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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.)
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Savchenko, Нanna. "Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 189–205. http://dx.doi.org/10.34064/khnum2-19.11.
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Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals (S. Savenko) of orchestral thinking and orchestration as a set of technological methods. Analysis of recent research and publications. The theme of time and its specificity in Igor Stravinsky’s works is studied discreetly in the monograph by S. Savenko (2001), which discusses it in connection with the study of meter and rhythm, motif technique, musical form. The notion of space is not a scientific problem in the monograph, but the author discusses it in relation to texture and orchestration. The separate sections of the monograph by M. Druskin (1982) are devoted to the issues of time (Motion) and space (Space). In the first one, the musicologist emphasizes the importance of the visual images and body movements for the composer. The author distinguishes two approaches of I. Stravinsky to the course of time: the first approach evenly regulates it, the second one constantly violates it, because it is full of emotions and psychic states (Druskin, 1982: 135). In the section Space, M. Druskin (1982: 140–141) emphasizes the composer’s intended attitude to the issue of space organization, in which he continues the discovery by Claude Debussy. The essence of innovation lies in the creation of a multicenter composition that involves the coexistence of many points of view (1982: 143–150). O. Sokol (1974) also discusses the above concept of time but in order to substantiate the principle of similarity in the creative method of the composer. A special study on the issue of rhythm and time in I. Stravinsky’s works is the doctoral dissertation by A. Makina (2010). The analysis of the rhythmic and temporal structures and the rhythmic technique of the Symphony of Wind Instruments allows the author to conclude that “Stravinsky’s innovation is to strengthen the structural rhythmic component of the composition as an alternative to tonal development...” (Makina, 2010: 12). Objectives of the researching. In the above works, the orchestration by I. Stravinsky as a system of technological methods of organizing material in time and space does not become a subject of special study. Therefore, the aim of this article is to study the specifics of the spatial and temporal organization of I. Stravinsky’s composition as exemplified by the work of his neoclassical period (the ballet Apollon Musagète) in the aspect of orchestral composing. Discussion and results. In the early works, I. Stravinsky develops the orchestral technique of composing based on the multi-figure principle. It allowed the composer to embody in his artistic system new ideas about time and space according to the worldview, which has changed dramatically in the modern culture. The figure in the orchestral texture means, as we define it, a formula that is delineated with intonational, rhythmic, texture, register, and timbre means, or with a set of means outlined in a plastic-characteristic, visual way. It can be repeated accurately (ostinato) or alternatively. The multifigure technique in horizontal projection is realized at microand macro-syntactic levels. In the organization of time, it generates increased eventfulness, semantic density. In vertical projection, the multifigure technique is manifested in the combination of different figures in a polysyllable texture organized on the principle of complementarity. This enriches the orchestral texture with spaciousness. The preservation of the multifigure technique as a constant of I. Stravinsky’s composer thinking comes from the peculiarities of his style system. The style of the composer, according to many researchers, is based on the dialectical interaction of universal (stable) and variant (mobile) aspects at different levels of stylistic integrity. The orchestration parameter contains new “neoclassical” qualities and stable orchestra composing techniques (the multifigure technique). Let us turn to the ballet Apollon Musagète (1928). The selected composition of the orchestra is expressly “classical”: the string orchestra forms a timbre-soldered organism, devoid of the bright color of woodwind and brass instruments. The result is a monochrome sound, essentially continuous, because it does not change its timbre throughout the ballet. In the works of the neoclassical period, the composer reproduces certain qualities of the model (Savenko, 1977). We assume that purposeful continuous time and homogeneous space are also subject to simulation. A powerful means of modeling continuous time is the “long” melody that the composer designs. Its unfolding in the context of timbre monochromaticism really creates an auditory illusion of a timeless expression that goes on in time. However, a visual analysis of the score testifies to the effect of the multifigure technique, which imparts a process of discreteness. The figures help break the melody line, register contrasts, timbre interception. Vertically, based on the figure composing, counterpoints and duplications (usually inaccurate) are built, which violates the homogeneity of the space and gives it a variable density. Conclusions. The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique. The multifigure technique undergoes modifications, as it interacts with the techniques that matured in the neoclassical period (“long” melody, monochrome timbre), and it aimed at modeling the “classical” directed continuous time and homogeneous space. As a result, the multifigure technique breaks the continuity of time by giving it discreteness; creates an inhomogeneous space. The author sees the prospects of the study in the analysis of opera scores, in which the multifigure technique comes in the complex interaction with the words.
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CATTAERT, DANIEL, JEAN-YVES BARTHE, DOUGLAS M. NEIL, and FRANCOIS CLARAC. "Remote Control of the Swimmeret Central Pattern Generator in Crayfish (Procambarus Clarkii and Pacifastacus Leniusculus): Effect of a Walking Leg Proprioceptor." Journal of Experimental Biology 169, no. 1 (August 1, 1992): 181–206. http://dx.doi.org/10.1242/jeb.169.1.181.
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1. An isolated preparation of the crayfish nervous system, comprising both the thoracic and the abdominal ganglia together with their nerve roots, has been used to study the influence of a single leg proprioceptor, the coxo-basal chordotonal organ (CBCO), on the fictive swimmeret beating consistently expressed in this preparation. Both mechanical stimulation of the CBCO and electrical stimulation of its nerve were used. 2. In preparations not displaying rhythmic activity, electrical or mechanical stimulations evoked excitatory postsynaptic potentials (EPSPs) in about 30 % of the studied motor neurones with a fairly short and regular delay, suggesting an oligosynaptic pathway. Such stimulation could evoke rhythmic activity in swimmeret motor nerves. The evoked swimmeret rhythm often continued for several seconds after the stimulus period. 3. When the swimmeret rhythm was well established, electrical and mechanical stimuli modified it in a number of ways. Limited mechanical or weak electrical stimuli produced a small increase in swimmeret beat frequency, while more extreme movements of the CBCO or strong electrical stimuli had a disruptive effect on the rhythm. 4. The effect of low-intensity stimulation on existing swimmeret beating was phase-dependent: it shortened the beat cycle when applied during the powerstroke phase and lengthened it when applied during the retumstroke phase. 5. Rhythmic mechanical stimulation of CBCO or electrical stimulation of the CBCO nerve entrained the swimmeret rhythm within a limited range in relative or absolute coordination. Note: To whom reprint requests should be sent.
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Kravchuk, T., N. Sanzharova, and A. Udovika. "Peculiarities of Movement Plastique Development in Young Gymnasts." Teorìâ ta Metodika Fìzičnogo Vihovannâ 18, no. 3 (September 25, 2018): 148–54. http://dx.doi.org/10.17309/tmfv.2018.3.05.
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The purpose of this study was to substantiate and create a technique for the development of movement plastique in gymnastics at the initial training stage and experimentally verify its effectiveness.
Materials and methods: The study participants were 28 boys aged 6-7 engaged in gymnastics (14 – control group and 14 – experimental group). To achieve the purpose set, the study used the following research methods: analysis of scientific and methodological literature, pedagogical testing and methods of mathematical statistics.
Results: The use of a special technique that includes exercises developing expressive movements, exercises of classical and parterre choreography, rhythmic gymnastics and elementary dance exercises at the initial training stage in gymnastics improved the development level of movement plastique and its individual components, in particular the amplitude and dynamism (at p<0.05), the accuracy and the degree of using accompanying movements (at p<0.001). The study revealed strong and average correlations between the individual indicators and movement plastique in general.
Conclusion: The study defined the criteria and modern requirements for gymnasts’ movement plastique, as well as its individual indicators: amplitude, accuracy, degree of using accompanying movements, and dynamism. The study created a technique for the development of movement plastique in young gymnasts and experimentally proved its effectiveness.
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Spencer, Rebecca M. C., Richard B. Ivry, Daniel Cattaert, and Andras Semjen. "Bimanual Coordination During Rhythmic Movements in the Absence of Somatosensory Feedback." Journal of Neurophysiology 94, no. 4 (October 2005): 2901–10. http://dx.doi.org/10.1152/jn.00363.2005.
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We investigated the role of somatosensory feedback during bimanual coordination by testing a bilaterally deafferented patient, a unilaterally deafferented patient, and three control participants on a repetitive bimanual circle-drawing task. Circles were drawn symmetrically or asymmetrically at varying speeds with full, partial, or no vision of the hands. Strong temporal coupling was observed between the hands at all movement rates during symmetrical drawing and at the comfortable movement rate during asymmetrical drawing in all participants. When making asymmetric movements at the comfortable and faster rates, the patients and controls exhibited similar evidence of pattern instability, including a reduction in temporal coupling and trajectory deformation. The patients differed from controls on measures of spatial coupling and variability. The amplitudes and shapes of the two circles were less similar across limbs for the patients than the controls and the circles produced by the patients tended to drift in extrinsic space across successive cycles. These results indicate that somatosensory feedback is not critical for achieving temporal coupling between the hands nor does it contribute significantly to the disruption of asymmetrical coordination at faster movement rates. However, spatial consistency and position, both within and between limbs, were disrupted in the absence of somatosensory feedback.
