Effect Of Meter Research Articles

Musical tension is affected by metrical structure dynamically and hierarchically.

As the basis of musical emotions, dynamic tension experience is felt by listeners as music unfolds over time. The effects of musical harmonic and melodic structures on tension have been widely investigated, however, the potential roles of metrical structures in tension perception remain largely unexplored. This experiment examined how different metrical structures affect tension experience and explored the underlying neural activities. The electroencephalogram (EEG) was recorded and subjective tension was rated simultaneously while participants listened to music meter sequences. On large time scale of whole meter sequences, it was found that different overall tension and low-frequency (1 ~ 4Hz) steady-state evoked potentials were elicited by metrical structures with different periods of strong beats, and the higher overall tension was associated with metrical structure with the shorter intervals between strong beats. On small time scale of measures, dynamic tension fluctuations within measures was found to be associated with the periodic modulations of high-frequency (10 ~ 25Hz) neural activities. The comparisons between the same beats within measures and across different meters both on small and large time scales verified the contextual effects of meter on tension induced by beats. Our findings suggest that the overall tension is determined by temporal intervals between strong beats, and the dynamic tension experience may arise from cognitive processing of hierarchical temporal expectation and attention, which are discussed under the theoretical frameworks of metrical hierarchy, musical expectation and dynamic attention.

The optimization method of control precision of injection system in well metering

Based on the analysis of the current situation of single well metering, data acquisition and control mode of oilfield injection system, the data acquisition and control mode of polymer injection volume and dilution water injection volume of single well were optimized and improved respectively. The automatic control of injection volume of single well was realized, the injection accuracy and time effect of metering and control were enhanced, and the work intensity of employees was reduced. Meanwhile, the polymer and dilution water injection volume and the abnormal alarm function of water metering regulation were increased. These make the operation of flow regulator, pump and other equipment in injection station more reasonable, and improve the operation life and efficiency of system equipment.

Meter enhances the subcortical processing of speech sounds at a strong beat

The temporal structure of sound such as in music and speech increases the efficiency of auditory processing by providing listeners with a predictable context. Musical meter is a good example of a sound structure that is temporally organized in a hierarchical manner, with recent studies showing that meter optimizes neural processing, particularly for sounds located at a higher metrical position or strong beat. Whereas enhanced cortical auditory processing at times of high metric strength has been studied, there is to date no direct evidence showing metrical modulation of subcortical processing. In this work, we examined the effect of meter on the subcortical encoding of sounds by measuring human auditory frequency-following responses to speech presented at four different metrical positions. Results show that neural encoding of the fundamental frequency of the vowel was enhanced at the strong beat, and also that the neural consistency of the vowel was the highest at the strong beat. When comparing musicians to non-musicians, musicians were found, at the strong beat, to selectively enhance the behaviorally relevant component of the speech sound, namely the formant frequency of the transient part. Our findings indicate that the meter of sound influences subcortical processing, and this metrical modulation differs depending on musical expertise.

Metric Structure and Rhyme Predictability Modulate Speech Intensity During Child-Directed and Read-Alone Productions of Children's Literature.

Temporal and phonological predictability in children's literature may support early literacy acquisition. Realization of predictive structure in caregiver prosody could guide children's attention during shared reading, thereby supporting reading subskill development. However, little is known about how predictive structure is realized prosodically during child-directed reading. We investigated whether speakers use word intensity to signal predictive metric and rhyme structure in child-directed and read-alone productions of The Cat in the Hat (Dr. Seuss, 1957), by modeling maximum intensity (dB) of monosyllabic words as a function of metric strength, rhyme predictability, and a set of control parameters. In the control model, intensity increased with lower lexical frequency, capitalization, first mention, and likelihood of a syntactic boundary. Metric structure predicted word intensity beyond these control factors in a hierarchical manner: words aligned with beat one in a 6/8 metric structure were produced with highest intensity, words aligned with beat four were produced with intermediate intensity, and words aligned with all other beats were produced with the lowest intensity. Additionally, phonologically predictable rhyme targets were reduced in intensity. The effects of meter and rhyme were not moderated by the presence of a child audience. These results demonstrate that predictability along multiple dimensions is encoded during reading of poetic children's literature, and that metric structure is realized hierarchically in word intensity. Further, the manner by which predictability is encoded in word intensity differs from that previously reported for word duration in this corpus (Breen, 2018), demonstrating that intensity and duration present nonidentical prosodic information channels.

