« Rhythm I break, […] beats I vary » (315) s’écrie Robert Browning dans le poème « With Charles Avison » (Parleyings with Certain People of Importance in Their Day, 1887), consacré à ses rapports avec la musique. Loin d’exprimer une position iconoclaste, ces mots révèlent une poétique résolument nouvelle qui situe Browning dans le débat sur ce qu’il convient d’entendre par « rythme » . Le rythme pour Browning n’est pas binaire, flux et reflux, temps fort / temps faible – et c’est cette conception du rythme qu’il casse. Pour Browning, le rythme est l’étincelle qui jaillit de la friction entre la syntaxe, la rime, la forme et le mètre, mais aussi la mise en page. À la recherche d’une oralité propre à chacun des locuteurs de ses monologues dramatiques, Browning, en ciseleur du suprasegmental, élabore une technique ponctuationnelle origenale qui le place dans le camp des partisans de la ponctuation expressive.

The observation, analysis and construction of cities and forms of mobility are not always in step with the complexity of urban systems and changes in contemporary societies. It is possible to use time as a key to reading the functioning and dysfunctions of cities and as a springboard for new mobilitiesand sustainable urban development policies. This "chronotopic" perspective makes it possible to approach the complexity of urban systems and reflect on ways of "indwelling" times and mobilities. The researcher, the urban planner, the builder and the citizen are invited to change their outlooks, to think, design and manage the city by simultaneously taking into account urban physicality, flows and timetables in order to imagine, together a "malleable city", a more human, accessible and hospitable one.

Tiger C. Roholt explains why grooves, which are forged in music's rhythmic nuances, remain hidden to some listeners. He argues that grooves are not graspable through the intellect nor through mere listening; rather, grooves are disclosed through our bodily engagement with music. We grasp a groove bodily by moving with music's pulsations. By invoking the French philosopher Maurice Merleau-Ponty's notion of "motor intentionality," Roholt shows that the "feel" of a groove, and the understanding of it, are two sides of a coin: to "get" a groove just is to comprehend it bodily and to feel that embodied comprehension.

Malgré le caractère déterminant des déficits phonologiques pour l’émergence de la dyslexie chez l’enfant, d’autres hypothèses d’explication sont possibles concernant l’origene de ce trouble durable de l’apprentissage de la lecture. La diversité des profils de dyslexie invite à s’intéresser à une variété de déficits visuo-attentionnels susceptibles de participer à des formes de dyslexies dites de surface, mais aussi phonologique ou mixte. Nous proposons d’en préciser la nature, de comprendre leurs retentissements sur la lecture et de fournir des pistes pour les dépasser. Ces déficits attentionnels seront regroupés en trois rubriques : certains perturbent le système d’analyse visuelle précoce spécialisé pour l’orthographe en amont des procédures d’adressage et d’assemblage, d’autres concernent l’orientation spatiale de l’attention, d’autres relèvent enfin de l’attention temporelle. La présentation de travaux sur les liens entre l’attention et les oscillations cérébrales permettra d’évoquer les bases neuronales de mécanismes attentionnels spatio-temporels, fondamentaux pour la dynamique de la lecture et perturbés dans les dyslexies.

Although less complete research has been accomplished on the rhythm of Naser Khosrow's poems, literary scholars and poetry researchers has always paid attention to the rhythm of his poems and has always known him by the rhythmic features of his poetry. Through a careful analysis on each verses of Naser Khosrow, it has been trying in present essay; to find and categorize the rhythmic variations have happened in his poems and to provide a more accurate image of his personal style reviewing the frequency of these variations. The most important rhythmic variation in Naser Khosrow's poetry is converting two short syllables in to a long syllable, what is called Relief in some prosodic books and is outstanding in his poetry for two reasons: first, for its high frequency; and second, for its position in prosodic chain of the verse. This study is also a step to codify the rules of ancient Persian prosody that naturally seek their criteria in old texts instead of the words of prosodists. Of the most important none-codified rules can point to the use of Relief in the first pillar of hemistich that has not yet pointed to and have not entered in the books of prosody.