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Soffe, S. R. "Centrally generated rhythmic and non-rhythmic behavioural responses in Rana temporaria embryos." Journal of Experimental Biology 156, no. 1 (March 1, 1991): 81–99. http://dx.doi.org/10.1242/jeb.156.1.81.
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Embryos of the frog Rana temporaria up to and around the time of hatching show a range of rhythmic and non-rhythmic movements. These may occur spontaneously or in response to lightly touching the skin of the trunk or head. The first response to touching one side is usually on the opposite side. Non-rhythmic movements range from weak twitches centred on the mid trunk to strong flexions along much of one side of the body and part of the tail, which result in the animal becoming tightly coiled. Rhythmic movements range from slow, high-amplitude ‘lashing’ movements to faster, lower-amplitude ‘swimming’ movements. During rhythmic movements, a wave of bending passes along the animal from head to tail. The longitudinal phase delay in bending is constant for a range of cycle periods (88–193 ms) but is not uniform along the whole body. Bending is maximal along the body and rostral part of the tail, decreases towards the tip of the tail and is lowest at the head. Lateral displacement during rhythmic movements is lowest 0.2 body lengths from the snout, increases rostral and caudal to this level and is highest at the tip of the tail. In animals immobilised with curare, a range of patterns of motor discharge can be recorded in response to stimulation. Non-rhythmic responses range from single spikes to prolonged bursts, usually on the opposite side to the stimulus. Stronger bursts can alternate briefly between the two sides and are never synchronous on both. Episodes of sustained rhythmic activity can be evoked by touch, electrical stimulation of the skin or, rarely, dimming the lights. Cycle periods within each episode can vary considerably but often shorten as activity proceeds. Discharge on the two sides alternates (phase is approximately 0.5). Motor root burst duration correlates with cycle period, bursts being longer at longer cycle periods. Burst onset is delayed caudally, this delay being longer at longer cycle periods. Stimulating one side of the head evokes a large burst of discharge on the opposite side, often followed by sustained rhythmic discharge. These responses in immobilised animals are judged to constitute centrally generated correlates of the main behavioural responses of R. temporaria embryos.
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Goffman, Lisa. "Prosodic Influences on Speech Production in Children With Specific Language Impairment and Speech Deficits." Journal of Speech, Language, and Hearing Research 42, no. 6 (December 1999): 1499–517. http://dx.doi.org/10.1044/jslhr.4206.1499.
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It is often hypothesized that young children's difficulties with producing weak-strong (iambic) prosodic forms arise from perceptual or linguistically based production factors. A third possible contributor to errors in the iambic form may be biological constraints, or biases, of the motor system. In the present study, 7 children with specific language impairment (SLI) and speech deficits were matched to same age peers. Multiple levels of analysis, including kinematic (modulation and stability of movement), acoustic, and transcription, were applied to children's productions of iambic (weak-strong) and trochaic (strong-weak) prosodic forms. Findings suggest that a motor bias toward producing unmodulated rhythmic articulatory movements, similar to that observed in canonical babbling, contribute to children's acquisition of metrical forms. Children with SLI and speech deficits show less mature segmental and speech motor systems, as well as decreased modulation of movement in later developing iambic forms. Further, components of prosodic and segmental acquisition develop independently and at different rates.
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Neidhöfer, Christoph. "Experiencing Time in Brian Cherney’s String Quartet No. 4 (1994)." Intersections 37, no. 1 (May 17, 2019): 119–42. http://dx.doi.org/10.7202/1059891ar.
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Brian Cherney’s Fourth String Quartet (1994), in one movement lasting half an hour, is striking for its formal coherence and diversity of materials. The work achieves large-scale cohesion not only through an intricate interplay of three simultaneously unfolding “main structures”—four attacca movements in one, on one level, seven sections forming certain temporal proportions, on another, and four cycles of “breathing rhythms” derived from the same proportions on a third level, as documented in the manuscript sources—but also through the continually fluctuating tension we experience throughout the movement between ontological and psychological time. Pierre Souvtchinsky’s notion of a “counterpoint” between “ontological time” (i.e., clock or real time) and a particular music’s inherent time shaped by “the material and technical means by which [the] music is expressed” is referenced to demonstrate how in Cherney’s quartet fixed proportions and slow, stable polyrhythms active in the background afford space for foreground activity that has its own sense of time. The article further explores the notion of time in a second, metaphorical dimension, as concerns intertextual allusions in the quartet.
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Ramirez, Jan-Marino. "Reconfiguration of the Respiratory Network at the Onset of Locust Flight." Journal of Neurophysiology 80, no. 6 (December 1, 1998): 3137–47. http://dx.doi.org/10.1152/jn.1998.80.6.3137.
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Ramirez, Jan-Marino. Reconfiguration of the respiratory network at the onset of locust flight. J. Neurophysiol. 80: 3137–3147, 1998. The respiratory interneurons 377, 378, 379 and 576 were identified within the suboesophageal ganglion (SOG) of the locust. Intracellular stimulation of these neurons excited the auxillary muscle 59 (M59), a muscle that is involved in the control of thoracic pumping in the locust. Like M59, these interneurons did not discharge during each respiratory cycle. However, the SOG interneurons were part of the respiratory rhythm generator because brief intracellular stimulation of these interneurons reset the respiratory rhythm and tonic stimulation increased the frequency of respiratory activity. At the onset of flight, the respiratory input into M59 and the SOG interneurons was suppressed, and these neurons discharged in phase with wing depression while abdominal pumping movements remained rhythmically active in phase with the slower respiratory rhythm (Fig. 9 ). The suppression of the respiratory input during flight seems to be mediated by the SOG interneuron 388. This interneuron was tonically activated during flight, and intracellular current injection suppressed the respiratory rhythmic input into M59. We conclude that the respiratory rhythm generator is reconfigured at flight onset. As part of the rhythm-generating network, the interneurons in the SOG are uncoupled from the rest of the respiratory network and discharge in phase with the flight rhythm. Because these SOG interneurons have a strong influence on thoracic pumping, we propose that this neural reconfiguration leads to a behavioral reconfiguration. In the quiescent state, thoracic pumping is coupled to the abdominal pumping movements and has auxillary functions. During flight, thoracic pumping is coupled to the flight rhythm and provides the major ventilatory movements during this energy-demanding locomotor behavior.
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Furuya, Shinichi, and John F. Soechting. "Speed invariance of independent control of finger movements in pianists." Journal of Neurophysiology 108, no. 7 (October 1, 2012): 2060–68. http://dx.doi.org/10.1152/jn.00378.2012.
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Independent control of finger movements characterizes skilled motor behaviors such as tool use and musical performance. The purpose of the present study was to identify the effect of movement frequency (tempo) on individuated finger movements in piano playing. Joint motion at the digits was recorded while 5 expert pianists were playing 30 excerpts from musical pieces with different fingering and key locations either at a predetermined normal tempo or as fast as possible. Principal component analysis and cluster analysis using an expectation-maximization algorithm determined three distinct patterns of finger movement coordination for a keypress with each of the index, middle, ring, and little fingers at each of the two tempi. The finger kinematics of each coordination pattern was overall similar across the tempi. Tone sequences assigned into each cluster were also similar for both tempi. A linear regression analysis determined no apparent difference in the amount of movement covariation between the striking and nonstriking fingers at both metacarpo-phalangeal and proximal-interphalangeal joints across the two tempi, which indicated no effect of tempo on independent finger movements in piano playing. In addition, the standard deviation of interkeystroke interval across strokes did not differ between the two tempi, indicating maintenance of rhythmic accuracy of keystrokes. Strong temporal constraints on finger movements during piano playing may underlie the maintained independent control of fingers over a wider range of tempi, a feature being likely to be specific to skilled pianists.
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Freitas, Sandra M. S. F., Marcos Duarte, and Mark L. Latash. "Two Kinematic Synergies in Voluntary Whole-Body Movements During Standing." Journal of Neurophysiology 95, no. 2 (February 2006): 636–45. http://dx.doi.org/10.1152/jn.00482.2005.
