Original Rhythm Research Articles

Frailty is a better predictor than age for shockable rhythm and survival in Out-of-Hospital cardiac arrest in over 16-year-olds

ObjectiveTo determine if the Clinical Frailty Scale (CFS) predicts out-of-hospital cardiac arrest (OHCA) outcomes better than age?Design: The analysed data was collected as part of a larger study run by NCEPOD on hospital admissions for OHCA in 2018. Study selection was OHCA in over 16-year-olds with restoration of spontaneous circulation (ROSC) for >20 mins and who were admitted to hospital, or who died in the emergency department. Patients from hospitals in England, Wales and Northern Ireland were identified using standard coding for cardiac arrest. CFS, age and gender were examined against two binary outcomes (non-shockable rhythm and survival) Results304 patients with a known CFS, known original rhythm, and known outcome were included. Younger patients had lower CFSs, as a continuous variable (Pearson correlation coefficient 0.44, p-value < 0.001) and in CFS groupings of 1–3, 4–6, 7–9 (p-value < 0.001). CFSs were higher (p-values < 0.001) for both non-shockable rhythm and death (median CFS was 4 for death and 2 for survivors). Logistic regression analysis of continuous scale CFS showed the association with non-shockable rhythm remained when adjusted for age and sex (odds ratio [95% CI]; age adjustment 1.46 [1.28, 1.68] p-value < 0.001) and remained for survival when adjusted for age alone (odds ratio [95% CI]; 1.60 [1.36, 1.88] p-value < 0.001) and when adjusted for age, sex and initial rhythm combined (1.45 [1.21, 1.73] p-value < 0.001). 3.2% of patients had resuscitation against their advanced-care-directives. 12.9% (23/178) of hospitals had electronic systems which shared advance-care-directives with ambulance services and primary care. ConclusionA higher CFS is a prognostic indicator in adult OHCA independent of age. Frail individuals have a lower likelihood of a shockable rhythm and poorer survival. Sensitive sharing of this information with patients when discussing advance-care-directives may enhance shared decision-making.

Federico Garcia Lorca’s «Canciones Españolas Antiguas»: dialogue of the poet with Flamenco tradition

The relevance of the study The author’s interaction in his creative work with folklore is one of the main ways of shaping national composers’ musical school. Spanish music culture is not an exception. There was discovering the uniqueness of flamenco culture through the searching of musical personal identity during the end of the XIX–first decades of the XX century. Original rhythms, modes and harmony specialty were inspiring for composers who searched the code of musical national composers’ school. Federico Garcia Lorca was one of them. His work «Canciones Españolas Antiguas» became not only restrained documentation of folkloric finds. His scientific interest was realized there with his own well-known authored style what provoked us to have some doubts about song’s origin. Was that songs stylization or authentic? How high was composer’s influence percent? The answer can be founded only through assesses the knowledge of flamenco tradition. We could find out real author’s creative participation thanks determining authentic flamenco components in the songs. These are the reasons and became the basis of the proposed article.&#x0D; The main objective of the study is to characterize the collection "Spanish ancient songs" by F. D. Lorca as creative project which arose at the intersection of the tradition of flamenco and author's style.&#x0D; The methodology of study includes historical method (in searching of context and historical background creation of collection «Spanish ancient songs»), biographical method (for clarify details of creation the collection, musical environment what was connected with Lorca’s views on the folk), comparative (for the comparing folkloric sources with author’s variants) structural-functional, system analysis, genre-style what allows to give characteristic of collection and to prove it’ artistic integrity as a song cycle.&#x0D; Results and conclusions. In the process of studying «Canciones Españolas Antiguas», it became clear that the balance of authenticity and authorial activity in this case can be ascertained only by relying on the knowledge of general folklore paradigms.We found out genres as sources for building the collection which were taken from flamenco culture. The «oriental» intonation nature of melodies saturated with melismas, mostly of a dance nature, is preserved. But the composer does not soften all these characteristic features, trying to bring them to the panEuropean musical standard, on the contrary, he strengthens them by using dissonant harmonies. He brings the rhythmic sophistication of authentic samples to the point of unpredictability thanks to the frequent use of hemiola, accents on weak parts, and syncopation. Impetuous performance and rubato, characteristic of the para cantar form of life (flamenco music focused on the singer), the composer conveys with the help of laconic remarks about tempo, dynamics, articulation, touches.

