. Freely atonal, the musical idiom is tightly knit and consistent, with pitch centres and chromatic intervals often recurring, and the singer’s rhythms are mainly straightforward.
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Uchitomi, Hirotaka, Kazuki Suzuki, Tatsunori Nishi, Michael J. Hove, Yoshihiro Miyake, Satoshi Orimo, and Yoshiaki Wada. "Gait Rhythm of Parkinson’s Disease Patients and an Interpersonal Synchrony Emulation System Based on Cooperative Gait." In Advances in Bioinformatics and Biomedical Engineering, 38–53. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2113-8.ch005.
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Parkinson’s disease (PD) and basal ganglia dysfunction impair movement timing, and this impairment leads to gait instability and falls. Gait disturbances of PD can occur in numerous ways, including festinating (accelerating) gait, slow shuffling gait, or highly variable random stride-timing. The authors’ research group is studying an ambulatory assistive system that is based on the cooperative gait among human beings for locomotion rehabilitation. In this chapter, they introduce gait disturbances of PD, especially festinating gait, and they introduce an Interpersonal synchrony emulation system between a human and a virtual biped robot, which entrains the gait timings of the human and the robot in a cross-feedback manner by presenting auditory stimulation that indicates the timing of the partner’s foot contact with the ground. In a pilot study that evaluated walking with the system, the festinating gaits of the PD patients were improved, and carry-over effects were observed. These results suggested that the interpersonal interaction seems to be effective for the welfare support of locomotive ability.
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Haroutounian, Joanne. "Kindling the Spark: Early Development." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0020.
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Alullaby winds its way through the intimate confines of the nursery, as a restless baby is soothed to sleep. The rhythm and rocking chair synchronize a pulse as a mother sings softly to her child. The baby listens to the gentle flow of the melody, which drifts into a hum that vibrates against the sleeping child’s tiny head. A few short years later, Mom smiles as she looks in to her three-year-old’s room. Her daughter is nestled in the same rocking chair, singing a rather lopsided version of the same lullaby, gently stroking a rag doll wrapped in a frayed old baby blanket. Children listen before they are born. They are aware of their mother’s heartbeat and the different environmental sounds that filter into the cozy womb. They are surrounded by the low-pitched pulsating sounds of their mother’s cardiovascular system at work. Studies show that pregnant singers find their babies much quieter when they are singing. Instrumentalists report the opposite effect, with lots of internal activity when they are performing. Even before birth, a child recognizes the sound of a mother’s voice and responds to music or familiar sounds. Prenatal studies abound that can measure the movements and startle reflexes of these yet-to-be-born listeners. Loud, sudden noises (above 100 db) cause the fetal heart to beat faster and an immediate startle response. One experiment zapped 15 seconds of a Bach organ prelude (at 100 db) through headphones nestled close to a mother’s abdomen. Not surprisingly, the fetal heart rate accelerated within five seconds of this musical stimulation. Once a baby is born, the effects of these prenatal sounds still have an influence on behavior. Studies of newborns by Salk in the 1960s resulted in the popularity of crib devices that play the sound of an adult heartbeat to soothe babies to sleep. Other studies show the same soothing effect for seven-day-old neonates listening to taped sounds of intrauterine background noises. From birth, the mother’s voice is distinguished from other women’s voices and recognized more readily than the father’s voice—again stemming from prenatal listening experiences.