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We used a particular computational approach, the uncontrolled manifold hypothesis, to investigate joint angle covariation patterns during whole-body actions performed by standing persons. We hypothesized that two kinematic synergies accounted for the leg/trunk joint covariation across cycles during a rhythmic whole-body motion to stabilize two performance variables, the trunk orientation in the external space and the horizontal position of the center of mass (COM). Subjects stood on a force plate and performed whole-body rhythmic movements for 45 s under visual feedback on one of the four variables, the position of the center of pressure or the angle in one of the three joints (ankle, knee, or hip). The Fitts-like paradigm was used with two target amplitudes and six indices of difficulty (ID) for each of the four variables. This was done to explore the robustness of kinematic postural synergies. A speed-accuracy trade-off was observed in all feedback conditions such that the movement time scaled with ID and the scaling differed between the two movement amplitudes. Principal-component (PC) analysis showed the existence of a single PC in the joint space that accounted for over 95% of the joint angle variance. Analysis within the uncontrolled manifold hypothesis has shown that data distributions in the joint angle space were compatible with stabilization of both trunk orientation and COM location. We conclude that trunk orientation and the COM location are stabilized by co-varied changes of the major joint angles during whole-body movements. Despite the strong effects of movement amplitude and ID on performance, the structure of the joint variance showed only minor dependence on these task parameters. The two kinematic synergies (co-varied changes in the joint angles that stabilized the COM location and trunk orientation) have proven to be robust over a variety of tasks.
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Bodosi, B., J. Gardi, I. Hajdu, E. Szentirmai, F. Obal, and J. M. Krueger. "Rhythms of ghrelin, leptin, and sleep in rats: effects of the normal diurnal cycle, restricted feeding, and sleep deprivation." American Journal of Physiology-Regulatory, Integrative and Comparative Physiology 287, no. 5 (November 2004): R1071—R1079. http://dx.doi.org/10.1152/ajpregu.00294.2004.
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To determine the relationships among plasma ghrelin and leptin concentrations and hypothalamic ghrelin contents, and sleep, cortical brain temperature (Tcrt), and feeding, we determined these parameters in rats in three experimental conditions: in free-feeding rats with normal diurnal rhythms, in rats with feeding restricted to the 12-h light period (RF), and in rats subjected to 5-h of sleep deprivation (SD) at the beginning of the light cycle. Plasma ghrelin and leptin displayed diurnal rhythms with the ghrelin peak preceding and the leptin peak following the major daily feeding peak in hour 1 after dark onset. RF reversed the diurnal rhythm of these hormones and the rhythm of rapid-eye-movement sleep (REMS) and significantly altered the rhythm of Tcrt. In contrast, the duration and intensity of non-REMS (NREMS) were hardly responsive to RF. SD failed to change leptin concentrations, but it promptly stimulated plasma ghrelin and induced eating. SD elicited biphasic variations in the hypothalamic ghrelin contents. SD increased plasma corticosterone, but corticosterone did not seem to influence either leptin or ghrelin. The results suggest a strong relationship between feeding and the diurnal rhythm of leptin and that feeding also fundamentally modulates the diurnal rhythm of ghrelin. The variations in hypothalamic ghrelin contents might be associated with sleep-wake activity in rats, but, unlike the previous observations in humans, obvious links could not be detected between sleep and the diurnal rhythms of plasma concentrations of either ghrelin or leptin in the rat.
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Colley, Ian D., Manuel Varlet, Jennifer MacRitchie, and Peter E. Keller. "Does Movement Amplitude of a Co-performer Affect Individual Performance in Musical Synchronization?" Music & Science 4 (January 1, 2021): 205920432110317. http://dx.doi.org/10.1177/20592043211031712.
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Interpersonal coordination in musical ensembles often involves multisensory cues, with visual information about body movements supplementing co-performers’ sounds. Previous research on the influence of movement amplitude of a visual stimulus on basic sensorimotor synchronization has shown mixed results. Uninstructed visuomotor synchronization seems to be influenced by amplitude of a visual stimulus, but instructed visuomotor synchronization is not. While music performance presents a special case of visually mediated coordination, involving both uninstructed (spontaneously coordinating ancillary body movements with co-performers) and instructed (producing sound on a beat) forms of synchronization, the underlying mechanisms might also support rhythmic interpersonal coordination in the general population. We asked whether visual cue amplitude would affect nonmusicians’ synchronization of sound and head movements in a musical drumming task designed to be accessible regardless of musical experience. Given the mixed prior results, we considered two competing hypotheses. H1: higher amplitude visual cues will improve synchronization. H2: different amplitude visual cues will have no effect on synchronization. Participants observed a human-derived motion capture avatar with three levels of movement amplitude, or a still image of the avatar, while drumming along to the beat of tempo-changing music. The moving avatars were always timed to match the music. We measured temporal asynchrony (drumming relative to the music), predictive timing, ancillary movement fluctuation, and cross-spectral coherence of ancillary movements between the participant and avatar. The competing hypotheses were tested using conditional equivalence testing. This method involves using a statistical equivalence test in the event that standard hypothesis tests show no differences. Our results showed no statistical differences across visual cues types. Therefore, we conclude that there is not a strong effect of visual stimulus amplitude on instructed synchronization.
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te Woerd, Erik S., Robert Oostenveld, Floris P. de Lange, and Peter Praamstra. "Impaired auditory-to-motor entrainment in Parkinson’s disease." Journal of Neurophysiology 117, no. 5 (May 1, 2017): 1853–64. http://dx.doi.org/10.1152/jn.00547.2016.
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Several electrophysiological studies suggest that Parkinson's disease (PD) patients have a reduced tendency to entrain to regular environmental patterns. Here we investigate whether this reduced entrainment concerns a generalized deficit or is confined to movement-related activity, leaving sensory entrainment intact. Magnetoencephalography was recorded during a rhythmic auditory target detection task in 14 PD patients and 14 control subjects. Participants were instructed to press a button when hearing a target tone amid an isochronous sequence of standard tones. The variable pitch of standard tones indicated the probability of the next tone to be a target. In addition, targets were occasionally omitted to evaluate entrainment uncontaminated by stimulus effects. Response times were not significantly different between groups and both groups benefited equally from the predictive value of standard tones. Analyses of oscillatory beta power over auditory cortices showed equal entrainment to the tones in both groups. By contrast, oscillatory beta power and event-related fields demonstrated a reduced engagement of motor cortical areas in PD patients, expressed in the modulation depth of beta power, in the response to omitted stimuli, and in an absent motor area P300 effect. Together, these results show equally strong entrainment of neural activity over sensory areas in controls and patients, but, in patients, a deficient translation of the adjustment to the task rhythm to motor circuits. We suggest that the reduced activation reflects not merely altered resonance to rhythmic external events, but a compromised recruitment of an endogenous response reflecting internal rhythm generation. NEW & NOTEWORTHY Previous studies suggest that motor cortical activity in PD patients has a reduced tendency to entrain to regular environmental patterns. This study demonstrates that the deficient entrainment in PD concerns the motor system only, by showing equally strong entrainment of neural activity over sensory areas in controls and patients but, in patients, a deficient translation of this adjustment to the task rhythm to motor circuits.
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Brown, Peter, Stephan Salenius, John C. Rothwell, and Riitta Hari. "Cortical Correlate of the Piper Rhythm in Humans." Journal of Neurophysiology 80, no. 6 (December 1, 1998): 2911–17. http://dx.doi.org/10.1152/jn.1998.80.6.2911.
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Brown, Peter, Stephan Salenius, John C. Rothwell, and Riitta Hari. Cortical correlate of the Piper rhythm in humans. J. Neurophysiol. 80: 2911–2917, 1998. The electromyogram (EMG) of healthy humans demonstrates a tendency to rhythmic oscillations at around 40 Hz (the Piper rhythm) during strong voluntary contraction. Why motor units should discharge synchronously locked to such a high-frequency is unclear. We recorded whole scalp magnetoencephalographic (MEG) signals simultaneously with surface EMG from 10 healthy subjects. In eight subjects, coherence and time domain analyses demonstrated correspondence between the MEG signal, originating near or in the hand region of the motor cortex, and the 35- to 60-Hz EMG recorded during repeated maximal isometric contractions of the contralateral forearm extensor muscles. Three of these subjects also showed similar coherence during isometric contractions of moderate strength and slow extension movements of the wrist. In addition, coherence and time domain analyses demonstrated correspondence between the MEG signals originating near or in the foot area of the motor cortex and EMG recorded during repeated maximal isometric contractions of the contralateral tibialis anterior muscle in the 30- to 60-Hz range. Most important, the frequency at the peak of the coherence spectrum differed between forearm and leg by as much as 10 Hz in the same subject. In contrast, the peak of the coherence spectrum occurred during sustained weak contraction in the 20- to 30-Hz range similarly for both forearm and foot. The lag between EMG and MEG activity in the leg was ∼15 ms greater than that seen in the forearm, an interval appropriate for conduction in fast pyramidal pathways. It is concluded that the Piper rhythm in muscle may be driven by a comparable oscillatory activity in the contralateral motor cortex. This cortical rhythmicity can be picked up in several types of movement and seems distinct from the 20- to 30-Hz rhythmicity recorded during weak sustained contractions.
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Palmer, Caroline, Frances Spidle, Erik Koopmans, and Peter Schubert. "Ears, heads, and eyes: When singers synchronise." Quarterly Journal of Experimental Psychology 72, no. 9 (April 2019): 2272–87. http://dx.doi.org/10.1177/1747021819833968.