Relationship of Circadian Rhythm in Behavioral Characteristics and Lipid Peroxidation of Brain Tissues in Mice.

This study aimed to explore the relationship among several indices of circadian rhythms and lipid peroxidation of brain tissue in mice. After entrainment of 4-week-old mice, one group was disrupted their circadian rhythms for three days and the other group for seven days (n = 10, respectively). After a recovery period, the Y-maze test, the elevated plus maze test, the tail suspension test, and the forced swimming test were conducted. To assess lipid peroxidation in brain tissue, thiobarbituric acid reactive substances were measured in the cortex, hippocampus, and cerebellum. When circadian rhythms were disrupted and adapted back to their original rhythm, the recovery time of the 7-day disruption group (median 3.35 days) was significiantly faster than one of the 3-day disruption group (median 4.87 days). In the group with a 7-day disruption, mice that had recovered their rhythms early had higher malondialdehyde levels in their hippocampus compared to those with delayed recovery. The entrainment of circadian rhythms was negatively correlated with the malondialdehyde level of brain tissue. The behavioral test results showed no differences depending on the disruption durations or recovery patterns of circadian rhythms. These results suggest that disruption types, recovery patterns, and the entrainment of circadian rhythms are likely to affect oxidative stress in adolescents or young adult mice. Future study is needed to confirm and specify these results on the effects of circadian rhythms on oxidative stress and age-dependent effects.

Six-metre rhythms as a polyethnic melogeographic system (of rhythm-syllabic fragmentation in spring songs and fast sung verses of Ukrainians and Belarusians)

In the education of academic musicians, the 6-bar measure is not mentioned as an object worthy of special attention – from an early age children are taught to count mainly in 2-bar and 3-bar measures. School science is unaware of the fact that in the folk music of Ukrainians and Belarusians a significant number of works are "served" by the 6-bar meter, which is well suited for both moving dances and choruses, as well as for lyrical musical expressions.&#x0D; Ethnomusicologists, analyzing thousands of archives of recordings of rural (indigenous) melodies of two neighboring ethnic groups, found huge arrays of songs based on the 6-meter monochronic model. The lion's share belongs to the wedding qi-class (more than 9 thousand), a smaller one – to the spring (1300). Both cycles created quantitatively and geographically powerful arrays of moths.&#x0D; Vesnyanky densely occupied the expanses of Podillya and Pripyat Polissya (I. Klymenko. Atlas of ritual melodies of Ukrainians, vol. 2, map A19). Instead, among Belarusians they are found locally in the eastern zone.&#x0D; Wedding songs formed a huge polyethnic macro-array that united Ukrainians and Belarusians (ibid., maps A46-47). 5700 wedding samples belong to tyradic forms, 3500 are strophic forms.&#x0D; In other cycles 6-dole formulas are found only locally (winter, Kupala, harvest). In the lyrical layer its popularity is insignificant (for example, the Ukrainian story "I had one daughter"). Choruses in 6-measure are also known (well-known Ukrainian "Choboty", "Yakiv", Belarusian "Lyavonikha", "Kamarynska" and others).&#x0D; The original rhythm formula is very simple (in conventional digital coding it is | 2 2 2 2 2 2 2 ||, where 2 is equal to a quarter duration). But it gave a bunch of derivative variants, formed mainly in two ways - rhythmic-syllabic splitting of initial positions (| 1111¦2 2 2 2 || = V44 and other variants) and prolongation (lengthening) of individual positions, more often end positions (| 2 2 2 2 4 4 || and other less common variants).&#x0D; The range of various forms developed within wedding songs is relatively well studied - several articles were published in a special issue of "Problems of Ethnomusicology-8" (2013). Instead, vesniankas derived from the 6-dole model are described only in some regional varieties (Podillia and Polissya) – therefore they became the main analytical object of the article (with musical illustrations). The chorus pieces of 6-bar base are also commented. The conclusions about the polystadiality of rhythmic modifications of the model, caused by the drumming algorithm in different genres and regions, are made. Correlations between verbal accents and the choice of rhythmic figures are observed.&#x0D; The conclusions present a general genre picture of this typological group of melodies and outline the areas of their distribution, emphasize the prospects for in-depth study of ritual meloforms as arguments of the "archaeological type".