Look at the Beat, Feel the Meter: Top-Down Effects of Meter Induction on Auditory and Visual Modalities.

Recent research has demonstrated top–down effects on meter induction in the auditory modality. However, little is known about these effects in the visual domain, especially without the involvement of motor acts such as tapping. In the present study, we aim to assess whether the projection of meter on auditory beats is also present in the visual domain. We asked 16 musicians to internally project binary (i.e., a strong-weak pattern) and ternary (i.e., a strong-weak-weak pattern) meter onto separate, but analog, visual and auditory isochronous stimuli. Participants were presented with sequences of tones or blinking circular shapes (i.e., flashes) at 2.4 Hz while their electrophysiological responses were recorded. A frequency analysis of the elicited steady-state evoked potentials allowed us to compare the frequencies of the beat (2.4 Hz), its first harmonic (4.8 Hz), the binary subharmonic (1.2 Hz), and the ternary subharmonic (0.8 Hz) within and across modalities. Taking the amplitude spectra into account, we observed an enhancement of the amplitude at 0.8 Hz in the ternary condition for both modalities, suggesting meter induction across modalities. There was an interaction between modality and voltage at 2.4 and 4.8 Hz. Looking at the power spectra, we also observed significant differences from zero in the auditory, but not in the visual, binary condition at 1.2 Hz. These findings suggest that meter processing is modulated by top–down mechanisms that interact with our perception of rhythmic events and that such modulation can also be found in the visual domain. The reported cross-modal effects of meter may shed light on the origins of our timing mechanisms, partially developed in primates and allowing humans to synchronize across modalities accurately.

Aesthetic appreciation of poetry correlates with ease of processing in event-related potentials.

Rhetorical theory suggests that rhythmic and metrical features of language substantially contribute to persuading, moving, and pleasing an audience. A potential explanation of these effects is offered by "cognitive fluency theory," which stipulates that recurring patterns (e.g., meter) enhance perceptual fluency and can lead to greater aesthetic appreciation. In this article, we explore these two assertions by investigating the effects of meter and rhyme in the reception of poetry by means of event-related brain potentials (ERPs). Participants listened to four versions of lyrical stanzas that varied in terms of meter and rhyme, and rated the stanzas for rhythmicity and aesthetic liking. The behavioral and ERP results were in accord with enhanced liking and rhythmicity ratings for metered and rhyming stanzas. The metered and rhyming stanzas elicited smaller N400/P600 ERP responses than their nonmetered, nonrhyming, or nonmetered and nonrhyming counterparts. In addition, the N400 and P600 effects for the lyrical stanzas correlated with aesthetic liking effects (metered-nonmetered), implying that modulation of the N400 and P600 has a direct bearing on the aesthetic appreciation of lyrical stanzas. We suggest that these effects are indicative of perceptual-fluency-enhanced aesthetic liking, as postulated by cognitive fluency theory.

Aesthetic and Emotional Effects of Meter and Rhyme in Poetry

Metrical patterning and rhyme are frequently employed in poetry but also in infant-directed speech, play, rites, and festive events. Drawing on four line-stanzas from nineteenth and twentieth German poetry that feature end rhyme and regular meter, the present study tested the hypothesis that meter and rhyme have an impact on aesthetic liking, emotional involvement, and affective valence attributions. Hypotheses that postulate such effects have been advocated ever since ancient rhetoric and poetics, yet they have barely been empirically tested. More recently, in the field of cognitive poetics, these traditional assumptions have been readopted into a general cognitive framework. In the present experiment, we tested the influence of meter and rhyme as well as their interaction with lexicality in the aesthetic and emotional perception of poetry. Participants listened to stanzas that were systematically modified with regard to meter and rhyme and rated them. Both rhyme and regular meter led to enhanced aesthetic appreciation, higher intensity in processing, and more positively perceived and felt emotions, with the latter finding being mediated by lexicality. Together these findings clearly show that both features significantly contribute to the aesthetic and emotional perception of poetry and thus confirm assumptions about their impact put forward by cognitive poetics. The present results are explained within the theoretical framework of cognitive fluency, which links structural features of poetry with aesthetic and emotional appraisal.

