Kinds Of Rhythms Research Articles

Adrian Piper, Kelela, and the necessity of rhythm work

This article traces the uses of rhythm and sound across select works from two practitioners: performance artist Adrian Piper and contemporary R&B artist Kelela. Enacting an analysis through the sonicality of both artists, the article uses rhythm to connect the visual plane to that of sound, affect, and vibration—and the vibrations that ultimately coalesce into rhythms. In the article, I theorize a notion of rhythm work, or the use of musical and other kinds of rhythms by the two artists to both amplify their personal experiences as Black women and accentuate the white patriarchal heteronormative rhythms against which they move. Building on work from sound, performance, and Black studies, I explore how both artists’ rhythm work interweaves the bodily and the technological, channelling individual rhythms (such as what Piper calls “the rhythms of sex”) into new collective rhythmic possibilities grounded in Black femaleness and/or femmeness. In the process, this article invites readers to think and feel together with performance art and popular music, two genres that are sometimes (but still not often) written about concurrently in performance studies, by highlighting the extent to which rhythm works as a connector across various genres and disciplinary fields.

Sleep apnea and atrial fibrillation - A different kind of rhythm.

Sleep apnea and atrial fibrillation - A different kind of rhythm.

Throbbing crowds: Of dancing grannies and acoustic milieus in contemporary China

Drawing from ancient Chinese acoustic thinking and contemporary Western philosophy, this article re-interprets ‘the throbbing crowd’ (the kind of crowd organised by a certain kind of rhythm) once described by Elias Canetti (1963). Through the philosophy of qi that defines things as correlative, changing and responsive, I try to suggest that the acoustic milieu generated by groups like Chinese dancing grannies that emerged in late 1990s when the nationwide movement of laid-off workers took place, should not be reduced to a background sound. Instead, an acoustic milieu is produced by and at the same time produces creative and embodied co-relations, that is, new modalities of being-together.

Abnormal electroencephalogram features extraction of autistic children based on wavelet transform combined with empirical modal decomposition

Early detection and timely intervention are very essential for autism. This paper used the wavelet transform and empirical mode decomposition (EMD) to extract the features of electroencephalogram (EEG), to compare the feature differences of EEG between the autistic children and healthy children. The experimental subjects included 25 healthy children (aged 5-10 years old) and 25 children with autism (20 boys and 5 girls aged 5-10 years old) respectively. The alpha, beta, theta and delta rhythm wave spectra of the C3, C4, F3, F4, F7, F8, FP1, FP2, O1, O2, P3, P4, T3, T4, T5 and T6 channels were extracted and decomposed by EMD decomposition to obtain the intrinsic modal functions. Finally the support vector machine (SVM) classifier was used to implement assessment of autism and normal classification. The results showed that the accuracy could reach 87% and which was nearly 20% higher than that of the model combining the wavelet transform and sample entropy in the paper. Moreover, the accuracy of delta (1-4 Hz) rhythm wave was the highest among the four kinds of rhythms. And the classification accuracy of the forehead F7 channel, left FP1 channel and T6 channel in the temporal region were all up to 90%, which expressed the characteristics of EEG signals in autistic children better.

The rhythms of pedagogy: an ethnographic study of parenting education practices

Educational research is increasingly turning to conceptual frameworks from a range of disciplines in order to enrich understandings of education, pedagogy and learning. This paper draws on the work of Henri Lefebvre, specifically rhythmanalysis, to explore the nature and the function of pedagogy. The context is an ethnographic study of parenting education and pedagogic practices in a child and family service in Sydney. Three features of rhythmanalysis are discussed: kinds of rhythm, rhythms and bodies, and oppositions such as repetition and difference, fast and slow and secret and public. Through these concepts, intricate connections between rhythm and pedagogy are identified, including rhythms as providing a pedagogic imperative, rhythms as content and mechanisms at the heart of pedagogy and rhythms as outcomes of learning. The paper argues that rhythmanalysis opens up possibilities for new questions, different kinds of empirical sensibilities and distinctive accounts of pedagogy and learning in continuing education.

