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Готові списки джерел за темами / Phrase rhythm in macrotext / Статті в журналах

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Статті в журналах з теми "Phrase rhythm in macrotext"

Автор: Grafiati

Опубліковано: 3 червня 2025

Оновлено: 31 липня 2025

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1

Kulyaeva, E., and S. Chapayeva. "Rhythm as the main part of makroteksta: the example of the passage from a novel by S. O'Casey "I knock on the door"." Bulletin of Science and Practice, no. 11 (November 14, 2017): 430–34. https://doi.org/10.5281/zenodo.1048744.

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The present article is devoted to the study of rhythm in English speech, which is regarded as the general-linguistic system that organizes language in general. In the author’s view, the rhythm is considered as a special type of contextual indicator, as it is involved in the corresponding of meaning. As an example, a passage from the autobiographical novel by the Irish writer Sean O’Сasey is taken.

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2

Love, Stefan. "An Approach to Phrase Rhythm in Jazz." Journal of Jazz Studies 8, no. 1 (2012): 4. http://dx.doi.org/10.14713/jjs.v8i1.35.

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In jazz improvisation, the meter of the original theme is strictly preserved, and the middleground harmonies are maintained, while the original melody is varied freely, especially with respect to its grouping structure—where phrases begin and end. This poses problems for theories of phrase rhythm that rely on a tonal definition of the phrase. In this paper, I propose a new approach to jazz phrase rhythm. First, I divide a melody into segments on the basis of four criteria. Then I classify each segment on the basis of its relationship to the meter and to surrounding segments. The result is a hi

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3

Graybill, Roger, and William Rothstein. "Phrase Rhythm in Tonal Music." Notes 48, no. 2 (1991): 502. http://dx.doi.org/10.2307/942052.

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4

Sutcliffe, W. Dean, and William Rothstein. "Phrase Rhythm in Tonal Music." Music Analysis 10, no. 3 (1991): 388. http://dx.doi.org/10.2307/853976.

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5

Fernández-Soto, Alicia, Arturo Martínez-Rodrigo, José Moncho-Bogani, José Miguel Latorre, and Antonio Fernández-Caballero. "Neural Correlates of Phrase Quadrature Perception in Harmonic Rhythm: An EEG Study Using a Brain–Computer Interface." International Journal of Neural Systems 28, no. 05 (2018): 1750054. http://dx.doi.org/10.1142/s012906571750054x.

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For the sake of establishing the neural correlates of phrase quadrature perception in harmonic rhythm, a musical experiment has been designed to induce music-evoked stimuli related to one important aspect of harmonic rhythm, namely the phrase quadrature. Brain activity is translated to action through electroencephalography (EEG) by using a brain–computer interface. The power spectral value of each EEG channel is estimated to obtain how power variance distributes as a function of frequency. The results of processing the acquired signals are in line with previous studies that use different music

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6

Gandour, Jack, Bernd Weinberg, Soranee Holasuit Petty, and Rochana Dardarananda. "Rhythm in Thai Esophageal Speech." Journal of Speech, Language, and Hearing Research 29, no. 4 (1986): 563–68. http://dx.doi.org/10.1044/jshr.2904.563.

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Duration measurements associated with rhythmic aspects of speech produced by one Thai esophageal speaker were compared to previously published identical measures for normal Thai speakers. Measures of central tendency and variability were taken of the duration of syllables, pauses, phrases, and interstress intervals. Despite a slower-than-normal overall speaking rate and a shorter-than-normal phrase length, the esophageal speaker was able to maintain normal relative temporal relations among syllables within phrases. Although his speech was dysrhythmic at the overall discourse level, it was rhyt

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7

Morgan, Robert P. ": Phrase Rhythm in Tonal Music . William Rothstein ." 19th-Century Music 15, no. 1 (1991): 75–80. http://dx.doi.org/10.1525/ncm.1991.15.1.02a00070.

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8

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

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

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9

Ng, Samuel. "Phrase Rhythm as Form in Classical Instrumental Music." Music Theory Spectrum 34, no. 1 (2012): 51–77. http://dx.doi.org/10.1525/mts.2012.34.1.51.