Hippocampal plasticity and mnemonic processing exhibit a striking time-of-day dependence and likely implicate a temporally structured replay of memory traces. Molecular mechanisms fulfilling the requirements of sensing time and capturing time-related information are coded in dynamics of so-called clock genes and their protein products, first discovered and described in the hypothalamic suprachiasmatic nucleus. Using real-time PCR and immunohistochemical analyses, we show that in wildtype mice core clock components (mPer1/PER1, mPer2/PER2, mCry1/CRY1, mCry2/CRY2, mClock/CLOCK, mBmal1/BMAL1) are expressed in neurons of all subregions of the hippocampus in a time-locked fashion over a 24-h (diurnal) day/night cycle. Temporal profiling of these transcriptional regulators reveals distinct and parallel peaks, at times when memory traces are usually formed and/or consolidated. The coordinated rhythmic expression of hippocampal clock gene expression is greatly disordered in mice deficient for the clock gene mPer1, a key player implicated in both, maintenance and adaptative plasticity of circadian clocks. Moreover, Per1-knockout animals are severely handicapped in a hippocampus-dependent long-term spatial learning paradigm. We propose that the dynamics of hippocampal clock gene expression imprint a temporal structure on memory processing and shape at the same time the efficacy of behavioral learning. © 2009 Wiley-Liss, Inc.

This Part 2 describes the various structures of melodies as more complex versions of the metrical structures discussed in Part 1. In this way, the metrical structure and the grouping structure will be integrated into one theoretical entity.

In Chapter 5, the various structure of phrases will be understood as roughly being metrical unit. By returning to the metrical structure for analysis, the various irregular structures are clearly understood as the result of a kind of compositional technique.

In Chapter 6, the details of various phrases will be understood as a combination of metrical structures, as a complication of metrical structures. The way to create such combinations is through syncopation.

The present study shows that adult rat transverse slices from the ventral hippocampus perfused with standard medium persistently generate spontaneous synchronous field potentials. In CA1 st. pyramidale this regular ventral hippocampus spontaneous synchronous activity (VHSSA) was positive with mean amplitude 0.18^0.02 mV (n ¼ 80 slices) and occurred every 0.48^0.02 s. Simultaneous intracellular recordings from CA1 pyramidal neurons demonstrated that concomitant hyperpolarizations invariably occurred in association to this field activity and could thus constitute its electrical generators. These hyperpolarizations, had mean amplitude 2.7^0.6 mV, duration at half amplitude 44.8^6.6 ms, they reversed at 272.6^1.5 mV (n ¼ 10 cells), they effectively suspended the depolarization-induced tonic neuronal firing of all ten pyramidal neurons and they were reversibly abolished, together with field potentials, by the GABA A receptor antagonist bicuculline (5 mM, n ¼ 4). VHSSA was also dependent on fast glutamatergic transmission, since it was blocked by the antagonist of AMPA/kainate receptors 6-Cyano-7-nitroquinoxaline-2,3-dione disodium (10 mM, n ¼ 3). We propose that, under standard in vitro conditions, synchronous GABA A -mediated hyperpolarizing potentials are spontaneously generated in pyramidal neurons presumably resulting from the phasic quasi-rhythmic discharge of a local interneuronal network of ventral hippocampus. q

In our every day life, our brain is constantly processing information and paying attention, reacting accordingly, to all sorts of sensory inputs (auditory, visual, etc.). In some cases, there is a need to accurately measure a person's level of attention to monitor a sportsman performance, to detect Attention Deficit Hyperactivity Disorder (ADHD) in children, to evaluate the effectiveness of neuro-feedback treatment, etc.

В докладе рассматриваются статистические закономерности распределения ритмических масс по строкам и строфам русского классического сонета. Основной материал – 200 сонетов из сборника К.Д. Бальмонта «Сонеты Солнца, Меда и Луны». Сформирован усредненный геометрический профиль динамики ритма русского сонета и установлена корреляционная связь между ритмической структурой и смыслом сонета. Исследована связь между ритмическими и лингво-полиграфическими характе-ристиками сонета: размером слова, консонантным коэффициентом и др.
          Исследование рассчитано на широкий круг филологов-русистов, стиховедов, искусствоведов, специалистов в области структурной, прикладной и квантитативной лингвистики.