A Rare Rhythm Abnormality in Acute Rheumatic Fever: Supraventricular Tachycardia

Different kinds of rhythm and conduction disturbances may be seen during the course of acute rheumatic fever (ARF), one of the most frequently seen disorder being the first degree atrioventricular block. These disturbances, mostly bradycardias, are seen independent of the valvular involvement and they are limited to the acute phase. This case reportb is about a 14 year-old-female patient diagnosed as ARF based on migratory polyarthritis and carditis who also developed supraventricular tachycardia (SVT) on the second day of admission,. The SVT attack was treated with intravenous adenosine successfully a which did not recur during and after anti-inflammatory treatment.

Structure of autorhythmical activity of contractile systems

In the autorhythmical activity underlying many visceral and in early ontogenesis also somatomotor systems, three kinds of rhythms are to be distinguished: basic, reflecting activity of individual organs and of systems of organs, the secondary ones representing result of the frequency and amplitude modulation of the basic rhythms, and the rhythmical periodic activity whose distinguishing feature is alternation of the activity and rest phases. Each kind has principally different frequency characteristics, different organization and localization of sources. The frequency of basic rhythms is determined by the generator inserted into the system. It serves an individual characteristics of the current state of function of the organ, the degree of maturity of its motor apparatus. The secondary rhythm and the rhythm of the periodic activity cycles are provided by oscillatory processes common to the whole organism. Universality of these rhythms promotes integration of functions.

That Boy Red by R. Gilmore

Gilmore, Rachna. That Boy Red. Toronto: HarperTrophy, 2011. Print. That Boy Red by Canadian author Rachna Gilmore is an engaging, lightly humorous, episodic novel suitable for young readers ages 8 to 12. Set on a Prince Edward Island farm during the Great Depression, it tells the story of the MacRae family through the focal character of middle child Red, who is about the same age as the book's intended readers. Red is an excitable lad whose quick temper and jocularity often land him in trouble he later regrets. One immediately thinks of comparisons–Anne Shirley, Tom Sawyer, or Brian O'Connal in Who Has Seen the Wind–but the similarities only go so far. Red's unique quality is a moral compass (coupled with sensible familial guidance) that always steers him back to thoughtfulness and the tone of the book is lighter than some of these classics, being driven more by dialogue than poetic descriptions. The novel's six episodes are distributed throughout the seasons of a calendar year, and each one focuses on Red's relationship with a different family member, which provides Gilmore the opportunity to develop the family as a cast of rounded characters. Ellen, the eldest, is the teacher at the local school and lives with the family. Alex and Mac are Red's older brothers; Alex is away at college, while Mac is slightly older than Red and shares a good-natured rivalry with him. Lucy, or Bunch for short, is the youngest of the family. Other characters, such as Red's stern grandmother Cat-Less Granny, also make appearances.Red's parents are practical, hard working, and possessed of some remarkably effective parenting skills. Times are tough, but it is their steadfast ambition, indeed the family mission, to finance the advanced education of each child with the salary of an older sibling, as he or she gains well-paying employment: Ellen is paying Alex's college fees, Alex will pay Mac's fees, and so forth. The entire family has accepted this vision, but that doesn't mean Red finds school particularly motivating. For him school means enduring the taunts of other boys and studying when he would rather be tinkering in the woodshop. Ultimately, though, he comes to understand the value of education, and this is nicely figured in the final episode when Red goes up in an aeroplane. From a high vantage point, he senses instinctively the freedom of the sky, the connections between places near and far, and the way this new perspective sets him apart from others in the astonished community not brave enough to take the plunge with him. Red's ride in the sky tells us that he will eventually leave his home, but the story itself remains firmly grounded in the locales of the farm and surrounding community, which we see through the varying seasons: the swimming hole in summer, and the snow drifts on the railway tracks in winter. Much of the action involves dashing or trudging along the paths that cross the back lots of neighboring farms or riding to town to meet the train. Overlaid on these comings and goings are the routines of rural life: evening chores, family meals, and church on Sunday. These will not be the most riveting of plot events for readers looking for whizz-bang action, but they serve as a kind of rhythm for the larger story that pulls the reader along. Gilmore's language matches the scale of events in the narrative: direct, with occasional colourful turns of phrase, but not bombastic. The humour does not jump out and surprise the reader, but it serves as a kind of protective blanket that envelopes everything–even serious matters like accidents–and recalls the sense one has as a child, while still absolved of adult responsibilities, that, somehow, things will turn out all right. Gilmore neatly represents the states of mind of a young person who senses the machinations of the adult world without understanding them. In this Bildungsroman, Red begins to encounter the responsibilities of adult life at the same time that he discovers the special place his family has given him. Highly recommended: 4 out of 4 starsReviewer: John HuckJohn Huck is a metadata and cataloguing librarian at the University of Alberta. He holds an undergraduate degree in English literature and maintains a special interest in the spoken word. He is also a classical musician and has sung semi-professionally for many years.