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10

Portugalskaia, A. A., G. Ja Levenchik, and V. B. Pavlenko. "THE ACTIVITY OF THE MIRROR SYSTEM OF THE BRAIN DURING THE PERCEPTION OF SPEECH AND ITS RELATIONSHIP WITH THE LEVEL OF INTELLIGENCE AND EMPATHY." Scientific Notes of V.I. Vernadsky Crimean Federal University. Biology. Chemistry 7 (73), no. 1 (2021): 156–68. http://dx.doi.org/10.37279/2413-1725-2021-7-1-156-168.

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Previously, researchers hypothesized that the emergence of a system of mirror neurons (MNS) in the process of evolution could be a key mechanism that ensured the appearance of speech in humans. The aim of this work was to establish a relationship between the activity of the MNS in the perception of speech messages, indicators of intelligence and empathy. 25 healthy men and women (18–35 years old) were test subjects. We found that when observing hand movements with a computer mouse on a monitor screen and performing such movements independently, the power of EEG mu- and tau rhythms in the centr

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11

Tajima, Keiichi. "Cross‐linguistic speech rhythm in a phrase repetition task." Journal of the Acoustical Society of America 101, no. 5 (1997): 3128. http://dx.doi.org/10.1121/1.418997.

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12

Nazurty, Nazurty, and Zainal Rafli. "THE STRUCTURE OF POEM IN TALE KERINCI FOLKLORE." IJLECR - INTERNATIONAL JOURNAL OF LANGUAGE EDUCATION AND CULTURE REVIEW 1, no. 1 (2015): 31–40. http://dx.doi.org/10.21009/ijlecr.011.04.

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Tale is the folklore in the form of poem that is sung. This study aims to gain in-depth understanding of the structure of Tale poem in the release of the Kerinci pilgrims. This qualitative study employed content analysis as the method with a structural approach. This study discussed the structure of the Tale poem. The results of the study are Tale poem consists of sampiran phrase, the rhyme/ sound phrase, and content. It composed by ten lines to twenty lines. It has ab ab rhyme according to the sound phrase flanking each line. The sound expression serves as rhyme and rhythm former.

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13

Ladd, D. Robert, and Iggy Roca. "Secondary stress and metrical rhythm." Phonology Yearbook 3 (May 1986): 341–70. http://dx.doi.org/10.1017/s0952675700000683.

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This paper explores the relationship between some postlexical prosodic processes and metrical rhythm. The main focus is on Spanish secondary stress and related phenomena. Overall, as in previous studies, we shall differentiate three types of stress in Spanish: primary word stress, corresponding to the highest prominence in the lexical word, main phrasal stress, which signals the accentual peak in the phrase or phonic group, and secondary stress, which includes all remaining discernible stresses. It is intuitively plausible, though unsubstantiated experimentally, to assume that these three type

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14

Purnomo, Aji, and Syahri Anton. "Bentuk Penyajian Musik Tari Burung Putih Oleh Grup Kesenian Talang Ojan Kabupaten Pali." Jurnal Musik Etnik Nusantara 4, no. 1 (2024): 78. http://dx.doi.org/10.26887/jmen.v4i1.4228.

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The White Bird Dance is a story of farmers who are harvesting rice but are damaged by White Birds. The bird is a pest for farmers, especially rice farmers, because the bird damages the rice before the farmers harvest it, the music accompanying the dance is the Talang Ojan Arts Group, this group is a late generation group that currently still exists in Talang Ojan Village, Penukal Abab Lematang Ilir Regency, the music performed is poetic and has a Malay rhythm, with small gong instruments and drums as rhythm guides. The purpose of this research is to find out how the Form of Presentation of Whi

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15

Malho, Alexandra, Susana Correia, and Sónia Frota. "Emergência de sândi consonântico em Português Europeu: uma abordagem prosódica." Revista da Associação Portuguesa de Linguística, no. 3 (September 29, 2017): 177–90. http://dx.doi.org/10.26334/2183-9077/rapln3ano2017a11.

