Language Rhythm Research Articles

CHASTUSHKA AS A TEXT OF RUSSIAN FOLKLORE LINGUISTICS

Chastushka is a traditional form of Russian folk poetry that encapsulates humor, social commentary, and cultural reflection in a compact verse structure. This study delves into the historical origins and evolution of chastushka, examining its significance in Russian culture. We explore the linguistic features that define chastushka, including its rhyme schemes, rhythm, and use of colloquial language, which offer insights into regional dialects and the socio-linguistic landscape of Russia. The performance aspect of chastushka is also analyzed, highlighting its role in communal gatherings and celebrations, where spontaneity and audience interaction contribute to its enduring popularity. By investigating thematic elements such as love, daily life, and political satire, the research illustrates how chastushka serves as both entertainment and a medium for social reflection. This article underscores the importance of chastushka in understanding not only Russian folklore but also the dynamic relationship between language and culture. Through a comprehensive analysis, this study aims to contribute to the field of folklore linguistics and foster appreciation for this rich cultural tradition.

Fostering Literacy Skills Through Authentic Integration in K-8 Music Classrooms

The natural rhythm and inflection of language offer multiple and authentic ways for music teachers to connect their curriculum with learning in English Language Arts (ELA). While still addressing the National Core Arts Standards, music teachers can connect with ELA skills such as reading, writing, and speaking-listening. In this article, we explore these interdisciplinary intersections and suggest ways in which music teachers can meaningfully and effectively design instruction for authentic integration throughout the K-8 grades. Our focus is to promote integrated music education as a form of professional learning for music teachers. By designing multimodal activities that focus on standards-based learning outcomes, they can also support student success across the curriculum.

The Influence of African Heritage on Afro-American Literary Expression

This research paper explores the profound influence of African heritage on Afro-American literary expression. It begins by examining the historical context, emphasizing the impact of the transatlantic slave trade and early Afro-American literature's retention of African cultural elements. The Harlem Renaissance is highlighted as a pivotal moment that celebrated African roots and set the stage for future literary developments. Central themes derived from African heritage, such as resistance, resilience, and connection to ancestry, are analyzed, illustrating their prominence in both historical and contemporary works. The paper deal with storytelling techniques and narrative structures influenced by African oral traditions, folktales, and myths, highlighting how these elements enrich Afro-American literature. The use of rhythmic language, communal narration, and the call- and-response pattern are discussed as significant aspects that enhance narrative depth and cultural authenticity. The integration of African symbols, music, and communal values as cultural motifs is explored, showcasing how these elements infuse literary works with layers of meaning and cultural resonance. The reclamation of African identity is a key focus, with discussions on Afrocentric perspectives in modern literature, the impact of the Black Arts Movement, and contemporary literary movements. The challenges and opportunities of navigating dual heritage and cultural hybridity are addressed, emphasizing the complexities of identity formation and cultural expression.

Neologisms and borrowings in media texts

INTRODUCTION. The use of neologisms in modern mass media reflects the active process of changing language and speech, the vocabulary reflects people’s desire for faster communication and accelerates the transformation of language rhythm and words, which requires studying the d ynamism of language based on neologisms. The purpose of the study is to determine the role of neologisms and borrowings in media texts in the modern period.MATERIALS AND METHODS. The research materials are the newspapers Argumenty i Fakty, Vedomosti, Izvestia, Kommersant, Komsomolskaya Pravda, Moskovsky Komsomolets, Nezavisimaya Gazeta, Rossiyskaya Gazeta, Expert and Forbes magazines). The methods of linguistic research are used, namely: collection, systematization and generalization, semantic analysis, contextual analysis, interpretative analysis, method of describing lexical innovations.RESULTS AND DISCUSSION. Neologisms are directly related to the modern active processes of changing the Russian language picture. Comprehension of the objects of the surrounding reality and the development of the nominated real and virtual objects, processes, phenomena are reflected with the help of neologisms that create a unique picture of the world for the Russian media space, which is reflected in oral and written speech in the era of digitalization (digitalization). It is difficult to answer the question of whether positive or negative trends manifest themselves with the entry of new words into the Russian language.CONCLUSION. There are five main theories that define the definition of the term “neologism”, and three reasons for the appearance of neologisms and borrowings in modern media texts: fashion, foreign influence and social need. It is proved that the processes of globalization and the development of technology contribute to the fact that the language is expanding due to the appearance of neologisms. It is the lexical composition of the Russian language that is characterized by such processes as the expansion and narrowing of the semantics of the word, which is reflected in the processes of neology.