Thronging the Ear: Hopkins and the Counterpoint of Prosody

Thronging the Ear:Hopkins and the Counterpoint of Prosody John Golden Hopkins Quarterly, 38.1-2, published by agreement of the editors in conjunction with Victorian Poetry, 49, no.2, as sharing the common theme, “Prosody.” "I fumble a little at music, at counterpoint, of which in course of time I shall come to know something; for this, like every other study, after some drudgery yields up its secrets, which seem inpenetrable [sic] at first."1 Hopkins, aged thirty-nine, wrote this to Richard Dixon in June, 1883; he would die six years later. There is more than humility in this self-caricature: Hopkins's life-long interest in music took the form of a perpetual amateur's struggle. As a child, he sang rounds and songs written by his father, but he could not read music. He never learned to play an instrument well, but in the last decade of his life he set several poems (usually not his own) to music. He would be seen in his last years at University College, Dublin, sitting at a piano and strumming with one finger, trying out melodies.2 Yet Hopkins has become a central figure in discussions of the relation of music to prosody in particular because of his notion of counterpoint rhythm. Counterpoint as a possibility of poetic rhythm continues to raise questions for prosodic theorists, but Hopkins's own difficulties with counterpoint suggest that productive difficulty itself lies at the root of its application to prosody, indeed at the root of the relation of music to prosody generally. Hopkins's aesthetic generalization of counterpoint, finally, illuminates his innovative sense of the dynamic, layered nature of cognition and self-recognition. It is in the "Author's Preface" of 1883, the year of his letter to Dixon about learning musical counterpoint, that Hopkins's most influential description of "Counterpoint Rhythm" occurs. Hopkins describes a reversal of meter (usually trochees substituted for iambs) for two consecutive feet: [Such a reversal] must be due either to great want of ear or else is a calculated effect, the superinducing or mounting of a new rhythm upon the old; and since the new or [End Page 51] mounted rhythm is actually heard and at the same time the mind naturally supplies the natural or standard foregoing rhythm, for we do not forget what the rhythm is that by rights we should be hearing, two rhythms are in some manner running at once and we have something answerable to counterpoint in music, which is two or more strains of tune going on together, and this is Counterpoint Rhythm.3 The ambiguity left open here—that the reversed feet might indicate simply the poet's "great want of ear"—is not duplicated on the side of the reader: "the mind," Hopkins unequivocally asserts, "naturally supplies the natural or foregoing rhythm" as it hears the "new" one. And yet this dual action is itself an open question for later critics. Thus John Hollander in 1975 urges us to see Hopkins's term less as a "fruitful analogy" than as a "startling metaphor":4 "[N]otice how Hopkins's own metaphors of 'superinducing or mounting a new rhythm on the old' lead him to an actually inaccurate musical analogy. The correct one would be rather one of syncopation." Hollander allows Hopkins a passage out of this semantic cornering by denying Hopkins the aural metaphor. What Hopkins was really thinking of, Hollander explains, was a visual image. "For Hopkins, counterpoint is generated by two musical lines, commensurate in category; but the two kinds of rhythm, the potential or schematic and the actual, are hardly so." Hopkins must have imagined the poetic line supplemented by two "alternative strings of scansion marks," one for the standard and one for the mounted rhythm. "Together, these two strings of syllable markers might have seemed to Hopkins like a staff of musical notation, like two musical lines being simultaneously generated."5 By removing Hopkins's metaphor to the visual realm, Hollander defuses even its power to "startl[e]" us: he makes it another formal notation, a side-effect of mere scansion. Derek Attridge, in The Rhythms of English Poetry, similarly refuses any audible reality...