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We examined the relationship between endogenous rhythms, auditory and visual cues, and body movement in the temporal coordination of duet singers. Sixteen pairs of experienced vocalists sang a familiar melody in Solo and two Duet conditions. Vocalists sang together in Unison (simultaneously producing identical pitches) and Round Duet conditions (one vocalist, the Follower, producing pitches at an eight-tone delay from their partner, the Leader) while facing Inward (full visual cues) and Outward (reduced visual cues). Larger tempo differences in partners’ spontaneous (temporally unconstrained) Solo performances were associated with larger asynchrony in Duet performances, consistent with coupling predictions for oscillators with similar natural frequencies. Vocalists were slightly but consistently more synchronous in Duets when facing their partner (Inward) than when facing Outward; Unison and Round performances were equally synchronous. The greater difficulty of Rounds production was evidenced in vocalists’ slower performance rates and more variable head movements; Followers directed their head gaze away from their partner and used bobbing head movements to mark the musical beat. The strength of Followers’ head movements corresponded to the amount of tone onset asynchrony with their partners, indicating a strong association between timing and movement under increased attentional and working memory demands in music performance.
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Ferris, Daniel P., and Bryan R. Schlink. "Robotic Devices to Enhance Human Movement Performance." Kinesiology Review 6, no. 1 (February 2017): 70–77. http://dx.doi.org/10.1123/kr.2016-0040.
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Robotic exoskeletons and bionic prostheses have moved from science fiction to science reality in the last decade. These robotic devices for assisting human movement are now technically feasible given recent advancements in robotic actuators, sensors, and computer processors. However, despite the ability to build robotic hardware that is wearable by humans, we still do not have optimal controllers to allow humans to move with coordination and grace in synergy with the robotic devices. We consider the history of robotic exoskeletons and bionic limb prostheses to provide a better assessment of the roadblocks that have been overcome and to gauge the roadblocks that still remain. There is a strong need for kinesiologists to work with engineers to better assess the performance of robotic movement assistance devices. In addition, the identification of new performance metrics that can objectively assess multiple dimensions of human performance with robotic exoskeletons and bionic prostheses would aid in moving the field forward. We discuss potential control approaches for these robotic devices, with a preference for incorporating feedforward neural signals from human users to provide a wider repertoire of discrete and adaptive rhythmic movements.
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Ullén, Fredrik, and Sara L. Bengtsson. "Independent Processing of the Temporal and Ordinal Structure of Movement Sequences." Journal of Neurophysiology 90, no. 6 (December 2003): 3725–35. http://dx.doi.org/10.1152/jn.00458.2003.
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We investigated if the temporal and ordinal structures of sequences can be represented and learned independently. In Experiment 1, subjects learned three rhythmic sequences of key presses with the right index finger: Combined consisted of nine key presses with a corresponding temporal structure of eight intervals; Temporal had the temporal structure of Combined but was performed on one key; Ordinal had the ordinal structure of Combined but an isochronous rhythm. Subjects were divided into two groups. Group 1 first learned Combined, then Temporal and Ordinal; Group 2 first learned Temporal and Ordinal, then Combined. Strong transfer effects were seen in both groups. In Group 1, having learned combined facilitated the learning of the temporal ( Temporal) or ordinal ( Ordinal) sequence alone; in Group 2, having learned Temporal and Ordinal facilitated the learning of Combined, where the two are combined. This supports that subjects had formed independent temporal and ordinal representations. In Experiment 2, we investigated if these can be learned independently. Subjects repeatedly reproduced sequences with fixed temporal and random ordinal structure; random temporal and fixed ordinal structure; and random temporal and ordinal structures. Temporal and ordinal learning was seen only in the first and second sequences, respectively. In summary, we provide evidence for the existence of independent systems for learning and representation of ordinal and temporal sequences and for implicit learning of temporal sequences. This may be important for fast learning and flexibility in motor control.
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Walton, Patrick. "Using Singing and Movement to Teach Pre-reading Skills and Word Reading to Kindergarten Children: An Exploratory Study." Language and Literacy 16, no. 3 (November 24, 2014): 54. http://dx.doi.org/10.20360/g2k88j.
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Kindergarten classrooms were randomly assigned to a songs group (n = 44) that used choral singing and movement to teach phonological skills, letter-sounds, and word reading, or to a control group (n = 49) where children received their regular language and literacy programs for equal amounts of time. The songs group teaching involved choral singing and movements created for the project to teach phonological skills, letter-sounds, and word reading. Children preferred songs that were quick to learn, had strong or soothing rhythms, and incorporated movements. Children in the songs group had increased letter-sounds, medial phoneme identity and word reading compared to children in the control group. Children in both groups made equal gains in rhyming and identifying phonemes in initial and final positions. Songs group children also read new words not presented in the songs program. Initial and medial phoneme identity and letter-sound knowledge made independent contributions to word reading.
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Medvid, T. "CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 118–25. http://dx.doi.org/10.33989/2226-4051.2021.23.238263.
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The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted.
The instruments of the children’s orchestra developed by K. Orff together with K. Sachs are described, which included melodic and noise percussion instruments, the simplest wind, and strings. The principle of active music-making and creative development of personality on the basis of playing children’s musical instruments, rhythmic movements, dance, and pantomime is analyzed. The role of rhythmic, vocal, and instrumental improvisations for the creative development of students is revealed. The curriculum at the Orff’ Institute is covered, which included the methods of teaching children’s musical instruments, a course of rhythmic exercises, choreography, conducting, solfeggio, instrumentation.
The work ‘Theory and practice of music and aesthetic education according to the system of K. Orff’ (by E. Kurishev, L. Kurisheva) is analyzed, which highlights the practical experience of Ukrainian teachers in the classroom and extracurricular activities with students. The countries that have shown interest in Orff's pedagogy and continue to work actively on this system are listed. K. Orff's conviction is formulated that the art of the future is inherent in the nature of human abilities and it is only necessary to create conditions for the creative development of the individual.
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Prochazka, Arthur. "Proprioception during voluntary movement." Canadian Journal of Physiology and Pharmacology 64, no. 4 (April 1, 1986): 499–504. http://dx.doi.org/10.1139/y86-081.
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In the last decade, a number of laboratories have accumulated data on the firing of single afferent fibres from muscle and skin during movement in awake cats, monkeys and human subjects. While there is general agreement on the firing behaviour of skin afferents and tendon organ (Ib) afferents during movement, there remains a significant divergence of opinion regarding the way in which the response of muscle spindle afferents (Ia and II) to length changes is modified by fusimotor action (e.g., alpha–gamma linkage versus "fusimotor set"). The controversies surrounding the fusimotor system have tended to overshadow the emergence of several important characteristics of propioceptive behaviour, corroborated in separate laboratories, (i) Mean la firing rates during active movements are nearly always higher than at rest. Thus, activation of the fusimotor system is reserved for the control of, or preparation for, movement. In animals, there is now strong evidence that there is usually a tonic component of fusimotor action during rhythmical movements. (ii) During fast, unloaded movements (peak muscle speeds, 0.2 resting lengths/s or more), the firing of both la and II afferents usually increases during lengthening and decreases during shortening. Ib afferents fire during even the most rapid active shortening of their parent muscles, (iii) During powerful shortening contractions performed against significant loads, la firing is often appreciable, suggesting that there is at least some underlying alpha–gamma coactivation. (iv) During fast imposed muscle stretches, la afferents respond with segmented bursts of firing (threshold speed for segmentation, 0.5–1.0 resting length/s). Ib afferents show far less segmentation of discharge under similar circumstances, (v) There are substantial numbers of tendon organ receptors which fire during tasks involving low levels of force.
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Kruger, H. "'Confessing out the soul to conform to the rhythm of thought': a reading of Allen Ginsberg’s Beat poetry." Literator 28, no. 1 (July 30, 2007): 23–46. http://dx.doi.org/10.4102/lit.v28i1.149.
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Much critical writing about the Beat Movement has focused on the strong interrelationship between the literary and social discourses within and around the movement. However, the study of Beat literature also necessitates an awareness of its position within the literary discourse of the twentieth century. Beat writing may be seen as standing in the unstable, shifting territory between two equally unstable, shifting literary movements: modernism and postmodernism. Beat poetry pits itself against high modernism and the New Critical tradition, draws upon some aspects of early avant-garde modernism, and simultaneously remoulds these aspects into what may be regarded as the beginnings of postmodernism in the USA. This article presents a reading of Allen Ginsberg’s Beat poetry against this literary-historical background. A brief general overview of some of the key characteristics of Beat poetry is given, followed by a discussion of a number of Beat poems, organised around some salient features of Ginsberg’s Beat poetry that may be linked to Beat poetry’s position in the transition from modernism to postmodernism.
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Benedetto, Alessandro, Maria Concetta Morrone, and Alice Tomassini. "The Common Rhythm of Action and Perception." Journal of Cognitive Neuroscience 32, no. 2 (February 2020): 187–200. http://dx.doi.org/10.1162/jocn_a_01436.