A Socially Efficient Water Tariff Under the English Optional Metering Scheme

We design a socially-efficient water tariff in the institutional context of England, where water metering is largely optional and non-metered households are levied proportional to the rateable value (RV) of their property. Within this context, it is theoretically demonstrated that: the larger the RV, the more likely the household to opt for metering; and the larger the RV, the smaller the Demand Effect of Metering (DEM; the fall in water consumption resulting from metering). These two hypotheses are confirmed with econometric analyses using datasets provided by a water company operating in East Anglia, England. The results signify an adverse-selection problem: wealthier households are more likely to opt for metering, yet they are expected to exhibit a smaller DEM once a meter is installed. In order to overcome this, we propose a two-part tariff for metered households consisting of: a variable charge levied proportional to water consumption at a uniform price; and a progressive standing charge to place a heavier burden on wealthier households. The latter component has a potentially major role in attaining social efficiency of metering, by encouraging poorer households to install meters whilst discouraging wealthier ones. The optimal two-part tariff is determined empirically.

The phonetic stylistic structures in Surat Al-Nas, a pragmatic semiotic approach

The research concluded results, perhaps the most important of which are:1- The rhythm of the stress in the noble surah became clear in the form of balances between stressed and unstressed syllables, so he composed a special rhythm with an effect similar to the effect of meter, but it is different from it. Because the weight is determined by the repetition of activations that organize the seas, while the balance of the rhythm of the stress is not regulated in this way, and for this reason each surah has its own sea, but rather every verse is a sea.2- The stress function is manifested in strengthening the meanings of the noble surah. Therefore, it is a lively rhythm that responds to the meaning involved, as the sensitive recipient feels the presence of a growing internal movement that gives the movement sequence a deep tonal unity, which constitutes a system of lines that can be interpreted semiotically to confirm the entrenchment of the interdependent and mutual relationship between

Assessment of Ionic Interferences to Nitrate and Potassium Analyses with Ion-Selective Electrodes

Ion-selective electrodes (ISEs) are simple tools used for rapid measurement of nitrate nitrogen (NO3-N) and potassium (K) concentrations in plant sap. With the development of best management practices (BMPs), interest exists in using ISEs for soil leachate and soil and fertilizer solutions. Nitrate N and K concentrations in the 0 to 10,000 mg L–1 ISE working range were measured in diluted solutions of common salts to assess ionic interference of calcium (Ca2+), ammonium (NH4 +), chloride (Cl–), and sulfate (SO4 2–). The effects of meter (replication) were unexpectedly significant in one out of three ranges for NO3-N and K (P values of 0.50, 0.72, and 0.01 for NO3-N and 0.99, 0.01, and 0.74 for K, for the 0–100, 100–1,000 and 1,000–10,000 mg L–1 ranges, respectively). The responses of calculated NO3-N and K concentrations to measured NO3-N and K concentrations were linear, but slopes ranged from 0.85 to 1.54, from 0.24 to 2.72, and from 0.93 to 5.48 for NO3-N and from 0.80 to 1.01, from 0.71 to 1.39, and from 0.93 to 2.21 for K for the 0–100, 100–1,000, and 1,000–10,000 mg L–1 measuring ranges, respectively. All slopes were significantly different from zero, and several were significantly different from each other and the 1:1 line. Pairwise slope comparisons conducted with covariance analysis showed that SO4 2– alone interfered with NO3-N measurements at concentrations ranging from 34 to 171 mg L–1, which was less than the manufacturer's information, and by its presence in combination with K+, NH4 +, Ca2+, and Cl– within the medium and high concentration ranges. Potassium measurements were not subject to interference from the ions tested for all three concentration ranges. These results highlight the importance of using quality assurance / quality control (QA/QC) samples in the set of unknown samples to detect inacceptable departure from linearity in routine analysis. The increase in measurement variability from one range to the next showed the importance of keeping measurements within a single concentration range by using dilutions. Hence, ISEs may be used for field measurements of NO3-N and K concentrations in soil leachate as well as soil and nutrient solutions and are therefore a practical BMP tool. However, ISEs should not be used as substitutes for the laboratory methods when official measurements are needed.