How to Read Chinese Poetry: A Guided Anthology : Reviewer's Truncated Second Thoughts

How to Read Chinese Poetry: A Guided Anthology:Reviewer's Truncated Second Thoughts David McCraw 1. Apologies for having mangled Prof. Samei's name! 2. Respondents attacked my review—correctly—for its blunt style. Reviewer regrets some curmudgeonly word-choices! 3. Thanks, Prof. Lin, for correcting a citation. 4. Problematic "rebuttals" demand discussion. Prof. Cai's preface—recall—made grand claims for what including Sinographs would do for undergraduates. We questioned that; he rebuts: "McCraw obviously considers the inclusion of the Chinese text unnecessary." His rebuttal reminded me of the guy who complained to his tailor about a button, an epaulet. Tailor: "you're against coats!" With tailors and Sinologists, one watches one's tone—or wears the consequences. Restoring lucidity will take space. Let's pursue just one loose thread, involving Sinographs. Sometimes, Prof. Cai seemed to confuse "characters" with words. He tried to cite Chao Yuen Ren to support a contention that, since traditional Chinese critics didn't use "words," we shouldn't either.1 Well, traditional Chinese critics wrote with brushes made from rabbit's-hair; they offered the briefest and most unsystematic of observations, which their intended audiences apparently understood; and they obeyed imperial taboos. Need we? Prof. Cai's continued insistence on the quasi-magical power of "characters" has unfortunate repercussions. One example must suffice: my review took him to task for misusing Northrop Frye's distinctions among three kinds of rhythm. Rebutting, Prof. Cai ditches Frye for a distinction between "character-based" and "sense-based" rhythm. Changing terms does clarify that (Frye's) metrical rhythm can diverge from "semantic rhythm"; here, Prof. Cai has improved on his previous confusing usages. But we still balk at "character-based rhythm" for prosodic features. What happens when we try to apply this to his beloved "folksongs" and "oral-formulaic" poetry? Did folksongs acquire "character-based rhythm" only after someone wrote them down? Did their singers need literati to inform them how many characters to sing before pausing, to complete a line?? Another reason why modern linguistic usages like "syllable" and "word" often work better than "character." [End Page 58] 4a. Due to editorial error and miscommunication, my response has gotten truncated. No chance to illumine misunderstandings about "Anachronism: Zhuangzi, Dreams, 'Reality' "(Prof. Lian), "Sinographs and Language Change," and "Argument from Less-than-silence: Singing Quatrains" (Prof. Egan). CRI won't allow reference to online forums and enjoins me from online discussion. Readers may contact me, samizdat-style, for fuller response. Note 1. But Chao's humorous apologetic sought only to explain indigenous use to skeptical linguists, not to advocate its adoption in interlingual contexts. Prof. Cai also tries to claim Baxter/Sagart in support, but it would astonish everyone if he could have produced a citation. Even linguists might admire Prof. Cai's semi-magnificent obsession, if only iconolatry did not mislead young readers. [End Page 59] Copyright © 2011 University of Hawai'i Press

Attenuating Effect of Clock Mutation on Triglyceride Contents in the ICR Mouse Liver under a High-Fat Diet