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In European Portuguese, the domain for sandhi phenomena is the intonational phrase. Unlike the intonational phrase, the phonological phrase has been shown to be only relevant for rhythm and prominence-related phenomena (Frota, 2000, 2014). Fricative voicing between words (casa[ʒb]rancas, casa[ʃp]retas) and ressylabification before vowel-initial words (casa[zɐ]marelas) occur within the intonational phrase. In this study, we considered spontaneous productions of a Portuguese child (Luma), aged 2;04-4;00, to examine the acquisition of external consonantal sandhi. The data show that sandhi product

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16

BELAVINA, Ekaterina M. "PROSODIC STRESS IN THE THEORY OF RHYTHM BY HENRI MESHONNIK UNDER THE MAGNIFYING GLASS OF EXPERIMENTAL PHONETICS." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 3 (2021): 39–56. http://dx.doi.org/10.21684/2411-197x-2021-7-3-39-56.

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Henri Meschonnik’s legacy includes diversified, multidisciplinary, interdisciplinary research. The history and theory of literature, philosophy and linguistics underlie his methodology for studying rhythm. To analyze the text, Meshonnik uses the stress system, in particular, the prosodic stress that occurs on the first syllable of a word when its first consonant is repeated in a verse or in a prosaic sentence. The existence of prosodic stress, which is understood in this way, is ignored by phoneticians. The stress in the text is presented in the theory of Madden as a symbolic display of a clot

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17

Guan, Xin, Zhilin Dong, Hui Liu, and Qiang Li. "Improving Phrase Segmentation in Symbolic Folk Music: A Hybrid Model with Local Context and Global Structure Awareness." Entropy 27, no. 5 (2025): 460. https://doi.org/10.3390/e27050460.

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The segmentation of symbolic music phrases is crucial for music information retrieval and structural analysis. However, existing BiLSTM-CRF methods mainly rely on local semantics, making it difficult to capture long-range dependencies, leading to inaccurate phrase boundary recognition across measures or themes. Traditional Transformer models use static embeddings, limiting their adaptability to different musical styles, structures, and melodic evolutions. Moreover, multi-head self-attention struggles with local context modeling, causing the loss of short-term information (e.g., pitch variation

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18

Salley, Keith, and Daniel T. Shanahan. "Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study." Journal of Jazz Studies 11, no. 1 (2016): 1. http://dx.doi.org/10.14713/jjs.v11i1.107.

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<p>Keith Salley and Dan Shanahan’s “Phrase Rhythm in Standard Jazz Repertoire: A Taxonomy and Corpus Study” reflects a number of Steven Strunk's scholarly interests. The authors encourage readers to consider how the layered analyses at the end of Strunk’s seminal “Harmony of Early Bop” article (<em>JJS</em> 6.1) agree, depart from, or inform the processes discussed in their contribution. Furthermore, Salley and Shanahan’s broad stylistic survey of standard jazz tunes resonates notably with Strunk’s work—particularly his “Linear Intervallic Patterns in Jazz Repertory” (<em&

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19

Heetderks, David. "Slanted beats, enchanted communities: Pavement's early phrase rhythm as indie narrative." Popular Music 36, no. 2 (2017): 216–32. http://dx.doi.org/10.1017/s0261143017000125.

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AbstractPrevious studies of indie music from the 1980s and 1990s have noted that it uses a number of stylistic markers – involving production values, singing style instrumentation and lyrical themes – to convey difference from a perceived mainstream. However, the ideal of difference also influences other aspects of songwriting. As a case study, this article examines early songs by the highly regarded indie band Pavement in which irregularity in phrasing and hypermeter supports a narrative of differentiation. Recurring strategies for creating irregularity include thwarting expected closure at t

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20

Jarvis, Brian Edward, and John Peterson. "Alternative Paths, Phrase Expansion, and the Music of Felix Mendelssohn." Music Theory Spectrum 41, no. 2 (2019): 187–217. http://dx.doi.org/10.1093/mts/mtz009.

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Abstract William Rothstein’s seminal work on phrase rhythm has been foundational for scholars who study phrase expansion using Schenkerian principles, such as David Beach, Charles Burkhart, Joseph Kraus, and Samuel Ng. Other scholars consider phrase expansion from the perspective of William Caplin’s form-functional theory, such as Janet Schmalfeldt and Steven Vande Moortele. Both groups tend to emphasize structural concerns. Recent theories of musical meaning, however, challenge analysts to consider phrase expansions through an expressive lens. This article engages with that challenge using th

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21

KRASTEVA, HRISTIANA. "A CASE STUDY: RHYTHM AND INTONATION OF SIMPLE SENTENCES WITH A COPULATIVE VERB." Journal of Bulgarian Language 69, PR (2022): 206–17. http://dx.doi.org/10.47810/bl.69.22.pr.13.