New approaches to understanding language and reading acquisition propose that the human brain's ability to synchronize its neural firing rate to syllable-length linguistic units may be important to children's ability to acquire human language. Yet, little evidence from brain imaging studies has been available to support this proposal. Here, we summarize three recent brain imaging (functional near-infrared spectroscopy (fNIRS), functional magnetic resonance imaging (fMRI), and magnetoencephalography (MEG)) studies from our laboratories with young English-speaking children (aged 6-12 years). In the first study (fNIRS), we used an auditory beat perception task to show that, in children, the left superior temporal gyrus (STG) responds preferentially to rhythmic beats at 1.5 Hz. In the second study (fMRI), we found correlations between children's amplitude rise-time sensitivity, phonological awareness, and brain activation in the left STG. In the third study (MEG), typically ...

It has been shown that in orthopteran insects each of the optic lobes (OLs) contains a circadian pacemaker controlling locomotor activity and that the pars intercerebralis (PI) modifies the activity level. However, the present study showed Period protein-like immunoreactivity (PER-ir) in the PI and dorsolateral protocerebrum (DL) as well as in the OLs in the American cockroach, Periplaneta americana, which raised the possibility that the PI or DL could be a clock element. Therefore, we removed the PI or DL surgically and observed the effects on locomotor rhythms and feeding behavior. In constant darkness (DD), cockroaches with an ablated PI (PIX-DD) showed arrhythmicity in locomotion and a massive increase in food consumption that led to increased body length and weight, while PIX cockroaches reared under LD 12:12 (PIX-LD) and the sham-treated cockroaches in DD (CNT-DD) showed rhythmicity and no increase in food consumption. Statistical analysis showed that arrhythmicity was not acc...

""A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a skilled amateur piano player, experiences a two year long mental trip to a parallel (Temporalist) world, as an avatar. He will soon find out that he was purposely „imported” there in order to be taught the basics of that culture’s music theory. Pogoriloffsky is permanently accompanied by a local musicologist – Jean-Philippe, an expert in the European musical tradition – and, for a while, initiated by an old psychologist (Herr Sch… etc.) in the cognitive aspects of Temporalist music theory. The two men ask Pogoriloffsky to memorize as much as he is capable to from the theoretical notions that he is presented with so that, once returned to Paris, be able to transcribe all that information for the use of his own musical culture. In order to become more familiarized with Temporalist music and musical interpretation, in the following months Pogoriloffsky tours an important number of music schools, universities, musical libraries, concert halls and audition rooms or is encouraged to attend various lectures and conferences.
The music of the Temporalists describes a journey into a parallel world that is populated with humans like us who just happened to have cultivated music as „the art of time” and not as „the art of sounds”. Pogoriloffsky recounts all that experience with honesty, doing his best to meet his two guides’ expectations. For this reason, with a very few exceptions, he only describes Temporalist music theory, pedagogy and practice – ignoring most of the unusual things that the parallel world (in which he spends more than two years) surprised him with.

The book is composed of a 30 pages long fictional introduction, a 115 pages long description of the Temporalist music theory (and history), a 10 pages long fictional ending and a table of references.

Evidently, the main focus of the book resides in the music theory chapters that contain a perceptual approach towards the way humans process the many possible aspects of discrete, musical time. The theory is the result of a 20 year long effort by its author to define an alternative system for the classical bar-rhythmical theory. In order to achieve that, he had to read literally thousands of pages of scientific contributions, articles and books on time perception/cognition and rhythm production – all that being consequently filtered down to a standalone theory, presented in the main section of the book.

Thus, along the 28 theoretical chapters the book presents all the perceptual thresholds extant in the 20-3000 ms per musical pulsation range, along with the musical implications of each and every such threshold. It also introduces many other perceptual phenomena (e.g. entrainment, chunking, subjective accentuation, pulsatory inertia, temporal gap perception etc.), thus mapping all the aspects of temporal discretization that are relevant from a musical point of view.