Energy homeostasis is subjected to a circadian control that synchronizes energy intake and expenditure. The transcription factor CLOCK, a key component of the molecular circadian clock, controls many kinds of rhythms, such as those for locomotor activity, body temperature, and metabolic functions. The purpose of the present study is to understand the function of the Clock gene during lipid metabolism in the liver using Clock-mutant mice. Clock-mutant mice with an ICR background were fed a high-fat diet for 13 weeks, and liver triglyceride, serum triglyceride, and serum free fatty acid levels were examined. Triglyceride content in the liver was significantly less increased in Clock-mutant mice on a high-fat diet compared to wild-type mice on a high-fat diet. Acsl4 and Fabp1 mRNA levels in the liver showed daily rhythms in wild-type mice. In contrast, Clock -mutant mice had attenuated daily rhythms of Acsl4 and Fabp1 gene expression in the liver under both normal and high-fat diet conditions compared to wild-type mice. In Clock-mutant mice, suppression of Acsl4 and Fabp1 mRNA in the liver under high-fat diet conditions may have attenuated the accumulation of triglycerides in the liver compared to wild-type mice under the same conditions. In conclusion, the authors demonstrate that mice with a Clock mutation showed less triglyceride accumulation in the liver through the suppression of Acsl4 and Fabp1 gene expression when fed a high-fat diet compared to wild-type mice fed the same diet.

Speech Rhythm in World Englishes: The Case of Hong Kong

This study investigated syllable duration as a measure of speech rhythm in the English spoken by Hong Kong Cantonese speakers. A computer dataset of Hong Kong English speech data amounting to 4,404 syllables was used. Measurements of syllable duration were taken, investigated statistically, and then compared with measurements of 1,847 syllables from an existing corpus of British English speakers. It was found that, although some similarities existed, the Hong Kong English speakers showed smaller differences in the relative syllable duration of tonic, stressed, unstressed, and weakened syllables than the British English speakers. This result is discussed with regard to potential intelligibility problems, features of possible language transfer from Cantonese to English with respect to speech rhythm, and implications for language teaching professionals. considering nonnative patterns of English speech, two paths are generally pursued: segmentai and suprasegmental. This article focuses on the suprasegmental features of language. Speech rhythm is a suprasegmental aspect of pronunciation, those aspects which describe and address features larger than individual speech sounds. English speech rhythm in older native varieties like British and American English is often described as stress timed, which, in basic terms, means that the start of each stressed syllable is said to be equidistant in time from the start of the next stressed syllable. This kind of rhythm is in contrast to syllable-timed languages (e.g., French, Spanish, Cantonese), in which the start of each syllable is said to be equidistant in time from the start of the next. Instrumental studies have, in fact, shown that very little difference can be found between languages thought of as typically stress timed and typically syllable timed (Roach, 1982; Dauer, 1983), and, in fact, Cauldwell (2002) describes English as irrhythmical Whether these descriptions stand up under instrumental scrutiny, they do seem to have some psychological importance for speakers of the languages so described. English spoken with a syllable-timed rhythm

900 What kind of rhythm have patients after radiofrequency maze procedure?

900 What kind of rhythm have patients after radiofrequency maze procedure?

900 What kind of rhythm have patients after radiofrequency maze procedure?

900 What kind of rhythm have patients after radiofrequency maze procedure?

Real-time discrimination of ventricular tachyarrhythmia with Fourier-transform neural network.

We have developed a method to discriminate life-threatening ventricular arrhythmias by observing the QRS complex of the electrocardiogram (ECG) in each heartbeat. Changes in QRS complexes due to rhythm origination and conduction path were observed with the Fourier transform, and three kinds of rhythms were discriminated by a neural network. In this paper, the potential of our method for clinical uses and real-time detection was examined using human surface ECG's and intracardiac electrograms (EGM's). The method achieved high sensitivity and specificity (> or = 0.98) in discrimination of supraventricular rhythms from ventricular ones. We also present a hardware implementation of the algorithm on a commercial single-chip CPU.