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The study is focused on the rhythmic and intonational characteristics of simple sentences with the copulative verb to be. The adopted experimental protocol consists of the processing of a corpus of simple sentences collected under the project Rhythm and Intonation of the Bulgarian Sentence (МУ21-ФлФ-013), using Speech Analyzer 3.1, followed by analysis of their melodic graphs and spectrograms with a focus on the pro-sodic grouping of the phrases. The number and type of prosodic units are studied, as well as the type of prosodic grouping in the verb phrase of the copulative verb to be. Keywords

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22

Hsiao, Yuchau E. "The competition between syntax and rhythm in iGeneration Taiwanese." Proceedings of the Linguistic Society of America 5, no. 1 (2020): 94. http://dx.doi.org/10.3765/plsa.v5i1.4656.

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This paper addresses the syntactic and rhythmic conditions on prosodic restructuring in iGeneration Taiwanese. The iGeneration, who grew up with an iPhone, or a smartphone, in hand, is loosely referred to people born between 1995 and 2005. The speakers of iGeneration Taiwanese tend to parse them into short fragments, which correspond to smaller phonological phrases. The categorical distinction between lexical and functional projections plays a role in phonological phrasing. Rhythmic restrictions then serve to avoid an oversized phonological phrase. In this paper, I posit a series of alignment

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23

Tsuneyama, Keiichi, and Yasushi Kiyoki. "A Time-Series Phrase Correlation Computing System With Acoustic Signal Processing For Music Media Creation." EMITTER International Journal of Engineering Technology 5, no. 1 (2017): 1–15. http://dx.doi.org/10.24003/emitter.v5i1.188.

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This paper presents a system that analyzes the time-series impression change in the acoustic signal by a unit of music phrase. The aim is to support the music creation using a computer (computer music) by bringing out composers' potentially existing knowledge and skills. Our goal is to realize the cross-genre/cross-cultural music creation. Our system realizes the automatic extraction of musical features from acoustic signals by dividing and decomposing them into â€œphrasesâ€ and â€œthree musical elementsâ€ (rhythm, melody, and harmony), which are meaningful for human recognition. By calculat

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24

McKerracher, Adrian. "Towards a Curriculum of Rhythm: Learning at the Speed of Sound." Journal of the Canadian Association for Curriculum Studies 15, no. 2 (2017): 8–19. http://dx.doi.org/10.25071/1916-4467.40326.

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This paper examines rhythm and repetition as possibilities for curricular wide-awakeness. When a rhythm is established, an expectation is established with it: patterned beats create momentum, so that subsequent beats arrive to a place that has been prepared by anticipation. But what happens when the rhythm stops? Grounded in the repetition of footsteps that constitute walking, this paper explores how rhythm offers pedagogical possibilities for curricular reconstruction, looking to the way that expectations for the future are informed by habits of listening to the present. It begins by framing

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25

Jeon, Hae-Sung, and Amalia Arvaniti. "Effects of rhythm and phrase-final lengthening on word-spotting in Korean." Journal of the Acoustical Society of America 141, no. 6 (2017): 4251–63. http://dx.doi.org/10.1121/1.4983178.

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26

Pollatou, Elisana, Vassilia Hatzitaki, and Kostandina Karadimou. "Rhythm or Music? Contrasting Two Types of Auditory Stimuli in the Performance of a Dancing Routine." Perceptual and Motor Skills 97, no. 1 (2003): 99–106. http://dx.doi.org/10.2466/pms.2003.97.1.99.

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The purpose of the present study was to investigate whether rhythmic beats only or music would be more effective as accompaniment for the motor performance of specific rhythmic-dance steps by 30 female students of physical education ( M age 20.1 yr.), without prior experience in music or dance. They performed a dance routine in synchronization with a musical phrase of eight rhythmical meters, with the general value of 4/4 each. Each meter involved representative steps of the rhythmical values of 4/4, 1/4, 1/8, and 1/16 like rhythmical walking, small kicks, galloping, chassé, cat leap, and diff

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27

Lilja, Eva. "Falling Movements in Free Verse: Turning Back in Poems by William Carlos Williams and Sylvia Plath." Style 58, no. 2 (2024): 152–70. http://dx.doi.org/10.5325/style.58.2.0152.