Complexity of STG signals and linguistic rhythm: a methodological study for EEG data.

The superior temporal and the Heschl's gyri of the human brain play a fundamental role in speech processing. Neurons synchronize their activity to the amplitude envelope of the speech signal to extract acoustic and linguistic features, a process known as neural tracking/entrainment. Electroencephalography has been extensively used in language-related research due to its high temporal resolution and reduced cost, but it does not allow for a precise source localization. Motivated by the lack of a unified methodology for the interpretation of source reconstructed signals, we propose a method based on modularity and signal complexity. The procedure was tested on data from an experiment in which we investigated the impact of native language on tracking to linguistic rhythms in two groups: English natives and Spanish natives. In the experiment, we found no effect of native language but an effect of language rhythm. Here, we compare source projected signals in the auditory areas of both hemispheres for the different conditions using nonparametric permutation tests, modularity, and a dynamical complexity measure. We found increasing values of complexity for decreased regularity in the stimuli, giving us the possibility to conclude that languages with less complex rhythms are easier to track by the auditory cortex.

Exploring the Integration and Innovation Path of Chinese Traditional Music Culture in Popular Percussion Education in Colleges and Universities

Abstract This study explores the integration of Chinese traditional music culture with contemporary percussion education in higher education institutions. It delves into three primary areas: the rhythmic language inherent in Chinese national instrumental music, the acoustic properties of combined percussive instruments, and the distinctive features of percussion music compositions. In response to the evolving trends in popular percussion education at universities, we have designed a curriculum framework titled “Chinese Percussion,” which leverages the abundant percussive resources available. This framework includes a detailed examination of audio signal processing and the extraction of percussion rhythms. Furthermore, we address the significant challenges in teaching percussion at the collegiate level and propose using the music spectrum to direct instructional rhythms. Employing the creative environment of the music classroom as a methodological tool, this study assesses the atmosphere of creativity in college percussion classes before and after incorporating traditional Chinese music elements. With the exception of the sixth dimension (classroom conflict atmosphere), which did not show statistical significance, all other positive dimensions—challenge/involvement, freedom, trust/openness, reflective thinking time, joy, support for creativity, discussion, and adventurous spirit—demonstrated significant improvements. Specifically, the seventh and eighth dimensions showed increases of 0.4121 and 0.6459 points, respectively, in post-test scores. Incorporating Chinese musical elements into percussion teaching not only enhances the uniqueness of the educational experience but also stimulates interest and engagement, thereby fostering the advancement of music education.

THE SUPRASEGMENTAL CHARACTERISTICS OF PUNCTUATION MARKS IN LINGUISTIC ANALYSIS

There is a consistent and growing interest in the ongoing process of converting spoken language into written form. The use of punctuation marks in written communication during the interactive discourse between the writer and the reader allows for the assessment of the human factor, that is, the communicative impact between the writer and the reader. The scientific integration of spoken and written language is currently gaining significant importance.The prosodic aspects of punctuation marks play a main role in linguistics, influencing the rhythm, intonation, and overall expression of spoken language. Prosody refers to the patterns of stress, pitch, and rhythm in speech, and punctuation marks contribute to these prosodic elements in various ways.