Complexity of spatiotemporal activity of a neural network model which depends on the degree of synchronization

Spatiotemporal activity of a hippocampal CA3 model and its dynamic features were investigated. The CA3 model consists of 256 pyramidal cells and 25 inhibitory interneurons. Each pyramidal cell is a single-compartment model which was reduced from the 19-compartment cable model of the CA3 pyramidal cell developed by Traub et al. (1991). Each interneuron is a model which causes tonic responses to constant depolarizing currents. The hippocampal model spontaneously causes four kinds of rhythms, A–D, which depend on the degree of synchronization of neuronal activity. The rhythm A (about 2 Hz) which occurs in a range of strong mutual excitation is spatially coherent, though epileptiform bursts of pyramidal cells propagate from one end of the network to the other in a short period of time. The rhythm B (about 3 Hz) occurs in an intermediate range of the strength of mutual excitation; synchronization of bursts is incomplete and the spatiotemporal pattern is complex. When the mutual excitation is relatively weak, the rhythm C (about 6 Hz) occurs. Burst propagation is not uniform in direction, and the spatiotemporal activity is irregular. The rhythm D (10–35 Hz) occurs in a range of weak mutual excitation when the recurrent inhibition is relatively strong. In this parameter region, pyramidal cells do not cause bursting discharges but irregular beating discharges. The hippocampal model causes phase-lockings and irregular responses to periodic synaptic stimulation depending on its own rhythmic activity and stimulus parameters. Bursting discharges of pyramidal cells are well synchronized in phase-locked responses. Several irregular responses of the rhythms A and B are evidently chaotic; each one-dimensional strobomap of chaotic responses is a non-invertible function with an unstable fixed point. Attractors reconstructed from chaotic responses demonstrate the stretching and folding mechanism.

Temporal correlates of foot-level timing in English and Japanese

Languages of the world are felt to be spoken with different kinds of rhythm. But what is the basis for this impression? Notions like ‘‘stress-timed’’ and ‘‘syllable-timed’’ have been difficult to verify experimentally because rhythm in spoken language rarely yields consistent temporal regularities. Experiments were conducted in which native English and Japanese speakers repeated phrases using a specified rhythm in time with an auditory metronome. Results demonstrate that temporal correlates exist for prosodic units approximately the size of the ‘‘foot,’’ consisting of one relatively strong syllable followed by zero or more weak syllables. Strong (foot-initial) syllables show greater temporal stability than do weak (foot-internal) syllables when the timing of syllables was perturbed by manipulating inherent segmental durations. This is found for both English and Japanese. However, in English, increasing the foot size by the addition of weak syllables is accompanied by compensatory shortening only within the foot, while in Japanese, compensation occurs both within and between adjacent feet, suggesting a weaker role for this unit. By eliciting speech in a rhythmic context, such as ‘‘speech cycling,’’ both language-general and language-specific properties of speech rhythm can be directly measured.

The Phonological Rhythm of Emergent Language: A Comparison Between French and English Babbling

The phonological rhythm of French is characterized by a tendency to syllabic isochrony within an utterance and a clear final lengthening, whereas the rhythm of English is stress-timed. A study of babbling at a turning period of the child's development has shown that the French child acquires adult phonological rhythm quite early in interactive situations. There is a strict initial isochrony followed progressively towards 13 months by a final lengthening which, from 16 months on, is the same as in adult speech. This kind of rhythm is not found in solitary play. A review of the literature on English babbling indicates that things are not so clear in the acquisition of phonological rhythm in this language, as its main characteristic, which is stress, seems to be acquired quite late.

Intonation and Its Parts: Melody in Spoken English

Part I. Introduction: 1. Pitch 2. Accent 3. Intonation Part II. Accentual Prosody: 4. Vowels and syllables 5. The shape of utterances: two kinds of rhythm 6. Accents of power 7. Accents of interest Part III. Melodic Prosody: 8. Profiles 9. Intonations and gesture 10. Parts and their meanings 11. Contours in general 12. Contours in particular Conclusion Appendixes Reference matter.

Rhythm data setting system for an electronic musical instrument

Bar codes representing rhythm data corresponding to rhythm pattern, rhythm progression or a certain kind of rhythm are printed in relation to a musical score, and are read out by scanning with a bar code reader. The rhythm data thus read out are stored in RAMs under the control of a CPU. The rhythm data stored in the RAMs are read out by the CPU and supplied through an amplifier to a loudspeaker, for producing sounds.