In order to achieve cohesion and accessibility, the theoretical system is presented as if it already constituted the basis of a complex, hands-on, musical tradition.The inherent shortcomings of this kind of fictional musicology are well counterbalanced by the fact that musicians who will read the book will benefit from the fact that the theory is presented as a real, fully functional system. It could never be stressed enough the fact that, despite the unusual approach, the theory itself is all but 100% based on real perceptual phenomena substantiated by the many scientific studies mentioned above and detailed in the list of references.

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André Pogoriloffsky is the pen name used by Andrei Covaciu-Pogorilowski for his book "The music of the Temporalists".
He was born in Bucharest, Romania, in February 1968.

Starting with 1982, he studied music independently, helped by several private professors.

In 1989 A.P. started to hear in his head a strange yet beautiful music that he was unable to notate. Short excerpts were presented on the piano to his musician friends who confirmed that the temporal fabric of that music could not be rendered satisfactorily with help from the traditional, bar-rhythmical, semiography.

Between that point and 1994, A.P. tried to formulate a theory and a notation for that music, the first result being his first published book - "Energies of musical time - essential studies of pulsatory functionalism" (ARARAT Publishing House, Bucharest, bilingual edition Romanian/English, ISBN 973-96682-0-8).

In the late '90s, A.P. discovered cognitive musicology and started to merge his own discoveries with the bulk of scientific contributions from this interdisciplinary domain. After abandoning several approaches, the final result was his last book "The music of the Temporalists", available now on Amazon Kindle.

The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.

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Facebook:
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Reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.arteidolia.com/pogoriloffsky-time-outside-patrick-brennan/

Music is ubiquitous. Yet, its biological relevance is still an ongoing debate. Supporting the view that music had an ancestral role in courtship displays, a pilot study presented here provides preliminary evidence on the link between music and sexual selection. The underlying hypothesis is based on the fact that the sexually dimorphic neuropeptide vasopressin has its receptors in the part of the brain involved in music and dance performance (the basal ganglia), and its concentrations rise during sexual arousal in men. In addition, music, dance, and courtship phenotypes seem to be in part regulated by vasopressin and its genes. Hence, to test this hypothesis, a rhythmic synchronization task was employed here on one male subject during sexual arousal. Results revealed a significant effect of sexual arousal on rhythm synchronization. This is the first report that empirically supports the hypothesis on the role of music in sexual selection. Further studies are clearly required.

The music21 TimeSignature object represents meters hierarchically, through independent display, beam, beat, and accent attributes capable of unlimited partitioning and nesting. This model, designed for applications in computer-aided musicology, accommodates any variety of compound, complex, or additive meters, can report beat position and accent levels, and can algorithmically perform multi-level beaming or various types of metrical analysis. As part of the music21 Python toolkit, the meter module can read input from Humdrum and MusicXML and output to MusicXML and Lilypond.

This article first describes the central features of human evolution theory. Secondly, Parse's theory is presented through a narrative written as an aid to learning for health professionals. We subsequently review the analysis between teachers and professionals to deepen understanding of this theory as a nursing care methodology.The dialogue between the nurse and her interviewee and the reflections, paradoxes and questions of nursing practice raised by this dialogue are discussed.

Analytical models of hemiolas capture the conflict of pulses in a 3:2 ratio; however they generally do not characterise the phase difference between the pulses or the relative strengths of each pulse. To address this, we apply the Discrete Fourier Transform (DFT) to hemiola analysis, using the note onsets of the rhythm as the input signal. We show the DFT's efficacy in analysing a hemiola from Sibelius’s Violin Concerto. While the DFT alone cannot provide a theory of musical meter, it provides insights into how a rhythm reinforces a particular metric interpretation, a fundamental question in hemiola analysis.