Exploring The Phonological Words And Syllable Analysis

This article discusses phonology and syllables in the context of language. Phonology is a branch of linguistics that studies the sounds in language and the way they are organized, whereas syllables are the basic units in spoken language that form the basic structure of words. In this article, we explore the phonological words and syllable analysis, and the importance of understanding these concepts. In the phonological world, sounds in a language are categorized based on phonological characteristics such as voicing, place and manner of pronunciation, and others. This helps us understand how sounds are organized and combined in language to form meaningful meanings. In addition, the study of phonological worlds helps identify similarities and differences between languages ??and understand the basic structure of sounds in a given language. The syllable, as the core unit in spoken language, consists of the onset, nucleus, and coda. Syllable analysis helps us understand patterns and rules in the formation of words as well as the rhythm and phonotactics of language. In syllable analysis, we separate words into syllables and study the common syllable structures in that language. An understanding of syllables also has practical implications in language learning, speech therapy, and teaching language skills. Phonological and syllable analysis methods involve identifying the sounds of a language, analyzing syllable structures, and a comparative approach to comparison with other languages. Understanding these concepts is important in gaining a broader understanding of sound systems in language and how they affect human communication. Thus, this article illustrates the importance of phonological and syllable studies in understanding language structure, highlights the analytical methods used, and demonstrates implications and practical application of this knowledge in the context of language learning, speech therapy, and teaching language skills.

L2 rhythm acquisition and rhythmic transfer in Galician learners of English: A pilot study

Languages have been classified with regard to their rhythm into stress-timed, syllable-timed and mora-timed languages. The aim of this pilot study is to verify the existence of rhythmic transfer from a syllable-timed language, Galician (L1), to the English spoken by Galician learners (L2), as well as to determine whether the proficiency level in the L2 may have an effect on the degree of rhythmic transfer observed. Two groups of six Galician learners of English and two groups of six native speakers of Galician and Southern British English were recorded and analyzed. Rhythm metrics (ΔC, %V, ΔV, CrPVI, and VnPVI) were calculated for all four groups so as to have objective measures to compare the rhythm of the source language (Galician), the rhythm of the target language (English), and the rhythm of the learner language at different proficiency levels. The data show that there is rhythmic transfer between Galician and English L2, and that the degree of transfer decreases as the proficiency level in the L2 increases.

Analisis Pendekatan Struktural Pada Puisi Berjudul “SILHUET” Karya Taufiq Ismail

Poetry is one of the literary genres written in a beautiful and rhythmic language, using words full of meaning and emotions. The purpose of this research is to analyze Taufiq Ismail's poem "Silhuet" using a structural approach, as poetry has a dominant aesthetic function and carries beautiful meanings. This research uses a descriptive qualitative method with a structural approach and data collection techniques such as reading and note-taking. The results of this research are the overall physical and inner structures in Taufiq Ismail's poem "Silhuet." The physical structure analyzed includes the form of the poem, diction, concrete words, language style, and imagery, while the inner structure analyzed includes the theme, tone, mood, and message.

Correlating Language and Music for the Activation of Human Mind

As Heinrich Heine puts it, “Where words leave off, music begins”. Music and language belong to a common origin i.e. sound, a form of energy. In other words, language and music are two sons of the same mother. Language and music both engage the auditory system, utilizing similar neural pathways to process sound and rhythm. Just as language relies on patterns of sounds and syntax to convey meaning, music utilizes melody, harmony, and structure to evoke emotions and communicate messages. A language always talks about the speech sounds that are produced by the vocal cords while music is the outcome of non-oral sounds or sometimes may be the oral sounds. Both language and music have the ability to elicit powerful emotional responses in individuals, stirring feelings of joy, sadness, or nostalgia. The rhythmic and melodic elements in music can enhance language processing by providing a rhythmic framework that aids in memorization and comprehension. Though language and music are not always complementary to each other but one seems incomplete in absence of the other. Language and music share the capacity to convey complex ideas and narratives, allowing us to express our thoughts and experiences in nuanced and creative ways. Studies have shown that exposure to music can improve language skills, including vocabulary acquisition, syntax comprehension, and verbal fluency. The use of prosody, intonation, and rhythm in language mirrors the melodic and rhythmic components of music, highlighting their interconnectedness. Musical training has been found to enhance linguistic abilities, as musicians often demonstrate better pitch discrimination, phonological awareness, and language learning skills. Language and music can both serve as cultural markers, reflecting and preserving the traditions, values, and identities of different communities. The shared neural processes involved in language and music suggest a deep-rooted correlation, as they tap into fundamental mechanisms of auditory perception and cognitive processing. The present research article is a descriptive study on the relationship between language and music and their effects on the mind and body of the human beings. In the first section of this paper, the linguistic aspects that are akin to music have been attempted to be pointed out. Similarly, in the following section, the core of the music has been discussed in context to language. In the third section, a comparative study of language and music has been done on the basis of the points discussed in the preceding sections. Finally, the paper also discusses as how the amalgamation of the two i.e. language and music can be helpful in activating the human mind and the body.