Koskien valjastamisesta patojen purkuun

The latest phase of river restorations is the closure of small hydroelectric plants. The precedent of this stage in Finland is the Hiitolanjoki river, which is a transboundary river crossing the Finnish-Russian border before flowing to Lake Ladoga. This article focuses on the shift in the hydrosocial rhythm of the Hiitolanjoki river from industrial to post-industrial rhythm. In a waterbody with the industrial rhythm, dams regulate the flow and speed of water in line with the demand for electricity. Current dismantling of dams and restoring its original rhythm is a result of the persistent work of local actor-network which has been able to create a wide supporting network including actors from the Hiitolanjoki river to the European Union’s and the Finnish government’s water and fish stock policies. The case of Hiitolanjoki river shows that achieving results requires an active and committed local network of actors.

Rhyme and Rappability: Synthetic Isochrony in Russian and English on the Example of Lermontov

Structured auditory forms such as verse, oratory speech and song may be seen as forming a continuum with natural spoken utterances and written language. Spoken, recited and sung text performances can be distinguished in terms of memorability and spontaneity. Previously conducted research into “singability” as a criterion for verse translation adequacy has been extended to include the concept of “rappability”. A theoretical overview and a review of developments in English and Russian poetry over the last two centuries culminates in a concise assessment of the works of three contemporary rap artists. The isochrony hypothesis predicting that utterances will be temporally organised into segments perceived as of equal or equivalent duration is evaluated for English and Russian on the example of a project to translate a poem by Lermontov into English and perform both versions against the same composed background track. A synthetic approach to investigating isochrony in language evaluates the flow of a text performed against a constant tempo background track. A discussion is presented of the issues involved in translations which attempt to preserve the original rhythm and phrasing. The process of performing “rapped” recitals of the Russian and English texts is described. The comparison of rhythmic features of Russian and English can inform future research and the preparation of texts for various functions, helping to predict their memorisability and effectiveness in eliciting the attention of audiences or interlocutors.

Automatic Synthesis Technology of Music Teaching Melodies Based on Recurrent Neural Network

Computer music creation boasts broad application prospects. It generally relies on artificial intelligence (AI) and machine learning (ML) to generate the music score that matches the original mono-symbol score model or memorize/recognize the rhythms and beats of the music. However, there are very few music melody synthesis models based on artificial neural networks (ANNs). Some ANN-based models cannot adapt to the transposition invariance of original rhythm training set. To overcome the defect, this paper tries to develop an automatic synthesis technology of music teaching melodies based on recurrent neural network (RNN). Firstly, a strategy was proposed to extract the acoustic features from music melody. Next, the sequence-sequence model was adopted to synthetize general music melodies. After that, an RNN was established to synthetize music melody with singing melody, such as to find the suitable singing segments for the music melody in teaching scenario. The RNN can synthetize music melody with a short delay solely based on static acoustic features, eliminating the need for dynamic features. The proposed model was proved valid through experiments.