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ABSTRACT Verse rhythm is formed in a process, where reading adjusts the individual sounds of the poem. It may be perceived as a play between directions and balances. The directions can be rising or falling. Here, the author investigates four kinds of falling rhythm, which are back-structuring (the phrase is perceived as a whole), equivalences (approximate repetition), falling phrases (the stress comes first), and extensions (from a focus). In William Carlos Williams’ poem “A Red Wheelbarrow,” the line pairs form closed back-structures that are completed with the gestalts of the closed equivale

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28

Fujita, Hisashi. "RHYTHMEASURE REVISITED. DURATION-NUMBER, MULTI-TIME SCALE THEORY, ETHICS OF DÉMESURE IN BERGSON’S PHILOSOPHY." Síntese: Revista de Filosofia 51, no. 160 (2024): 287. http://dx.doi.org/10.20911/21769389v51n160p287/2024.

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Often illustrated with the examples of melody, Bergson’s key concept of durée is best known for its qualitative, heterogeneous, and thus immeasurable multiplicity. However, the examples he gives in Time and Free Will—such as “the regular oscillations of a pendulum” or “the successive strokes of a distant bell”—suggest rather periodic phenomena that would require another perspective in terms of rhythm. When we “get into a rhythm,” we perceive a numerical quality without counting. Rhythm makes glimpse “Otherwise than Measuring”. Focusing on the “rhythmic organization of the whole” within durati

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29

Copping, Brandon, and Eugene Buder. "Modeling syllable rhythms for interactive alignment studies." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A334. http://dx.doi.org/10.1121/10.0027719.

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Many acoustic cues have been proposed as indicators and coordinators of upcoming turn-exchanges in conversational interactions, including syllable rhythm. Rhythmic coordination can help to explain close coordination of speech during these exchanges with intervals on the order of 250 ms or less, or with fluent and non-disruptive overlaps. While general questions surrounding speech rhythm remain unanswered, investigations of syllable alignment across partners in conversation can bypass such questions by assessing directly for patterns that align across vocal exchanges. We develop models of sylla

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30

Everett, Walter. "Becoming Beethoven: Theorizing Bonner Zeit Transitions." Music Theory and Analysis (MTA) 7, no. 1 (2020): 113–80. http://dx.doi.org/10.11116/mta.7.1.3.

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Beethoven wrote about thirty sonata movements before leaving Bonn. Often disparaged as awkward (when not neglected entirely), these pieces deserve rehabilitation for the insights they can bring to the composer's masterworks. Influenced by local Rhenish models—Christian Gottlob Neefe, Andrea Luchesi, and Johann Franz Xaver Sterkel, the Bonner Zeit music imbues a galant style with Empfindsam colorings, producing an idiosyncratic approach to transitions and genre blending—particularly involving cue play surrounding multiple medial caesuras, elisions, phrase expansions, and undermined secondary th

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31

Redford, Melissa A., Hema Sirsa, and Irina A. Shport. "The acquisition of English rhythm as a function of changes in phrase-level prosody." Journal of the Acoustical Society of America 130, no. 4 (2011): 2567. http://dx.doi.org/10.1121/1.3655281.

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32

Krebs, Harald. "Rhythm and Linear Analysis: A Preliminary Study Carl Schachter Rhythm and Linear Analysis: Durational Reduction Carl Schachter Rhythm and Linear Analysis: Aspects of Meter Carl Schachter Phrase Rhythm in Tonal Music William Rothstein." Music Theory Spectrum 14, no. 1 (1992): 82–87. http://dx.doi.org/10.2307/746083.

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33

Krebs, Harald. ": Rhythm and Linear Analysis: A Preliminary Study . Carl Schachter. ; Rhythm and Linear Analysis: Durational Reduction . Carl Schachter. ; Rhythm and Linear Analysis: Aspects of Meter . Carl Schachter. ; Phrase Rhythm in Tonal Music . William Rothstein." Music Theory Spectrum 14, no. 1 (1992): 82–87. http://dx.doi.org/10.1525/mts.1992.14.1.02a00060.