Rhythm of the First Language: Dynamics of Extracellular Vesicle-Based Embryo-Maternal Communication in the Pre-Implantation Microenvironment.

One of the most critical steps in mammalian reproduction is implantation. Embryos with an impaired capacity for embryo-maternal crosstalk are thought to have a reduced potential for implantation. One agent of embryo-maternal communication is extracellular vesicles (EV). EVs are lipid bilayer-bound biological nanoparticles implicated in intercellular communication between many of the known cell types. In the current study, we isolated EVs from trophoblast analogue JAr spheroids and supplemented the EVs with receptive endometrium analogue RL95-2 cells to simulate pre-implantation embryo-maternal dialogue. The transcriptome of the endometrial cells was examined at 30 min, 4 h and 48 h intervals using Oxford Nanopore® technology. At the time points, 30 min, 4 h and 48 h, the endometrial cells showed a significantly altered transcriptome. It seems trophoblast EVs induce a swift and drastic effect on the endometrial transcriptome. The effect peaks at around 4 h of EV supplementation, indicating a generalized effect on cell physiology. Alterations are especially apparent in biological pathways critical to embryonic implantation, such as extracellular matrix-receptor interactions and cytokine-receptor interactions. These observations can be helpful in elucidating the dynamics of embryo-maternal communication in the pre-implantation period.

Methods for investigation of L2 speech rhythm: Insights from the production of English speech rhythm by L2 Arabic learners

Rhythm metrics can detect second language development of target-like speech rhythm but interpretation of the results from metrics in learners’ speech is problematic because the mapping of metrics to underpinning phonological features is indirect. We investigate speech rhythm in first language (L1) Arabic / second language (L2) English, which differ in key properties contributing to the percept of rhythm: unstressed vowel reduction and syllable structure. Our production data are interpreted using additional measures, of stressed and unstressed vowels and of consonant cluster realization, alongside standard rhythm metrics; this combination facilitates disambiguation of competing interpretations of the metric results. The findings confirm the importance of using multiple rhythm metrics to study L2 speech rhythm and demonstrate how simple additional measures can guide interpretation of their results. In this study the metrics results showed that the speech produced by the L2 speakers, regardless of their length of residence in the UK, exhibited lower vocalic durational variability than the speech produced by the native Arabic and English speakers. However, closer inspection of the degree of vowel reduction by the native and nonnative groups confirms that no single metric captures the complex nature of the observed L2 rhythm patterns. Future L2 studies are advised not to draw firm conclusions about the degree of vowel reduction and consonant cluster realization in L2 speech based solely on the results of the rhythm metrics.

The Need for Digital Teaching Materials of Poetry Texts for Junior High Schools Based on the Creative Process

This study aims to find out the teaching materials needed by junior high school teachers in overcoming the low quality of Indonesian language learning outcomes at the primary and secondary education levels, especially in producing creative works. The results of this study are used as a basis for developing teaching materials that can encourage students to express their thoughts, feelings and ideas through beautiful, rhythmic language, which has literary values and politeness which is done creatively. The research method used is mixed research methods (mixed method). The research instruments used were interviews and questionnaires. The data sources are productive young poets and teachers who are members of the Cirebon District Middle School Indonesian Language Teacher Conference. The results of this study note that the creative process in writing poetry is: (1) capturing information, both external phenomena or thoughts, self-feelings, internal in nature; (2) processing information until it settles and experiences incubation; (3) produce poetry texts with a stimulus from poetic ideas and poetic knowledge; (4) make edits based on reflection on the fulfillment of the building blocks of poetry so that readers can understand and enjoy them. The creative process in writing poetry needs to be poured into teaching materials needed by teachers to train students in developing students' creative abilities in producing poetry texts. Teaching materials presented digitally can help teachers improve learning efficiency.