FEASIBILITY STUDY OF HUMAN BIORHYTHM TO IMPROVE SPORTS TRAINING INJURY

ABSTRACT Introduction: Sports injury often occurs in sports teaching and training, which directly affects the performance of the human body function and the improvement of sports performance. Objective: To study the feasibility of improving the biorhythm in sports training injury. Methods: 120 young athletes who are engaged in track and field training in traditional track and field sports schools in Liaoning Province are taken as the research objects. The effective data of the time and types of sports injuries, and the birth date, month and date of the injured athletes during training from 2005 to 2006 were collected. Results: Results show that in the relationship between human body three rhythm and the athlete's sports injury, the probability of sports injury in triple height is smaller; regarding the biological rhythm in one or more than one period or critical period, the damage probability is 95%, showing that most athletes sports injuries occur at a low and critical period stage. Conclusions: The arrangement of sports training must be adapted to the original biological rhythm of the human body, and the corresponding monthly cycle training plan should be made according to changes that occur in athletes’ physical cycles to avoid injury during training. Level of evidence II; Therapeutic studies - investigation of treatment results.

Recovery From Conduction Abnormalities After Aortic Valve Replacement Using Edwards Intuity

PurposeThis study investigated the incidences of various conduction abnormalities after rapid-deployment aortic valve replacement using Edwards Intuity (Edwards Lifesciences, Irvine, CA) valve and the temporal changes of these abnormalities during the postoperative course. DescriptionWe modified the procedure by placing additional anchoring sutures and using a 5-mm videoscope to achieve “complete annulus fitting.” Direct visual inspection by videoscopy inside and outside the valve guaranteed complete annulus fitting. EvaluationOverall 167 patients who underwent rapid-deployment aortic valve replacement during the study period were included in the analysis of postoperative conduction abnormalities. After rapid-deployment aortic valve replacement, third-degree atrioventricular block occurred in 18 patients (10.8%), but 15 patients recovered to sinus rhythm at median postoperative 10 days. Left or right bundle branch block occurred in 67 patients (40.1%), but 44 patients returned to their original rhythm at median postoperative 12 days. Delayed-onset conduction abnormalities occurred in 35 patients (21.0%) at median postoperative day 4, and spontaneously regressed in 28 patients. ConclusionsThe incidence of conduction abnormalities after rapid-deployment aortic valve replacement was high, but most of these abnormalities spontaneously recovered. These good results may be attributed to our implantation technique.

Analysis of the Russian Translation of the “Shijing” Song “Longing for the Husband”

Translating into Russian and studying “Shijing” (“The Book of Poetry”) is a significant milestone in Russian-Chinese literature exchange which was initiated in the 19th century when Wang Xili school was founded. In the USSR, V. Alexeev school was established, in which one of the most famous translators was A. Shtukin. His Russian translation of “Shijing” is considered the first and the most complete one. The object of research in this article is Russian translation of the song in “Wang kingdom's songs” “Longing for the Husband”| by A. Shtukin. “Longing for the Husband” is the brightest folk song in “Gofen” (“Characters of Kingdoms”) in Shijing. In this article, the analysis of the graceful and most poetic translation of “Longing for the Husband” by A. Shchukin is carried out by commenting the poem, analyzing the translation of the original into modern Chinese by Cheng Junying and Jiang Jianyuan and comparing Russian and English translation. The author attempted to make a secondary improved translation of the original poem on the basis of A. Shtukin’s translation preserving the original rhythm and rhyme wherever possible. The secondary translation is closer to the original poem, it preserves and delivers the genuine resplendence of the poem. It also preserves A. Shtukin’s amphibrach and his individual style which has a lot of tune and distinguished style of classical Russian poetry. The author only introduces some lexical adjustments due to which it will be easier for a Russian reader to understand the poem.

Предостерегая от «академической книжности»: из истории перевода на абхазский язык русской классической литературы

The article examines the experience of Abkhaz translators, writers and scientists in translating Russian classics into the Abkhaz language. It is shown that literary translation in Abkhazia developed in stages and in parallel with domestic literature, becoming its integral part, revealing the potential expressive capabilities of the native language. Briefly describing the legacy of the founder of Abkhaz literature D. I. Gulia, who was engaged in the translation of liturgical literature in the early 20th century, the author dwells on the most significant achievements of modern translators of Russian classical literature. Important theoretical and practical observations concerning the translation technique are presented, variants of some texts in the Abkhaz language are given, by examples of which the article illustrates the most significant discoveries and achievements of translators in the field of transferring the figurative system of the original text, rhythm and meter (when it comes to verse speech), composition, general tonality of the work.