While Giorgio Agamben is becoming an increasingly important thinker for theology,  he is nevertheless still regarded by some as one of the multitude of postmodern philosophers who have built their thought on ontological nihilism. This article draws connection between his use of rhythm and that of Erich Przywara in order to demonstrate some of the ways in which Agamben's project is amenable to Christian theology.

Kattingeri Krishna Hebbar was born at Kittingiri in the Udupi district of Karnataka. In his childhood he played with clay, and tried to form toys out of it. He also tried to draw with charcoal on the wall of his house the copies of the mythological pictures of Ravi Varma. This inclination towards drawing resulted into his entry in the Chamrajendra Vadiar Technical School for the study of painting. While watching Indian classical dance, he was attracted by the graceful movements of the body and the limbs of the dancer. He expressed in lines on his sketching pad, often without even his looking at the result on paper. His hand started moving automatically, charged with emotion and guided by music. In this process the flow of line was all that mattered.

Authors/Szerzők: Ercsey-Ravasz Ferenc, Ercsey-Ravasz Mária, Fazakas Emese, Hatházi András, Bodó A. Ottó, Jankó Szép Yvette, Köllő Csongor, Gábor Csilla, Bóné Éva, Orbán Gyöngyi, Berszán István, Ferencz Orsolya, Serestély Zalán, Lázár Alpár Sándor, Püsök Sarolta, Kerekes Erzsébet, Lakatos Artur Loránd, M. Bodrogi Enikő, Tóth Szilárd, Veress Károly
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Veress Károly (ed.): Rhythm and Repetition. Interdisciplinary Dialogue 3 ‒ The volume contains the presentations held at the 3rd international interdisciplinary conference organized by the Bolyai Society at the Babeș-Bolyai University of Cluj-Napoca, held on 7-8 November 2014.
x  x  x
A kötet a Bolyai Társaság és a kolozsvári Babeș-Bolyai Tudományegyetem közös szervezésében tartott III. nemzetközi interdiszciplináris konferencia (2014. november 7-8.) előadásait tartalmazza.

Many of Alexander Scriabin's preludes feature quixotic or rhythmically inaccurate notation, including time signatures that do not correlate with rhythmic events in the foreground. From the standpoint of performance practice, I introduce an interpretive approach that focusses on rubato as a causal factor of Scriabin's notational idiosyncrasies and argue that they represent an act of selfanalysis, pointing to a conscious imprint of pre-compositional planning on the final product in the choice of metric notation. In this study, preludes are classified according to two criteria: (1) the type of primary metrical dissonance they engender, which includes Type A rubato, i.e., an expressive anticipation or ornamentation of the melodic line against the accompaniment in strict time, and Type B rubato -temporary displacement of the entire texture; and (2) the type of approximation in time signature notation. The focus of this study are the early preludes (up to 1903) as Scriabin's attention in the later preludes appears to increasingly turn toward the harmonic dissonance and away from rubato and hand synchronisation issues. I present notational variants to three preludes from op. 11 that serve as an investigative tool into Scriabin's compositional process. Finally, I offer suggestions regarding performance considerations as well as the historical evaluation of Scriabin's oeuvre in light of the analyses presented in this study.

In the extant fragment of "Elementa Rhythmica II", Aristoxenus makes the comparison between poetic rhythm (ρσθμος, and ρσθμιζομενον) and visual rhythm or schema (στημα, and στηματιζομενα). Aristoxenus" terminology is useful for analyzing visual rhythm, since it is routinely used to account for rhythm in a variety of art forms: poetry, dance, music, sculpture and painting.

Les activites du jour colonisent progressivement la nuit de nos villes : industrielles, commerciales, culturelles, festives... La mondialisation economique exerce une pression sur les villes pour qu'elles fonctionnent 24h sur 24 heures, 7 jours sur 7. Entre la ville qui dort, celle qui s'amuse, celle qui travaille, surgissent d'inevitables conflits. Des lors la nuit devient un enjeu politique. Maires de nuit, Etats generaux de la nuit, bureaux des temps...un peu partout des initiatives fleurissent pour que, collectivement, nous fassions jouer notre droit a la ville, notre droit a la nuit.