The role of rhythm in science-animated videos: construing entities and bridging across different semiotic modes

Recent decades have witnessed the increasing popularity of animation used for science education. However, the affordances of animation are still yet to be described in a comprehensive manner. Working on a corpus of online science animated videos, this article firstly proposes a visual rhythm system for animation, and then examines the convergence and divergence of the rhythm in animation and language at different levels of analysis. The author found that different visual rhythms in animation function to construe different quantities and properties of entities. In terms of the intermodal relations between animation and language, at shorter wavelengths, animation can be in sync with the rhythm in language, with different ‘beats’ in animation converging with different phonological units in language; at longer wavelengths, the larger rhythmic pattern of animation can function to scaffold the generic structure of language. This article enriches the systematic description of the meaning-making potential of animation, which also informs empirical studies focusing on the effectiveness of animation used for science education.

УКРАЇНСЬКА ТЕМАТИКА В РАННІЙ ТВОРЧОСТІ ЮЛІУША СЛОВАЦЬКОГО

The article pays attention to the fullest possible identification of the content background of the early work of Juliusz Słowacki “Ukrainian Duma”, dated [Vilno, August 26, 1826], which literary experts consider to be part of the Vilnius-Kremenets creative period. Emphasized attention is paid to the fact that the poet begins his work at a time when the Ukrainian trend, later defined as the “Ukrainian school” in Polish romantic writing, has already clearly manifested itself in the work of its leading representatives. It is emphasized that the poem contains elements of folk songs that were sung throughout Ukraine in the 16th – 18th centuries. Consistency with the persuasive arguments of Ukrainian folklorist R. Kyrchiv is asserted, namely: the novice author does not imitate, adapt or rephrase Ukrainian folk songs, but only interprets them as material for a poetic synthesis; he also does not use those song texts on which B. Zaleski’s poetry is based. It is emphasized that the author of “Ukrainian Duma” testified to his early interest in Polish and Ukrainian folk song primary sources. It is speculated that J. Słowacki looked closely at Polish translations of Ukrainian song texts, their reprints and various kinds of adaptations, and also showed interest in Stavropol literature and the works of contemporary poets, in particular A. Malczewski. Typological parallels with shades of poetry by A. Czahrowski and B. Zimorowicz are given. Attention is drawn to the artistic features of “Ukrainian Duma” – interestingly composed, as for a novice poet, and sufficiently original integral work written in a rhythmic language (choreated eight-syllable). In the sylabotic system, the two-syllable foot, in which the rhythmic accent falls on the first syllable, is usually odd. The poem has 195 lines and has all the appropriate plot elements. The textual canvas of the “Ukrainian Duma” by J. Słowacki was analyzed and interpreted according to its conventional division into two parts: “I. Farewell” and “II. Despair”, the unfolding of which is accompanied by a narrator who forms the structure of the story and ensures the integrity of the composition; he performs the roles of narrator, observer and witness. In order to pay more attention to the plot-compositional organization of the poem, a division into separate fragments with conventional names corresponding to each aspect is also applied. Three fragments are included in the first part: “Runko and Hanka – narrator’s presentation of the characters”, “Farewell of lovers”, “Attack of the Tatars”. The following six fragments are included in the second part: “Runka’s Path to Hanka”, “Despair”, “Reflections on the Fate of a Cossack”, “Despair”, “Sad News...” and “Afterword”. The specified type of narration, used by the writer, that is, he belongs to the omniscient objective auctorial narrator who conducts the story and intervenes in it: dialogue with the characters in the form of questions-answers, reasoning, reflections, evaluations, comments and summaries. It is about the clothes and musical instrument (bardon) of the main character Runka. The research cites reviews of Polish and Ukrainian scientists, as well as individual fragments of translations of the “Ukrainian Duma” from Polish to Ukrainian by M. Zisman and R. Lubkivskyi. The author of the article is inclined to see in the poem “Ukrainian Duma” by J. Słowacki, which has overcome a difficult path to the reader (first published in 1866), as inspired student sketches of poetry for later mature lyrical and dramatic texts, which are full of glorious and tragic pages of past events and visions of the future of Poland and Ukraine.