Coleridge, Scott, and "This Mescolanza of Measures"

Coleridge was always intrigued by the power of sound, particularly by the effects of meter in poetry. He considered himself one of those poets who few or no proper pictures, but a magnificent mirage of words instead--and gives you the subjective associations of the Poet instead of the external object. (1) His delight in sound arranged metrically for its own sake is shown in verses he wrote for young Derwent Coleridge in 1807, beginning: Trochee / trips from / long to / short: From long / to long / in sol/emn sort Slow SPONDEE stalks--strong Foot! yet ill able Ever to / come up with / DACTYL tri/syllable. IAMBICS march from short to long: With a Leap / and a Bound the swift ANAPESTS throng! (2) In his serious poetry, Coleridge was a master of musicality, and usually he achieved his tonal effects in the traditional English manner of exploiting the interplay of meter, rhythm, and phrasing. However, he also experimented metrically, and the most ambitious of these experiments was Christabel, in the preface to which he declared: ... The metre of the Christabel is not, properly speaking, irregular, though it may seem so from its being founded on a new principle: namely, that of counting in each line the accents, not the syllables. Though the latter may vary from seven to twelve, yet in each line the accents will be found to be only four. Nevertheless this occasional variation in number of syllables is not introduced wantonly, or for the mere ends of convenience, but in correspondence with some transition, in the nature of the imagery or passion. (3) As is well known, Coleridge and some of his friends believed that the meter of Christabel had been appropriated (at least in part) by Walter Scott for The Lay of the Last Minstrel, a poem published in 1805 while Coleridge's was still in manuscript, where it would remain for eleven more years. There have been excellent articles on the meter of Christabel, on what Scott derived from it, and on the legal and philosophical aspects of Scott's supposed appropriation. (4) Here I want to discuss Coleridge's attitude(s) toward Scott's metrical borrowing. Briefly, Coleridge habitually circulated manuscripts of his poems among his friends, and recited them whether or not they were in print. In 1800, he is thought to have given a (now lost) holograph of Christabel to his friend John Stoddart, who in 1802 recited it to Scott. (5) Scott enjoyed memorizing and reciting poems that he liked--at a literary gathering in 1803 Coleridge was startled to hear Scott recite Fire, Famine, and Slaughter, which Coleridge had published under a pseudonym some four years earlier. (6) Also, in 1803, Dorothy and William Wordsworth heard Scott recite part of The Lay of the Last Minstrel, then in progress. Dorothy Wordsworth later wrote to Lady Beaumont: He [Scott} said to us that at that time he had begun his poem and was much delighted to meet with so happy a specimen of the same kind of irregular metre which he had adopted. This was when we were in Scotland and he recited to us a part of the Poem which he was then composing. We were struck with the resemblance yet we were both equally convinced from the frankness of Walter Scott's manner that it was an unconscious imitation. Since The Lay of the last Minstrel has been published, William has blamed himself exceedingly for not having mentioned to Walter Scott the apprehension that he had that the style of his Poem had been, and would be in its future progress influenced by his acquaintance with Christabel, and also that he did not point out one expression which was the same. (7) She continued: For my part I do not think the Imitations are of so much importance, Coleridge's poem bearing upon its face so bold a character of origi[nality], and I cannot but add being so very much superior to the other, but my Brother and Sister think that the Lay being published first it will tarnish the freshness of Christabel and considerably injure the first effect of it. …

Understanding Media in 1805: Audiovisual Hallucination in "The Lay of the Last Minstrel"