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34

Prins, M. J. "Die sin as narratiewe kode in “Die uur van die idiote” deur Abraham H. de Vries." Literator 31, no. 1 (2010): 77–98. http://dx.doi.org/10.4102/lit.v31i1.38.

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Анотація:

The sentence as narrative code in “Die uur van die idiote” (“The hour of the idiots”) by Abraham H. de Vries This article focuses on the following aspects of syntax in “Die uur van die idiote” by Abraham H. de Vries: word and phrase repetition, enumeration, omission (ellipsis), word order, rhythm, length and composition, and sound repetition. Through word and phrase repetition the ironic situation in which the characters find themselves is made relevant, as well as their frustration and mutual powerlessness. Enumeration also is an agent of irony, more specifically irony created by the contrast

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35

Johnson, Randolph B., David Huron, and Lauren Collister. "Music and Lyrics Interactions and their Influence on Recognition of Sung Words: An Investigation of Word Frequency, Rhyme, Metric Stress, Vocal Timbre, Melisma, and Repetition Priming." Empirical Musicology Review 9, no. 1 (2013): 2. http://dx.doi.org/10.18061/emr.v9i1.3729.

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This study investigated several factors presumed to influence the intelligibility of song lyrics. Twenty-seven participants listened to recordings of musical passages sung in English; each passage consisted of a brief musical phrase sung by a solo voice. Six vocalists produced the corpus of sung phrases. Eight hypotheses derived from common phonological and prosodic principles were tested. Intelligibility of lyrics was degraded: (i) when archaic language was used; (ii) when words were set in melismatic rather than syllabic contexts; (iii) when the musical rhythm did not match the prosodic spee

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36

Cherla, Srikanth, Hendrik Purwins, and Marco Marchini. "Automatic Phrase Continuation from Guitar and Bass Guitar Melodies." Computer Music Journal 37, no. 3 (2013): 68–81. http://dx.doi.org/10.1162/comj_a_00184.

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A framework is proposed for generating interesting, musically similar variations of a given monophonic melody. The focus is on pop/rock guitar and bass guitar melodies with the aim of eventual extensions to other instruments and musical styles. It is demonstrated here how learning musical style from segmented audio data can be formulated as an unsupervised learning problem to generate a symbolic representation. A melody is first segmented into a sequence of notes using onset detection and pitch estimation. A set of hierarchical, coarse-to-fine symbolic representations of the melody is generate

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37

Stoia, Nicholas. "The Transformation of Prewar Blues into Postwar Rhythm and Blues." Journal of Music Theory 67, no. 2 (2023): 285–331. http://dx.doi.org/10.1215/00222909-10699727.

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Abstract The transformation of blues into rhythm and blues in the mid-twentieth century mirrored the experience of migrants who traveled from the South and adapted to bustling city life in the North and Midwest. When millions of Black Americans moved to cities during the Great Migration, traditional blues traveled with them, but the faster pace of urban life engendered new approaches to blues that reflected the new environment, and rhythm and blues emerged in the early postwar period as an urbanized transformation of the earlier genre. Rhythm and blues was loud, emphatically energetic, and, th

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38

Misnawati Misnawati, Petrus Poerwadi, Alifiah Nurachmana, et al. "THE EKOPUITIKA THEORY." International Journal of Education and Literature 1, no. 1 (2022): 54–62. http://dx.doi.org/10.55606/ijel.v1i3.21.

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    This study aims to: (1) describe the sense of ekopuitika theory; (2) describe the working mechanism of ekopuitika theory; and (3) describe the application of the ekopuitika theory in the oral literature. The theory used in this research is ekopuitika theory, ecology theory, and poetics theory. The data collecting technique or data collection process utilized in this research are as follows: (1) recording technique, either audio or audiovisual, (2) notes, (3) rooted interview, (4) literature study and documentation analysis. The finding of the resea

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39

Pechetty, Ramya, and Lalita Nemani. "Additional Heart Sounds—Part 1 (Third and Fourth Heart Sounds)." Indian Journal of Cardiovascular Disease in Women WINCARS 5, no. 02 (2020): 155–64. http://dx.doi.org/10.1055/s-0040-1713828.