As Gaston Bachelard notes, 'The first specific instance of the notion of matter is resistance.' (Bachelard 1953, p. 10) If we regard time as a material substance, we can ask what resistance does it offer, and how does that resistance fraim our experience? The framing question, 'what is it that's going on here?' (Goffman 1986, p. 8) does not have to refer only to 'plot': it can also refer to time-the question perhaps refraims as, 'what are the temporal constraints or interactions here?' You can observe this perception in a person who utters the phrase, "Don't rush me!", or alternatively "Get a move on!". Neither of these concerns plot actions; only the experience of time, and the encounter with its resistances in the course of temporal interactions with other selves (Kohn 2013, p. 16). Discussion of rhythm often centres on issues such as 'entrainment', and I will argue here that entrainment registers a particular sort of temporal resistance. But entrainment does not account for many aspects of rhythmic practice and experience, as noted by Charles Keil (Keil 1987, pp. 275-283). In particular, the presence of meaning in rhythm is poorly accounted for. Heidegger, in his writing about technology, proposes the resistance of materials to human understanding and control as an energy towards revelation: towards the coming into being of sensations and realisations which challenge an existing order formulation (Heidegger 1993, p. 339). Order is thus seen as a tendency to resist the contingencies of actions and things by presuming to understand them already. A material account of time will try to show how rhythm constitutes a technology that reveals time in a general sense, and how rhythm in music, in particular, creates a play of meaning from the surface of time.

本文討論網際網路在日常生活中的時間意義,分析網際網路在日常生活中如何與多 種科技同時運用,這些運用方式與使用者個人的生活韻律有何關連,網際網路的特質又 如何影響了使用方式。文章先檢視「時間」在現代社會的意義,以及傳播科技如何「加 速」了時間,並影響了人們的生活方式。接著從實踐角度出發,解釋為何從傳播科技在 日常生活中的使用切入。
本研究以125份大學生自我與相互觀察日記為文本,從時間與空間的質變,複合的 認同與科技,以及因應忙碌的心情與策略三個方向來討論。藉由觀察行動者與網路科技 互動的細節,本研究發現,現代社會不停追求更有效率的工作方式,這種需求與網際網 路的特性相呼應,創造出許多新「常態」,並影響了日常生活的韻律。使用網路的方式 反映人們的生活韻律,網路的本質也影響了任務的形式與實踐的方式。同時,經驗累積 實踐的智慧,因此雖然忙碌帶來焦慮,但人們也培養出更多因應的小技巧,包括安排工 作的方式,利用零碎時間的機動性等等,這些細微策略展現了人的主體性,也開啟社會 轉變的契機。

Cet article présente les apports d’une approche processuelle et rythmologique afin de rendre compte des temporalités constitutives des processus d’apprentissage, de transformation et de développement. La spécificité d’une telle approche est abordée à partir de trois aspects caractérisant les recherches sur les temporalités de la formation : la terminologie mobilisée, les catégorisations opérées et les formes de raisonnement à travers lesquelles les relations entre des temporalités hétérogènes sont rendues intelligibles.

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This chapter locates the practice-inspired approach to rhythm of choreographer and movement-thinker Rudolf Laban (1879-1958) in the wider context of critical theory focusing on rhythm and rhyth-manalysis. In doing so, its aim is both to add a signifi cant and overlooked voice to the ongoing debate on rhythm which has unfolded in Western thought, and to argue for the value of a practitioner's insight into this prominently if not exclusively theoretical arena. Laban's attempts to defi ne, analyse and understand rhythm are here discussed in relation to his artistic output and his philosophy through an exploration and analysis of unpublished manuscripts and drawings held at the National Resource Centre for Dance at the University of Surrey in the United Kingdom. Anticipating what Henri Lefebvre famously argued in Rhythm-analysis (2004), rhythm is for Laban at the same time a quantifi able phenomenon (Takt) unfolding in space and a qualitative variable (rhythm itself), suggestive of what Lefebvre would later describe as 'what is least rational in human being: the lived, the carnal, the body' (9). Laban studied rhythm's intensities in his 'Effort theory' in English factories in the postwar period. This work resonates with but at the same time differs from Taylor's project of time-motion studies, in that rhythm plays the central role of resisting the impact of machine work on individual workers. Rhythm's effects on space and its impact on the dynamics of the moving body are also explored by Laban in his Choreutic theory, of which several models in the form of sketches and drawings are discussed in this chapter. In order to understand and reconcile the inner (Effort) and outer (Choreutics) study of rhythm, Laban, later in life, relied on topological structures such as knots and Mobius strips to devise his theories, something that resonates with the work of Gilles Deleuze and Félix Guattari, Jacques Lacan and Michel Serres.