Since [Scott], since a certain break or rapture that took place with [Scott], [poetry] is no longer what was understood by this word, but rather agency (or insistence) of letter in unconscious. [Poetry] is letter and hence what passes in and through unconscious.(1) I LIKE TO THINK OF THE LAY OF THE LAST MINSTREL AS THE GREAT UNREAD poem of romantic period for several reasons, each of which puts a different pressure on key terms of that phrase, the unread poem. Perhaps least important of terms for my discussion is great; to advertise an unread, untaught text as great is usually merely to insist that it is qualitatively indistinguishable from texts that are already anthologized, taught, written about. But to examine concept of literary greatness in relation to Scott's Lay is valuable, I wish to suggest, because Scott's own literary career--from collector and editor of Minstrelsy of Scottish Border to his rise to prominence as single most popular poet of first decade of (British) nineteenth century to his abdication as Parnassus' chief and self-reinvention as anonymous Author of Waverley and world's most popular novelist--appears to offer an allegory of historical fortunes of conception of itself. The absence of a theory of poem seems to me a glaring blank in critical discourses of cultural studies and print culture, for, with exception of John Guillory's fine account of development of a vernacular canon in Mute Inglorious Miltons chapter of Cultural Capital and Susan Stewart's Notes on Distressed Genres, there has been little reflection on persistence in 1800 and after of what would appear, by most contemporary accounts, to be outmoded medium of poem.(2) Consider extent to which Enlightenment theories of origin of languages regarded poetry as most archaic form of discourse, and meter and rhyme chiefly as mnemonic devices for preservation of cultural history in absence of writing. The problematic archaism of a written poetry culminates with development in eighteenth century of print capitalism as a truly massive medium. Influential arguments advanced by Habermas and Anderson, among others, about normativizing and nationalizing effects of print culture presuppose that print is a more or less silent medium; by silencing actual speech differences--class, provincial, and gendered vocal inflections--print is medium of a virtual community of speakers.(3) Within such a framework, poetry's identification with residual sound effects of meter and rhyme--especially those rhymes that, as in Burns and Scott, play upon northern pronunciation--seems to threaten Enlightenment ideal of transparent communication. The most widespread solution to this evident dilemma is to identify poetry as language of passions; poetry represents that excited utterance which, according to grammarians of eighteenth and early nineteenth centuries, is registered in prose only by unmeaning interjection (oh!, ah! alas!).(4) We might see here a kind of mental geography of uneven development working in concert with familiar Enlightenment and romantic ethnographic interest in rural; in same way that oral history projects like Scott's Minstrelsy attempt to fix and preserve vanishing traces of folk expression, so (written) lyric comes to be seen as an attempt to arrest semiotic babble and rapid evanishments of emotion. One understands almost immediately, in this context, transitional function of Scott's and Lake School's attempts to reanimate lyric by linking it with ballad tradition, with oral traditions still part of low and rustic life. But question remains: given prevalent understanding of poetry as a medium, as a specifically oral medium to be eventually supplanted by more efficient media of writing and of typography, how might poetry claim any but a marginal position (antiquarian or domestic) in print culture? …

The Impact of Personal Metering in the Management of a Natural Resource Crisis: A Social Dilemma Analysis

A field study and scenario study were conducted to investigate the impact of a structural solution in the management of a natural resource dilemma: the effects of individual metering in a water shortage. It was predicted that metering would be beneficial in promoting conservation, in particular, when people experienced a shortage. Consistent with expectations, the results of both studies revealed that conservation efforts were greater among metered (vs. unmetered) participants when they perceived the water shortage as severe. Additional analyses suggested that the positive effect of metering could be partially explained by a greater concern with the collective costs of overconsumption during the drought. Our findings suggest that structural solutions, such as metering, may produce concomitant effects that extend beyond the outcome structure of the social dilemma.

The Influence of Lexical Familiarity on Children's Function Morpheme Omissions: A Nonmetrical Effect?

Previous research on children's production of function morphemes demonstrated an effect of meter, such that syllabic morphemes that fit a Strong–weak metrical template were omitted less frequently than morphemes not fitting such a template. The current research addressed the question of whether all omissions of syllabic function morphemes occur when a syllable does not fit a metrical template, or whether other factors, such as lexical familiarity, also play a role. Two experiments demonstrated that 2-year-olds are more likely to omit object articles from sentences containing novel nouns or verbs than sentences containing well-known words. Furthermore, familiarity appears to influence omissions independent of meter, suggesting that function morpheme omissions are caused by at least two mechanisms. One possible mechanism, control over utterance timing, is discussed.

Detecting out-of-tolerance conditions with meter and digital displays.

Four experiments were conducted to determine the relative effectiveness of meter and digital displays currently used for checking the status of a missile's hydraulic control system. In all experiments, information was provided either on a configuration of four digital displays or on a similar configuration of four panel meters. The subjects' task was to determine the class of information being displayed (attitude response) and the condition of the hydraulic system with respect to established tolerance limits (tolerance response). The main conclusions were: The tolerance response was performed significantly faster with the digital displays. Error rates for the two display panels were essentially equivalent on both the attitude and tolerance responses. Subjects made significantly more errors in reporting an “in tolerance” condition when the display was “out-of-tolerance” than they made in reporting an “out-of-tolerance” condition when the display was “in tolerance.” This bias was independent of the subjects' previous level of experience on similar tasks.

Effect of Metering on Water Use and Revenue

Effect of Metering on Water Use and Revenue