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Research in the last decade has undermined the idea of perception as a continuous process, providing strong empirical support for its rhythmic modulation. More recently, it has been revealed that the ongoing motor processes influence the rhythmic sampling of sensory information. In this review, we will focus on a growing body of evidence suggesting that oscillation-based mechanisms may structure the dynamic interplay between the motor and sensory system and provide a unified temporal frame for their effective coordination. We will describe neurophysiological data, primarily collected in animals, showing phase-locking of neuronal oscillations to the onset of (eye) movements. These data are complemented by novel evidence in humans, which demonstrate the behavioral relevance of these oscillatory modulations and their domain-general nature. Finally, we will discuss the possible implications of these modulations for action–perception coupling mechanisms.
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Dalla Benetta, Elena, Louis van de Zande, and Leo W. Beukeboom. "Courtship rhythm in Nasonia vitripennis is affected by the clock gene period." Behaviour 158, no. 8-9 (April 20, 2021): 685–704. http://dx.doi.org/10.1163/1568539x-bja10087.
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Abstract The clock gene period (per) is a regulator of circadian rhythms but may also play a role in the regulation of ultradian rhythms, such as insect courtship. Males of the parasitoid wasp Nasonia vitripennis court females by performing series of head movements (‘head-nods’) and wing vibrations within repeated cycles. The pattern of cycle duration and head-nod number is species-specific and has a genetic basis. In this study, the possible involvement of per in regulating Nasonia courtship rhythms was investigated in a southern and northern European strain that differ in number and timing of courtship components. Knockdown of per via RNA interference (RNAi) resulted in a shortening of the circadian free running period (tau) in constant darkness (DD), and increased both the cycle duration and the number of head-nods per cycle in both strains. These results point at a role of per in the regulation of ultradian rhythms and male courtship behaviour of N. vitripennis and may contribute to resolving the controversy about the role of per in insect courtship behaviour.
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Arshavsky, Y. I., T. G. Deliagina, I. L. Okshtein, G. N. Orlovsky, Y. V. Panchin, and L. B. Popova. "Defense reaction in the pond snail Planorbis corneus. III. Response to input from statocysts." Journal of Neurophysiology 71, no. 3 (March 1, 1994): 898–903. http://dx.doi.org/10.1152/jn.1994.71.3.898.
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1. In the intact pond snail Planorbis corneus, a rapid tilt in any plane evoked a defense reaction consisting of a fast movement of the shell towards the head, shortening of the foot, inhibition of locomotion and of rhythmical feeding movements. This reaction was similar to the first phase of the general defense reaction of Planorbis to cutaneous stimulation. 2. A method has been developed for inclination of the isolated CNS in space (up to 90 degrees) and simultaneous intracellular recordings from different neurons. 3. The statocyst receptor cells (SRCs) responded both phasically and tonically to the tilt. The SRCs differ in their spatial zones of sensitivity. 4. Essential manifestations of the defense reaction to the input from statocysts could be observed in the in vitro preparation of the CNS isolated with statocysts. Both tilting of the CNS and electrical stimulation of individual SRCs elicited an excitatory response in numerous neurons from different ganglia, including motor neurons (MNs) of the columellar muscle. This response was of "all-or-none" nature, and could be evoked by electrical stimulation of any SRC. The response was followed by a long (10-20 s) period of refractoriness. 5. Activation of SRCs resulted also in excitation of the giant dopaminergic cell in the left pedal ganglion (related to the control of respiration), in inhibition of the feeding rhythm generator, and in inhibition of the pedal neurons responsible for activation of the ciliary locomotor system. 6. Combined stimulation of two inputs able to evoke a defense reaction, i.e., those from the statocyst and from cutaneous nerve, revealed a strong interdependence of their central effects.(ABSTRACT TRUNCATED AT 250 WORDS)
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SUÁREZ, JUAN A. "City Space, Technology, Popular Culture: The Modernism of Paul Strand and Charles Sheeler's Manhatta." Journal of American Studies 36, no. 1 (April 2002): 85–106. http://dx.doi.org/10.1017/s0021875802006783.
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Reputedly, painter Charles Sheeler and photographer Paul Strand's Manhatta is the first significant title in the history of American avant-garde cinema. It is a seven-minute portrait of New York City and focuses on those features which make the city a modern megalopolis – the traffic, the crowds, the high-rise buildings, the engineering wonders, and the speed and dynamism of street life. The film strives to capture rhythmic and graphic patterns in the movements and shapes of cranes, trains, automobiles, boats, steam shovels, suspension bridges, and skyscrapers. Due to the dominance of technology, the entire urban landscape appears in the film as a machine-like aggregate of static and moving parts independent from human intention.
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Berkowitz, Ari, Gina L. C. Yosten, and R. Mark Ballard. "Somato-Dendritic Morphology Predicts Physiology for Neurons That Contribute to Several Kinds of Limb Movements." Journal of Neurophysiology 95, no. 5 (May 2006): 2821–31. http://dx.doi.org/10.1152/jn.01246.2005.
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It has been difficult to predict the behavioral roles of vertebrate CNS neurons based solely on their morphologies, especially for the neurons that control limb movements in adults. We examined the morphologies of spinal interneurons involved in limb movement control, using intracellular recording followed by Neurobiotin injection in the in vivo adult turtle spinal cord preparation. We report here the first description of a class of spinal interneurons whose somato-dendritic morphologies predict their robust activity during multiple forms of ipsilateral and contralateral fictive hindlimb scratching and fictive hindlimb withdrawal. These “transverse interneurons” or T cells have a mediolaterally elongated soma and a simple dendritic tree that is extensive in the transverse plane but restricted rostrocaudally. During fictive scratching, these cells display strong rhythmic modulation with higher peak firing rates than other scratch-activated interneurons. These higher peak firing rates are at least partly caused by T cells having larger phase-locked membrane potential oscillations and narrower action potentials with briefer afterhyperpolarizations than other scratch-activated interneurons. Many T cells have axon terminal arborizations in the ventral horn of the spinal cord hindlimb enlargement. Identification of this morphological and physiological class of spinal interneurons should facilitate further exploration of the mechanisms of hindlimb motor pattern selection and generation.
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Hogan, Lindsay A., Clive J. C. Phillips, Allan Lisle, Alan B. Horsup, Tina Janssen, and Steve D. Johnston. "Remote monitoring of the behaviour and activity of captive southern hairy-nosed wombats (Lasiorhinus latifrons)." Australian Mammalogy 31, no. 2 (2009): 123. http://dx.doi.org/10.1071/am09023.
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The nocturnal nature of wombats makes it difficult to learn about their behavioural ecology and activity rhythms in the wild. A facility was established at Rockhampton Zoo to house 12 adult southern hairy-nosed wombats in order to monitor their behaviour by means of video surveillance and provide detailed information on their activity patterns using movement-sensitive radio-transmitters. After one year of monitoring it was established that the wombats spent, on average, as a proportion of total time 69.9% sleeping, 8.8% lying resting, 5.2% feeding, 5.2% exploring, 4.3% performing stereotyped behaviour, 2.5% sitting resting and 4.1% in other activities. Feeding, lying resting and sleeping varied with season by ~5%. Temporal patterns were bimodal for 8 of the 12 behaviours described, with most ‘active’ behaviours being expressed between 1800 and 2000 hours and 0200 and 0500 hours. The activity pattern was characterised by a strong circadian rhythm, with most activity occurring nocturnally. Within active periods there was an alternating rhythm of active and rest periods and activity peaks at the beginning and end of each night. Comprehensive and reliable information on the behavioural ecology, as well as captive management, of southern hairy-nosed wombats was obtained from the remote video and radio-transmitter recordings.
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Mellen, N., T. Kiemel, and A. H. Cohen. "Correlational analysis of fictive swimming in the lamprey reveals strong functional intersegmental coupling." Journal of Neurophysiology 73, no. 3 (March 1, 1995): 1020–30. http://dx.doi.org/10.1152/jn.1995.73.3.1020.
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1. Cycle-to-cycle fluctuations in cycle periods and intersegmental burst delays of ventral root activity were studied during stable fictive swimming in the adult lamprey spinal cord. High spatial resolution was obtained by recording from 16 ventral roots, 1/2 on each side of the spinal cord. For ipsilateral ventral roots, correlations between cycle periods on the same cycle were high (0.50 +/- 0.16, mean +/- SD), and autocorrelations of intersegmental delays with a shift of one cycle were low (0.03 +/- 0.06). Correlations between cycle periods tended to decrease with intersegmental spacing but remained positive over the range of spacings tested (1-47 segments). 2. Sinusoidal movement imposed on the caudal end of the spinal cord/notochord was used to entrain the fictive swimming rhythm. When the phase between the movement and the rhythm was perturbed, several cycles were required for the phase to return to its preferred value, indicating that in these experiments the effect of the movement was weak. In the absence of external perturbations, autocorrelations of delays between the movement and ventral root bursts with a shift of one cycle were high. 3. Numerical simulations with a simple stochastic phase model of the lamprey central pattern generator (CPG) were conducted. High correlations of periods and low autocorrelations of delays, the pattern observed experimentally, emerged as intersegmental connection strengths were increased. Coupling including both long and short connections produced this pattern of correlations with an average connection strength less than that required by short connections alone. 4. It is concluded that functional intersegmental coupling in the lamprey CPG during stable fictive swimming is strong. Specifically, the low autocorrelations of intersegmental delays indicate that intersegmental coupling is sufficiently strong to ensure that perturbations are almost completely corrected within one cycle.