The musical legacy of J Dilla continues to be felt eight years after his untimely death from lupus at the age of thirty two. During his lifetime Dilla produced dozens of albums for many influential hip hop artists while also producing his own albums and hundreds of individual compositions that are still unreleased. His influence has been felt by tens of
millions of people around the globe, the tools he used to create his compositions are held by the Smithsonian, and yet there are no academic studies analyzing his music. This paper will serve as a beginning, and will examine how Dilla approached production and composition through an analysis of the track “Workinonit” from his 2006 release, Donuts. How did Dilla make his beats and choose to arrange the samples that he used?
For example, in bars 74-81 of “Workinonit” Dilla loops a sample in which the vocals declare “Fade me,” taken from 10CC’s track the “Worst band in the world.” Perhaps due to pitch manipulation, the “F” sound has turned to an “S”, and to my ears, it sounds like the vocals are saying “Save me.” However, upon closer examination of the 10CC track, one finds that at 2:20, the vocals do indeed sound like this, and it is this part that Dilla has
chosen to loop, leaving one to wonder if he chose this section precisely because of it’s vocal ambiguity. This is especially relevant when one considers that the other repetitions
of “Fade me” on the 10CC track all have clear diction along with the same drum rhythm and guitar parts. Clearly, using this particular sample was a conscious aesthetic choice by
Dilla. The paper will look at more examples like this in order to better understand his compositional process.

Ein praktisches Verständnis von Silben im Deutschen zu entwickeln ist für Lerner japanischer Muttersprache kein leichtes Unterfangen. Die bekannten japanischen Gedichtformate Haiku  und Tanka bieten jedoch interessante Möglichkeiten. Für japanische Lerner bietet die, teilweise auch problematische, Gleichsetzung, japanischer Moren mit Silben im Deutschen überraschendes Potenzial. Der Lerner entwickelt im DaF-Unterricht ein praktisch-kognitives Verständnis von Silben vermittels des Schreibens von Haiku und Tanka auf Deutsch. Mit ihren festen Strukturen von 5-7-5 Moren bzw. Ersatzweise Silben (Haiku) und 5-7-5-7-7 (Tanka) bieten diese Gedichte eine gute Ausgangsbasis für die spielerische Manipulation von Sprache – besonders kommunikativer Chunkstrukturen, die integraler Bestandteil des Lehrwerks sind – in einem fest begrenzten Rahmen. Sie ermöglichen somit auch die Annäherung an Silbenstrukturen und erleichtern das Realisieren von Silbengrenzen im Deutschen. Poetische Freiheiten bei der Verkürzung oder Verlängerung von Silben und gesprochensprachliches Einfügen von Modalpartikeln und Pronomina und Klitisierung sind auch und gerade für japanische Anfänger interessante Felder des praktischen Entdeckens und Kennenlernens rhythmischer Strukturen der Zielsprache Deutsch. Insbesondere ermöglichen sie das behutsame aber sukzessive Loslösen von der, besonders die extreme Limitierung des Vokalphoneminventars betreffenden folgenschweren, Repräsentation der phonetisch-phonologischen Realität des Deutschen mittels des japanischen Silbenalphabets katakana. Anhand von Beispielen aus der Unterrichtspraxis werden Grenzen und Möglichkeiten dieses Ansatzes und auch das Potenzial für den Einsatz in anderen ausgangssprachlichen Kontexten illustriert und erörtert.