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AbstractS3 is a low-pitched sound (25–50Hz) which is heard in early diastole, following the second heart sound. The following synonyms are used for it: ventricular gallop, early diastolic gallop, protodiastolic gallop, and ventricular early filling sound. The term “gallop” was first used in 1847 by Jean Baptiste Bouillaud to describe the cadence of the three heart sounds occurring in rapid succession. The best description of a third heart sound was provided by Pierre Carl Potain who described an added sound which, in addition to the two normal sounds, is heard like a bruit completing the tripl

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40

Arantes, Pablo, and Ronaldo Mangueira Lima Júnior. "Using a coupled-oscillator model of speech rhythm to estimate rhythmic variability in two Brazilian Portuguese varieties (CE and SP)." Cadernos de Linguística 2, no. 4 (2021): e577. http://dx.doi.org/10.25189/2675-4916.2021.v2.n4.id577.

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This paper presents preliminary results of a semi-automatic methodology to extract three parameters of a dynamic model of speech rhythm. The model attempts to analyze the production of rhythm as a system of coupled oscillators which represent syllabicity and phrase stress as levels of temporal organization. The estimated parameters are the syllabic oscillator entrainment rate (alpha), the syllabic oscillator decay rate (beta), and the coupling strength between the oscillators (w0). The methodology involves finding the <alpha, beta, w0> combination that minimizes the distance between natu

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41

Zhu, Fangzhen, Changhao Wu, Qike Huang, Na Zhu, and Tuo Leng. "Rhythm-Based Attention Analysis: A Comprehensive Model for Music Hierarchy." Applied Sciences 15, no. 11 (2025): 6139. https://doi.org/10.3390/app15116139.

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Deciphering the structural hierarchy of musical compositions is indispensable for a range of music analysis applications, encompassing feature extraction, data compression, interpretation, and visualization. In this paper, we introduce a quantitative model grounded in fractal theory to evaluate the significance of individual notes within a musical piece. To analyze the quantized note importance, we adopt a rhythm-based approach and propose a series of detection operators informed by fundamental rhythmic combinations. Employing the Mamba model, we carry out recursive detection operations that o

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42

Ashley, Richard. "Do[[n't]] Change a Hair for Me: The Art of Jazz Rubato." Music Perception 19, no. 3 (2002): 311–32. http://dx.doi.org/10.1525/mp.2002.19.3.311.

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This article examines a number of different performances of jazz ballad melodies in order to investigate the nature of expressive timing used by jazz soloists. Three performances of My Funny Valentine and two performances of Naima, taken from commercial recordings by master soloists, are examined. Expressive timing is seen to be a kind of tempo rubato involving a flexibility of melodic rhythm over a steady underlying beat. A typical strategy used is to begin the melody "late" relative to the accompaniment, and speed up over the course of a phrase. This delay-accelerate strategy is modulated in

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43

Baumann, Andreas, and Nikolaus Ritt. "On the replicator dynamics of lexical stress: accounting for stress-pattern diversity in terms of evolutionary game theory." Phonology 34, no. 3 (2017): 439–71. http://dx.doi.org/10.1017/s0952675717000240.

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This paper accounts for stress-pattern diversity in languages such as English, where words that are otherwise equivalent in terms of phonotactic structure and morphosyntactic category can take both initial and final stress, as seen in ˈlentil–hoˈtel, ˈenvoy–deˈgree, ˈresearchN–reˈsearchNand ˈaccessV–acˈcessV. Addressing the problem in general and abstract terms, we identify systematic conditions under which stress-pattern diversity becomes stable. We hypothesise that words adopt stress patterns that produce, on average, the best possible phrase-level rhythm. We model this hypothesis in evoluti

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44

Gareeva, Liliya Mahmutovna, Tatyana Vitalievna Kravchuk, and Angelina Olegovna Touahar. "Rhythmic organisation of A. P. Chekhov's prose." Litera, no. 2 (February 2025): 332–42. https://doi.org/10.25136/2409-8698.2025.2.73256.

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The article is devoted to the specificity of rhythm in A. P. Chekhov's prose works: “Death of an Official”, “Lady with a Dog”, “Dushechka” and the novella “Steppe” were used as material. In the course of the study we analyzed syntactic constructions. The analyzed texts have specific features of the rhythm of prose, characterized by semantic content, rhythmic and syntactic peculiarities of the characters' speech, structure and uniformity of syntactic units, and often contrasting meanings of phrase fragments. In the theoretical part of the work were applied general scientific methods - analysis

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45

Jasmin, Kyle, Frederic Dick, and Adam Taylor Tierney. "The Multidimensional Battery of Prosody Perception (MBOPP)." Wellcome Open Research 5 (October 6, 2021): 4. http://dx.doi.org/10.12688/wellcomeopenres.15607.2.