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KORSUNOVSKAYA, OLGA, MIKHAIL BEREZIN, KLAUS-GERHARD HELLER, ELENA TKACHEVA, TATIANA KOMPANTSEVA, and RUSTEM ZHANTIEV. "Biology, sounds and vibratory signals of hooded katydids (Orthoptera: Tettigoniidae: Phyllophorinae)." Zootaxa 4852, no. 3 (September 16, 2020): 309–22. http://dx.doi.org/10.11646/zootaxa.4852.3.3.
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The tettigoniid subfamily Phyllophorinae, distributed in Southeast Asia and Australia, is poorly known. Our study of the biology of Giant Katydid Siliquofera grandis (Blanchard, 1853) from a laboratory culture has shown that these insects mate more than once, the females lay a total of up to 400 eggs during their life, and these hatch after 2–2.5 months. The life cycle from egg to death takes longer than one year. In the laboratory, the insects fed mainly on leaves of various Rosaceae, Ficus, and lettuce, and on fruits. It is known that the males of hooded katydids lack the tegminal stridulatory apparatus typical for Tettigoniidae, but are capable of producing protest sounds using their coxosternal sound-producing organs for stridulation. Here, protest stridulation of the males and females and the sound-producing organs used to produce it have been analyzed in Phyllophorina kotoshoensis Shiraki, 1930 and S. grandis. In addition, nymphal protest sounds produced by friction of the metafemur against the edge of the pronotum and adult protest signals produced with the wings are described. In S. grandis, vibratory signals have been described and studied for the first time: territorial, protest, drumming and rhythmic low-amplitude vibrations emitted by adults and nymphs and pre- and postcopulatory vibrations of the males and females. The territorial signals not accompanied with visible movements of the body may be produced by contracting the antagonist muscles of the thorax and possibly of the legs. Using their coxosternal sound-producing organs males of S. grandis produced also an audible courtship song lasting for several seconds. Acoustic signals may thus both regulate intrapopulation relations and serve for interspecific communication (protest signals). The acoustic communication in Phyllophorinae is probably especially important during mating behavior.
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Rule, Michael E., Carlos E. Vargas-Irwin, John P. Donoghue, and Wilson Truccolo. "Dissociation between sustained single-neuron spiking and transient β-LFP oscillations in primate motor cortex." Journal of Neurophysiology 117, no. 4 (April 1, 2017): 1524–43. http://dx.doi.org/10.1152/jn.00651.2016.
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Determining the relationship between single-neuron spiking and transient (20 Hz) β-local field potential (β-LFP) oscillations is an important step for understanding the role of these oscillations in motor cortex. We show that whereas motor cortex firing rates and beta spiking rhythmicity remain sustained during steady-state movement preparation periods, β-LFP oscillations emerge, in contrast, as short transient events. Single-neuron mean firing rates within and outside transient β-LFP events showed no differences, and no consistent correlation was found between the beta oscillation amplitude and firing rates, as was the case for movement- and visual cue-related β-LFP suppression. Importantly, well-isolated single units featuring beta-rhythmic spiking (43%, 125/292) showed no apparent or only weak phase coupling with the transient β-LFP oscillations. Similar results were obtained for the population spiking. These findings were common in triple microelectrode array recordings from primary motor (M1), ventral (PMv), and dorsal premotor (PMd) cortices in nonhuman primates during movement preparation. Although beta spiking rhythmicity indicates strong membrane potential fluctuations in the beta band, it does not imply strong phase coupling with β-LFP oscillations. The observed dissociation points to two different sources of variation in motor cortex β-LFPs: one that impacts single-neuron spiking dynamics and another related to the generation of mesoscopic β-LFP signals. Furthermore, our findings indicate that rhythmic spiking and diverse neuronal firing rates, which encode planned actions during movement preparation, may naturally limit the ability of different neuronal populations to strongly phase-couple to a single dominant oscillation frequency, leading to the observed spiking and β-LFP dissociation. NEW & NOTEWORTHY We show that whereas motor cortex spiking rates and beta (~20 Hz) spiking rhythmicity remain sustained during steady-state movement preparation periods, β-local field potential (β-LFP) oscillations emerge, in contrast, as transient events. Furthermore, the β-LFP phase at which neurons spike drifts: phase coupling is typically weak or absent. This dissociation points to two sources of variation in the level of motor cortex beta: one that impacts single-neuron spiking and another related to the generation of measured mesoscopic β-LFPs.
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Mertesdorf, Frank L. "Cycle Exercising in Time with Music." Perceptual and Motor Skills 78, no. 3_suppl (June 1994): 1123–41. http://dx.doi.org/10.2466/pms.1994.78.3c.1123.
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Different forms of exercise with a cycle ergometer in time with music were studied in comparison: exercise in time with a rhythm or with music at constant and movement-controlled music tempos, with simultaneous arm and leg work, and with leg work alone. For this pilot study an exercise cycle with arm levers movable forward and backward for additional arm work was equipped with a mechanically brak-able flywheel. At a movement-controlled music tempo synthesizer music was synchronized with the movement rhythm by electrical pulses generated during each pedal rotation. A point approximately 8° to 15° before the horizontal pedal position during leg stretching was preferred as the onset of the beats during movement-controlled tempo. The subjects preferred pedalling rates between about 70 and 90 revolutions • min.−1, two-thirds with movement-controlled and one-third with preset music tempo. At a comparable work-load, rhythm was rared as more boring than musical accompaniment, but there were no significant differences between the ratings of discomfort, strain, or boredom for the two forms of musical accompaniment and no interaction with the preference for them.
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Friesen, W. O., and C. G. Hocker. "Functional Analyses of the Leech Swim Oscillator." Journal of Neurophysiology 86, no. 2 (August 1, 2001): 824–35. http://dx.doi.org/10.1152/jn.2001.86.2.824.
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The oscillations that underlie swimming movements in the leech arise from a series of identified concatenated circuits within the ventral nerve cord. In the intact nerve cord, ascending and descending intersegmental interactions via axons within the lateral connectives function both to generate robust oscillations throughout the cord and to establish an anterior-to-posterior phase delay among segmental oscillators. We addressed two questions about this system. First, do the intrasegmental swim circuits in each ganglion function as a single oscillator or do they comprise a pair of coupled oscillators? Second, what are the relative strengths of the ascending and descending intersegmental interactions between the segmental oscillators? Experiments were carried out on semi-intact leeches ( Hirudo medicinalis) and on isolated leech nerve cords in which “Z-cut” ganglia were generated by cutting one lateral connective nerve anterior and the contralateral connective nerve posterior to the target ganglion. In these Z-cut ganglia, all rhythmic ascending intersegmental input is conveyed via one lateral connective while rhythmic descending input is conveyed via the contralateral connective. We found that rhythmic bursting recorded from the left and right sides of Z-cut ganglia had identical cycle periods with no phase difference, despite strong intersegmental inputs with differing periods from the two swimming ends of the preparations. We conclude that the swim circuits within individual leech ganglia act as single units. Moreover, we determined through correlation and Fourier spectral analyses, that the functional strengths of ascending and descending intersegmental inputs to Z-cut ganglia located in the middle of the nerve cord are approximately equal.
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McFarland, D. H., and J. P. Lund. "Modification of mastication and respiration during swallowing in the adult human." Journal of Neurophysiology 74, no. 4 (October 1, 1995): 1509–17. http://dx.doi.org/10.1152/jn.1995.74.4.1509.