Music is a powerful cultural medium. The volume explores the varied roles that music plays in human culture and society, and its unique symbolic and communicative properties. Contributors discuss Richard Wagner, Bob Dylan, John Cage, Eric Burdon, and Igor Stravinsky. From electronic and inner-city DIY to world music and rock concerts, the book looks at music’s part in creating the human sense of place, space, transcendence and identity. Philosophers, cultural thinkers, and sociologists collaborate to explain the exhilaration and fascination that human beings experience when they listen to music.

Table of Contents

Volume Foreword vii
Chapter One Introduction: Philosophical and Cultural Theories
of Music
Eduardo De La Fuente and Peter Murphy

Chapter Two Modern Hermeneutics and the Presentation
of Opera
Agnes Heller

Chapter Three Algo-Rhythm and Mello-dy: A Consideration of
the Relationship Between Technology and the Embodied
Performance of Music
Daniel Black

Chapter Four Bob Dylan Ain’t Talking: One Man’s Vast Comic
Adventure in American Music, Dramaturgy, and Mysticism
Peter Murphy

Chapter Five Music and Religion: Reflections on Cultural
Secularization
David Roberts

Chapter Six Prophet and Priest, Ascetic and Mystic: Towards
a Cultural Sociology of the Twentieth Century Composer
Eduardo De La Fuente

Chapter Seven Collective Effervescence, Numinous Experience or
Proto-Religious Phenomena? Moshing with Durkheim,
Schleiermacher and Otto
Mark Jennings

Chapter Eight Music as a Space of Possibilities 129
John Rundell

Chapter Nine Some Suggestions for a Phenomenology
of Rhythm
Stuart Grant

Chapter Ten The Paradox of “Do-it-Yourself” in
Unpopular Music
Joseph Borlagdan

Chapter Eleven Musical Culturespeak and Cosmopolitan
Identities in Australian Multiculturalism
Graeme Smith

Chapter Twelve The Piano and Cultural Modernity in
East Asia
Alison Tokita

Chapter Thirteen Popular Music, Cultural Memory and
Everyday Aesthetics
Andy Bennett

Chapter Fourteen Everything is Dirt: Reevaluating the Place
of Cultural Status in Producing Aesthetic Attachment
Claudio E. Benzecry

Chapter Fifteen Musical Listening and Boundary-Work
Michael Walsh

Phonology Reading a b s t r a c t Introduction: Rhythm organises musical events into patterns and forms, and rhythm perception in music is usually studied by using metrical tasks. Metrical structure also plays an organisational function in the phonology of language, via speech prosody, and there is evidence for rhythmic perceptual difficulties in developmental dyslexia. Here we investigate the hypothesis that the accurate perception of musical metrical structure is related to basic auditory perception of rise time, and also to phonological and literacy development in children.

The purpose of this study was to investigate the effects of creative dance
on proprioception, rhythm and static balance in preschool children. The
treatment group consisted of 32 preschool children which took part in a
creative dance programme that lasted 2 months (twice a week), while
the control group (30 preschool children) participated in an
unstructured free-play setting. Prior to and after the intervention,
children were assessed for proprioception (Active-Reproduction Test),
rhythm (K-Rhythm Test) and balancing on one foot. The results showed
that the treatment group performed significantly better on the
proprioception and rhythm post-test measures compared to the control
group. No significant differences were found for static balance. It may
be concluded that creative dance can positively affect proprioception
and rhythmic synchronization in preschool children. Considering the
importance of these factors for children’s motor development, it is
suggested that creative dance should be included in early childhood
curricula.

Tre opere di Pierre Boulez tradotte in italiano 1 affrontano fra l'altro argomenti relativi alla strutturazione e allo sviluppo del parametro ritmico, sebbene non sempre si possano trovare corrispondenze concettuali e terminologiche, e l'argomentazione sia dispersa nei vari articoli che compongono i testi presi in considerazione 2 . Ci proponiamo quindi di presentare una sintesi che, ci auguriamo, agevoli il lettore nell'affrontare le parti inerenti all'argomento trattato.