The indiscreet charm of Eccentrism

The article is devoted to a centennial of Eccentrism, a collection of manifestos by the artistic group FEKS (The Factory of the Eccentric Actor), created and published in 1922. The author focuses on the problem of the collection’s originality as a manifesto and the personalities of its individual authors: G. Kozintsov, G. Kryzhitsky, L. Trauberg, and S. Yutkevich. The history of their writing and the manifestos themselves are considered from the viewpoint of FEKS’s nascent aesthetic platform and in a broader context of the manifesto tradition of the Russian avant-garde movement. The article offers a hypothesis that Eccentrism was conceived by the group’s founders as a kind of FEKS periodical, but that project was doomed once Kryzhitsky and Yutkevich left the group in the summer of 1922. Further analysed are each of the four articles in the collection, their interplay in getting the group’s message across, and the role of each of the four directors in the genesis of FEKS. All four contributions create a consistent message; Eccentrism combines a sharp and rhythmic language, typical of avant-garde manifestos, with a snappy imperative tone and juvenile self-advertisement.

Aesthetics of the musical and rhythmic sense and its relation to Arabic poetry

Music and poetry played an important role in life and created its own space. Also, they crystallized more clearly and their role have became more effective with the evolution of human civilizations. From Greeks Era to this time, the relationship between them has become coherent and continuous and it's not limited to celebrations, anniversaries, feasts or rituals, but rather took their place on stage and contributed in building and developing society. The Arabic language sciences student cannot separate sounds, performances, prose, grammar, rhetoric, not even morphology , literature or criticism, as they are coherent elements and cannot be separated, and all of them seek an important purpose, which is to understand the Holy Qur'an and the noble Prophetic hadiths in addition to Arabic poetry. The researcher believes that there is a relationship between rhythm in music and rhythm in Arabic language (the science of performances) in Arabic poetry. The study summarizes the rhythmic and musical sense in Arabic language and the relationship between them, since they represent one unit in the history and course of modern Arab culture.

Rhythm in verse

Abstract This paper on rhythm is an adaptation of the semiotic research on rhythm in versified language presented as one of the seven types of poetic iconicity in Chapter 5 of The Communicative Mind: A Linguistic Exploration of Conceptual Integration and Meaning Construction (L. Brandt 2013) entitled “Effects of poetic enunciation: Seven types of iconicity”. Defined by the linebreak, poetic language use engenders distinctive interpretive affordances, some of which manifest themselves as emphatically iconic sign relations contributing to the expressive whole of a text. In “Effects of poetic enunciation”, I explore syntactic, semantic, phonetic, rhythmic and rhetorical aspects of the phenomenon of semiotic iconicity, and its counterpart aniconicity, in language characterized by an intentionally (line)broken syntax and contribute a systematic account of the different types of semiotic iconicity relations, understood as figural or diagrammatic similarity relations – or, conversely, potent dissimilarity relations, i.e. aniconicity – between expressive means and semantic content. Rhythmic iconicity is the fifth type of iconicity in this typology.

Characterizing first and second language rhythm in English using spectral coherence between temporal envelope and mouth opening-closing movements.

This study investigated the rhythmic differences between first and second language English from 19 native speakers of American English and an equal number of native speakers of Mandarin. Speech rhythm was viewed from MacNeilage's frame/content theory. The spectral coherence between the temporal envelope and the mouth opening and closing kinematics was computed to operationalize the rhythmic frame. The spectral centroid, spread, rolloff, flatness, and entropy were calculated to reveal the frequency distribution patterns in the coherence. Using a binary logistic regression model, these measures were collectively found to be effective in characterizing rhythmic differences between native and non-native groups (A' = 0.71 and B″D = -0.06). Specifically, the native group was significantly higher than the non-native group in terms of spectral centroid and spread, whereas the native group was significantly lower than its non-native counterpart in terms of spectral flatness and entropy. Both groups were not significantly different in spectral rolloff. Possible explanations for the result as well as the efficacy of employing the aforesaid coherence in speech rhythm research in general were discussed.