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1. The normal interactions between respiration, mastication, and swallowing were studied in seated adult humans. Respiratory movements and movements of the larynx were recorded with mercury-elastic strain gauges placed around the rib cage and neck. A rigid body containing infrared-emitting diodes (IREDs) was attached to the forehead, and a single IRED was applied to the chin. Jaw and head movements were transduced using the OPTOTRAK spatial motion analysis system. Recordings were made before, during, and after the mastication of pieces of carrot. 2. Movements of the larynx were used as a marker for swallowing. Measurements were made of the duration of masticatory and respiratory cycles, and the phase relationship between the two rhythms was determined. Deviations in masticatory and respiratory movements during swallowing were detected; the phases of the masticatory and respiratory cycles in which the deviations occurred were determined, and the interval between each deviation and the swallowing marker was calculated. 3. Three characteristic swallowing patterns were observed: interposed, terminal, and spontaneous. Interposed swallows occurred within a masticatory sequence, terminal swallows ended the sequence, and spontaneous swallows occurred sporadically between masticatory sequences. 4. Results revealed that mastication could have a profound effect on the respiratory rhythm in some subjects. One subject, whose data were excluded from further analyses, became apneic for a long period, followed by short and shallow breaths near the end of the masticatory sequence. In most subjects, respiratory rate increased during mastication and then dropped below baseline as soon as mastication ended. The end-inspiration diameter of the rib cage tended to decrease in the preswallow period and increase postmastication relative to baseline. 5. There was a weak but significant tendency for inspiration to begin during the jaw opening phase of mastication, but phase coupling did not become stronger as swallowing was approached. 6. Deviations in respiration during swallowing occurred during the late expiratory phase of the breathing cycle. Swallows within a masticatory sequence occurred most frequently during the early opening phase of the masticatory cycle, and terminal swallows occurred after the end of the sequence with the mandible in the resting, postural position. Swallowing temporarily reset both the masticatory and respiratory rhythms. Most swallows prolonged the duration of one or two respiratory cycles, however; swallows were often repetitive, and in some subjects two or three swallows fell within a single respiratory cycle, prolonging it for several seconds. 7. A tight temporal relationship was observed between deviations in respiration and the swallowing marker: all deviations occurred before or coincident with the marker. The time of deviations in mastication relative to the swallowing marker depended on swallow type. There was no link between the start of pauses in the two rhythms, suggesting that the commands from the swallowing central pattern generator to the other two pattern generators are independent. 8. We suggest that disordered coordination of mastication and swallowing with respiration may cause prolonged apnea in susceptible individuals.
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Teparić, Srđan. "Temporality and movement in the composition of 'Toba' by Branka Popović." New Sound, no. 50-2 (2017): 175–87. http://dx.doi.org/10.5937/newso1750175t.
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The composition Toba for Symphony Orchestra by Branka Popović, according to the composer's own words, is a piece that "invokes the movement and energy of volcanic activity (...)". Over time it develops as a directed movement, with the reproduction and reduction of texture content. Such a shift of different intensities realised on a kinetic and colorful plane, leads to the constant flickering of the sections and to the creation of a kind of rhythmic texture that retains the melodic and harmonic musical properties. The movement through music time is always accomplished in the same way: a strong impulse of prolongation leads to an intensified texture movement and accumulation of energy that is released in one instant. Such a concept is disrupted at the moment of the intrusion of a contrasting section in which a circular motion occurs that is caused by the appearance of repetition. Not only will the specifics concerning the perception of music time be considered in this composition, when discussing the principle of the construction of temporality and movement. The time flow of the stylistic references of the work neutralised by the appearance of the texture itself indicates the authenticity and the specific stylistic determination of this composition.
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Larkin, Jennie E., Paul Franken, and H. Craig Heller. "Loss of circadian organization of sleep and wakefulness during hibernation." American Journal of Physiology-Regulatory, Integrative and Comparative Physiology 282, no. 4 (April 1, 2002): R1086—R1095. http://dx.doi.org/10.1152/ajpregu.00771.2000.
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We investigated circadian and homeostatic regulation of nonrapid eye movement (NREM) sleep in golden-mantled ground squirrels during euthermic intervals between torpor bouts. Slow-wave activity (SWA; 1–4 Hz) and sigma activity (10–15 Hz) represent the two dominant electroencephalographic (EEG) frequency components of NREM sleep. EEG sigma activity has a strong circadian component in addition to a sleep homeostatic component, whereas SWA mainly reflects sleep homeostasis [Dijk DJ and Czeisler CA. J Neurosci 15: 3526–3538, 1995; Dijk DJ, Shanahan TL, Duffy JF, Ronda JM, and Czeisler CA. J Physiol (Lond) 505: 851–858, 1997]. Animals maintained under constant conditions continued to display circadian rhythms in both sigma activity and brain temperature throughout euthermic intervals, whereas sleep and wakefulness showed no circadian organization. Instead, sleep and wakefulness were distributed according to a 6-h ultradian rhythm. SWA, NREM sleep bout length, and sigma activity responded homeostatically to the ultradian sleep-wake pattern. We suggest that the loss of sleep-wake consolidation in ground squirrels during the hibernation season may be related to the greatly decreased locomotor activity during the hibernation season and may be necessary for maintenance of multiday torpor bouts characteristic of hibernating species.
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Thapa, Rena. "Rhythm in Architecture: an Aesthetic Appeal." Journal of the Institute of Engineering 13, no. 1 (June 22, 2018): 206–14. http://dx.doi.org/10.3126/jie.v13i1.20368.
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It is a discourse that exhibits the presence of rhythm in visual art, especially the architecture that holds strong aesthetic appeal. In this paper, the introduction part focuses on how rhythm generally reinforces aesthetic experiences in human sensory. Rhythm in architecture means recurrence of elements such as lines, shapes, forms or colors resulting on organized movement in space and time. I have taken the best analogy and examples of rhythm present in nature which has been formulated by scientist as Fibonacci number. I have tried to show architectures incorporating rhythm in different epoch of human civilization around the globe that have been popular and remarkable till the date. These architectural monuments have become aesthetic timeless entity, such as pyramids in Egypt, Parthenon in Greece, gothic architecture of medieval Europe, Tajmahal in India, Hindu temples and Buddha stupas in Nepal etc. Similarly modern architecture has been in equal focus in this article despite its unique and functional structures. The paper has been concluded with the strong statement that however the sense of beauty is shaped by cultural experience, rhythm is frequently desired with architectural compositions. These qualities are often universally admired and celebrated irrespective of time and place.Journal of the Institute of Engineering, 2017, 13(1): 206-214
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Elson, R. C., and A. I. Selverston. "Evidence for a persistent Na+ conductance in neurons of the gastric mill rhythm generator of spiny lobsters." Journal of Experimental Biology 200, no. 12 (June 1, 1997): 1795–807. http://dx.doi.org/10.1242/jeb.200.12.1795.
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Evidence for a persistent Na+ conductance was obtained in identified motor neurons of the gastric mill network in the stomatogastric ganglion of the spiny lobster Panulirus interruptus. The cells studied were the lateral gastric and lateral posterior gastric motor neurons, which in vivo control chewing movements of the lateral teeth of the gastric mill. We examined basic cellular properties in the quiescent network of the isolated stomatogastric ganglion. In current-clamp recordings, we found two types of evidence for a persistent Na+ conductance. First, tetrodotoxin-sensitive inward rectification occurred during depolarization from rest to spike threshold. Second, 5 mmol l-1 tetraethylammonium (a K+ channel blocker) induced plateau potentials that persisted in the presence of Mn2+ or a low [Ca2+]0 but were blocked by a low [Na+]0 or 100 nmol l-1 tetrodotoxin. The plateau potentials could drive trains of fast spikes in the motor axon and strong transmitter release at central output synapses within the ganglion. This conductance probably corresponds to the persistent Na+ current, INaP, described in cultured stomatogastric neurons and in neurons from several other preparations. During normal neuronal activity, it may contribute to the prolonged plateau depolarizations and long spike trains typical of motor neuronal activity during gastric rhythm generation. Persistent inward currents of this type are likely to be important in neurons that must fire prolonged bursts in cycle after cycle of rhythmical activity.
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Panchin, Y. V., L. B. Popova, T. G. Deliagina, G. N. Orlovsky, and Y. I. Arshavsky. "Control of locomotion in marine mollusk Clione limacina. VIII. Cerebropedal neurons." Journal of Neurophysiology 73, no. 5 (May 1, 1995): 1912–23. http://dx.doi.org/10.1152/jn.1995.73.5.1912.