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Prosody can be defined as the rhythm and intonation patterns spanning words, phrases and sentences. Accurate perception of prosody is an important component of many aspects of language processing, such as parsing grammatical structures, recognizing words, and determining where emphasis may be placed. Prosody perception is important for language acquisition and can be impaired in language-related developmental disorders. However, existing assessments of prosodic perception suffer from some shortcomings. These include being unsuitable for use with typically developing adults due to ceiling effec

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46

Jasmin, Kyle, Frederic Dick, and Adam Taylor Tierney. "The Multidimensional Battery of Prosody Perception (MBOPP)." Wellcome Open Research 5 (January 8, 2020): 4. http://dx.doi.org/10.12688/wellcomeopenres.15607.1.

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Prosody can be defined as the rhythm and intonation patterns spanning words, phrases and sentences. Accurate perception of prosody is an important component of many aspects of language processing, such as parsing grammatical structures, recognizing words, and determining where emphasis may be placed. Prosody perception is important for language acquisition and can be impaired in language-related developmental disorders. However, existing assessments of prosodic perception suffer from some shortcomings. These include being unsuitable for use with typically developing adults due to ceiling effec

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47

Dilley, Laura C., and Stefanie Shattuck‐Hufnagel. "Rhythm and intonational phrase structure influences on the placement of pitch accents within words in American English utterances." Journal of the Acoustical Society of America 100, no. 4 (1996): 2826. http://dx.doi.org/10.1121/1.416650.

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48

Burns, Gary. "A typology of ‘hooks’ in popular records." Popular Music 6, no. 1 (1987): 1–20. http://dx.doi.org/10.1017/s0261143000006577.

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What is a ‘hook’? Delson's Dictionary defines it as ‘[t]hat part of a song, sometimes the title or key lyric line, that keeps recurring’ (Hurst and Delson 1980, p. 58). According to songwriters Al Kasha and Joel Hirschhorn, hooks are ‘the foundation of commercial songwriting, particularly hit-single writing’. Hooks may involve repetition of ‘one note or a series of notes … [or of] a lyric phrase, full lines or an entire verse’. The hook is ‘what you're selling’. Though a hook can be something as insubstantial as a ‘sound’ (such as da doo ron ron), ‘[i]deally [it] should contain one or more of

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49

Yan, Qin, and Qingfang Zhang. "Theta Band (4–8 Hz) Oscillations Reflect Online Processing of Rhythm in Speech Production." Brain Sciences 12, no. 12 (2022): 1593. http://dx.doi.org/10.3390/brainsci12121593.

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How speech prosody is processed in the brain during language production remains an unsolved issue. The present work used the phrase-recall paradigm to analyze brain oscillation underpinning rhythmic processing in speech production. Participants were told to recall target speeches aloud consisting of verb–noun pairings with a common (e.g., [2+2], the numbers in brackets represent the number of syllables) or uncommon (e.g., [1+3]) rhythmic pattern. Target speeches were preceded by rhythmic musical patterns, either congruent or incongruent, created by using pure tones at various temporal interval

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50

Salvador, Adriana Noemí. "La posición del verbo en la frase y el ritmo en el sistema de Alviero Niccacci." Rhythmica. Revista Española de Métrica Comparada, no. 18 (December 16, 2020): 129. http://dx.doi.org/10.5944/rhythmica.29140.

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A partir de la interpretación dada al onomástico divino veterotestamentario y la partícula waw en las formas verbales reconocemos, dentro del sistema desarrollado por Alviero Niccacci para el análisis del verbo hebreo, el criterio de la posición del verbo en la frase como responsable de la generación del ritmo en los textos bíblicos, tanto narrativos (transiciones temporales) como poéticos (merismos). Criterio que pensamos capaz de alcanzar la ondulación vibrante del origen, ritmo original (Yhwh) y originante (waw/ἰw-hwh), propio de las lenguas primitivas, abriéndose en dos direcciones: con la

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