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1. The pteropod mollusk Clione limacina swims by rhythmical oscillations of two wings, and its spatial orientation during locomotion is determined by tail movements. The majority of neurons responsible for generation of the wing and tail movements are located in the pedal ganglia. On the other hand, the majority of sensory inputs that affect wing and tail movements project to the cerebral ganglia. The goal of the present study was to identify and characterize cerebropedal neurons involved in the control of the swimming central generator or motor neurons of wing and tail muscles. Cerebropedal neurons affecting locomotion-controlling mechanisms are located in the rostromedial (CPA neurons), caudomedial (CPB neurons), and central (CPC neurons) zones of the cerebral ganglia. According to their morphology and effects on pedal mechanisms, 10 groups of the cerebropedal neurons can be distinguished. 2. CPA1 neurons project through the ipsilateral cerebropedal connective to both pedal ganglia. Activation of a CPA1 by current injection resulted in speeding up of the locomotor rhythm and intensification of the firing of the locomotor motor neurons. 3. CPA2 neurons send numerous thin fibers into the ipsi- and contralateral pedal and pleural ganglia through the cerebropedal and cerebropleural connectives. They strongly inhibit the wing muscle motor neurons and, to a lesser extent, slow down the locomotor rhythm. 4. CPB1 neurons project through the contralateral cerebropedal connective to both pedal ganglia. They activate the locomotor generator. 5. CPB2 neurons also project, through the contralateral cerebropedal connective, to both pedal ganglia. They affect wing muscle motor neurons. 6. CPB3 neurons have diverse morphology: they project to the pedal ganglia either through the ipsilateral cerebropedal connective, or through the contralateral one, or through both of them. They affect putative motor neurons of the tail muscles. 7. CPC1, CPC2, and CPC3 neurons project through the ipsilateral cerebropedal connective to both pedal ganglia. They activate the locomotor generator. 8. CPC4 and CPC5 neurons project through the contralateral cerebropedal connective to the contralateral pedal ganglia. They activate the locomotor generator. 9. Serotonergic neurons were mapped in the CNS of Clione by immunohistochemical methods. Location and size of cells in two groups of serotonin-immunoreactive neurons in the cerebral ganglia appeared to be similar to those of CPA1 and CPB1 neurons. This finding suggests a possible mechanism for serotonin's ability to exert a strong excitatory action on the locomotor generator of Clione. 10. The role of different groups of cerebropedal neurons is discussed in relation to different forms of Clione's behavior in which locomotor activity is involved.
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Murgia, Mauro, and Alessandra Galmonte. "Editorial: The Role of Sound in Motor Perception and Execution." Open Psychology Journal 8, no. 1 (December 31, 2015): 171–73. http://dx.doi.org/10.2174/1874350101508010171.
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“Perception and action” is one of the main research fields in which experimental psychologists work together with experts of other disciplines, such as medicine, physiotherapy, engineering, and sport. Traditionally, researchers have mainly focused on visual perception and on its influences on motor processes, while less attention has been dedicated to the role of auditory perception. However, in the last decade, the interest towards the influence of sounds on both action perception and motor execution has increased significantly. On the one hand, researchers have been interested in determining how humans can represent motor actions through the sounds associated with movements, as well as which auditory cues are salient for recognizing and discriminating different features of movement [1-10]. On the other hand, researchers have studied how auditory stimuli affect the production of complex movements in different domains [11-21]. The general aim of this special issue is to provide an overview of the relationship between sounds and movements by addressing theoretical, methodological, and applied issues from a multidisciplinary perspective. ORGANIZATION OF THE VOLUME At the beginning of this special issue we report the contributions that deal with theoretical (Steenson & Rodger; Pizzera & Hohmann) and methodological (Dyer, Stapleton & Rodger) issues regarding auditory perception and action. After providing a theoretical and methodological background, we report those contributions that focus on possible applications of auditory training in the domain of sport and exercise psychology (O, Law & Rymal; Sors, Murgia, Santoro & Agostini), rehabilitation (Murgia, Corona, Pili, Sors, Agostini, Casula, Pau & Guicciardi), and motor learning (Effenberg, Schmitz, Baumann, Rosenhahn & Kroeger). In the first article, Steenson and Rodger highlight that despite the fact that sounds are helpful in executing many dayto- day and context-specific movements and skills in everyday life, there is a surprising lack of exploration of this topic in psychological studies. In fact, the authors review the auditory perception literature and note that auditory perception theories mainly describe the rules governing the processing and representation of sounds in memory, and largely disregard the meaning that sounds have to individuals engaged in movement and the subsequent use of movement sounds in movement priming and execution. Steenson and Rodger’s work can be framed in the context of Gibson’s ecological psychology, as they emphasize the role of sound as a very important affordance that we use to interact with our environment. In the second contribution, Pizzera and Hohmann extensively review studies that address the relevance of the mutual interactions between perception and motor control. Again, these authors highlight the scarcity of research on acoustic information, especially when comparing it with the amount of evidence available in the visual domain. Pizzera and Hohmann offer their perspective on the role of auditory information in controlling and integrating the perception and action cycle. The authors present both behavioral and neurophysiological evidence in support of the importance of auditory information in perception and action, and propose valuable suggestions that future investigators should consider in order to advance the state of knowledge in this domain. The methodological contribution of Dyer, Stapleton and Rodger highlights the feasibility of movement sonification as an effective feedback tool for enhancing motor skill learning and performance, particularly in novices. The authors critically discuss the strengths and weaknesses of movement sonification in the context of providing efficient perceptual feedback information to learners. Dyer, Stapleton and Rodger conclude that a well-defined framework for sonification mapping has yet to be established and that there is still need for controlled trials in motor learning. However, the authors do suggest that new technologies relevant to movement sound recording, mapping, and sonification are available to researchers and can facilitate meaningful and much-needed future research on this promising perceptual feedback method. With regards to the possible applications of audio-based interventions, the fourth article of the issue by O, Law, and Rymal provides an overview of imagery and modeling research in sport psychology and motor learning, documenting evidence supporting the cognitive processing similarities between imagery and modeling. Within this background, the authors critically examine the role of the auditory sense in modeling and imagery, analyzing both theoretical issues and empirical evidence. From a bio-informational theory perspective, O, Law, and Rymal offer several examples of potential applications of the deliberate integration of the auditory sense in movement teaching and instruction, but also offer a strong caveat regarding the severe lack of applied research on the auditory sense focused on sport populations, especially in the domain of imagery. In their conclusions the authors propose detailed recommendations for future research. A second contribution on audio-based interventions in sports is provided by Sors, Murgia, Santoro and Agostini. The authors extensively define the concepts of augmented feedback and modeling, and review studies demonstrating the effectiveness of sounds in improving the execution of simple rhythmic motor tasks. Then, Sors and colleagues describe both a theoretical background and neurophysiological evidence illustrating the mechanisms that are possibly influenced by audio-based interventions. Finally, they provide a complete description of the literature on auditory modeling and auditory augmented feedback in sports, specifying the methodological details of previous studies and proposing future directions for both, application and research. In the sixth article, Murgia, Corona, Pili, Sors, Agostini, Casula, Pau and Guicciardi illustrate the perceptual-motor impairments of patients affected by Parkinsons’ disease and new frontiers in assessment and interventions. They extensively review the empirical evidence concerning the Rhythmic Auditory Stimulation (RAS) method, describing the mechanisms underpinning its effectiveness. The authors propose possible methods for integrating auditory cues into physical therapy interventions as well as assessments. Last, Murgia and colleagues describe the biomechanical advantages of three-dimensional quantitative gait analysis, and discuss the potential impact of the incorporation of ecological footstep sounds in the modulation of patients’ gait. In the seventh and last contribution of this special issue, Effenberg, Schmitz, Baumann, Rosenhahn and Kroeger present a new method based on sonification called “Sound- Script”, which is aimed to facilitate the acquisition of writing. This method consists of the sonification of handwriting, that is, the conversion of physical parameters (i.e., position of the pen, pressure) into movement sounds, which provides children with auditory information which correlates with visual information of their handwriting performance. The authors report pilot data, showing that the multisensory integration elicited by SoundScript leads to a more adequate reproduction of writing kinematics. Effenberg and colleagues conclude by highlighting the potential of this new method and suggesting future steps for research. In sum, we hope that the papers presented in this special issue constitute a useful reference for movement researchers in the field of auditory perception and action, as well as for practitioners in the domains of sport, rehabilitation, and motor learning.
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Boyce, Mark S., Justin Pitt, Joseph M. Northrup, Andrea T. Morehouse, Kyle H. Knopff, Bogdan Cristescu, and Gordon B. Stenhouse. "Temporal autocorrelation functions for movement rates from global positioning system radiotelemetry data." Philosophical Transactions of the Royal Society B: Biological Sciences 365, no. 1550 (July 27, 2010): 2213–19. http://dx.doi.org/10.1098/rstb.2010.0080.
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Autocorrelation has been viewed as a problem in telemetry studies because sequential observations are not independent in time or space, therefore violating assumptions for statistical inference. Yet nearly all ecological and behavioural data are autocorrelated in both space and time. We argue that there is much to learn about the structure of ecological and behavioural data from patterns of autocorrelation. Such patterns include periodicity in movement and patchiness in spatial data, which can be characterized by an autocorrelogram, semivariogram or spectrum. We illustrate the utility of temporal autocorrelation functions (ACFs) for analysing step-length data from GPS telemetry of wolves ( Canis lupus ), cougars ( Puma concolor ), grizzly bears ( Ursus arctos ) and elk ( Cervus elaphus ) in western Alberta. ACFs often differ by season, reflecting differences in foraging behaviour. In wilderness landscapes, step-length ACFs for predators decay slowly to apparently random patterns, but sometimes display strong daily rhythms in areas of human disturbance. In contrast, step lengths of elk are consistently periodic, reflecting crepuscular activity.