СТИЛЬОВІ ТА ЖАНРОВІ ЕЛЕМЕНТИ ГУЦУЛЬСЬКОГО Й ГУРАЛЬСЬКОГО ФОЛЬКЛОРУ В ТВОРЧОСТІ УКРАЇНСЬКИХ І ПОЛЬСЬКИХ КОМПОЗИТОРІВ

The purpose of the article is to find out the key features for authentic music of the mountain areas in Ukraine and Poland and to characterise the influence of Hutsul and Gural folklore on the work of outstanding Ukrainian and Polish composers in the latter half of the 20th century. The research methodology is based on the theoretical, historical, comparative and analytical methods. The article applies methods of generalisation and concretisation of the scientific material. They are to understand the influence of genre and stylistic elements of Hutsul and Gural folklore on the work of significant Ukrainian and Polish composers. The scientific novelty of the study is in deciding the stylistic and genre elements of Hutsul and Gural folklore in the works of composers of Ukraine and Poland of the research period. The main features of Hutsul folklore, namely free improvisation of the melody line, original rhythm system and unique colouristic, have masterfully transformed into the creative principles and stylistic and genre structure of prominent Ukrainian composers’ musical works. They are V. Barvinsky, N. Nyzhankivsky, M. Kolessa, and A. Kos-Anatolsky. The features of Gural folk melodies can be traced in the genre and style within the works of Polish artists as K. Szymanowski and W. Kilar. The article has learnt that Hutsul and Gural’s folklores are tied by the dance music, lively rhythm and a wide range of variations in melodies. Conclusions. Reinterpretation of the genre and stylistic elements of Hutsul and Gural folk melodies is a force to recreate vivid images of archaic Carpathian folklore in the works of Ukrainian and Polish composers. The works of V. Barvinsky, N. Nizhankovsky, M. Kolessa, K. Shimanovsky and others are patterns of the national musical style, demonstrating the highly artistic transformation of Hutsul and Gural folklore. Kolomyjka in F-sharp minor by N. Nyzhankovsky, Three Kolomyjky by M. Kolessa, Harnasie Ballet by K. Szymanowski introduce new structural and compositional trends based on national traditions.

La posición del verbo en la frase y el ritmo en el sistema de Alviero Niccacci

A partir de la interpretación dada al onomástico divino veterotestamentario y la partícula waw en las formas verbales reconocemos, dentro del sistema desarrollado por Alviero Niccacci para el análisis del verbo hebreo, el criterio de la posición del verbo en la frase como responsable de la generación del ritmo en los textos bíblicos, tanto narrativos (transiciones temporales) como poéticos (merismos). Criterio que pensamos capaz de alcanzar la ondulación vibrante del origen, ritmo original (Yhwh) y originante (waw/ἰw-hwh), propio de las lenguas primitivas, abriéndose en dos direcciones: con la waw y el Tetragrama, en el contacto con el egipcio, en cuanto lengua afroasiática; y con la categoría de actualidad en el mensaje, hasta nuestra existencia (verbo ser) contemporánea. De este modo, en la posición del verbo, se reconoce una teología implícita en la sintaxis; el ritmo primitivo, original y originante.From the interpretation given to the divine veterotestamentary onomastic and the waw particle in verbal forms we recognize within the system developed by Alviero Niccacci for the analysis of the Hebrew verb, the criterion of the position of the verb in the phrase as responsible for the generation of rhythm in biblical texts, both narrative (temporal transitions) and poetic (merismus). Criterion that we think is able to achieve the vibrant ripple of the origin, original rhythm (Yhwh) and originant (waw/ἰw-hwh), typical of primitive languages opening in two directions: with waw and Tetragram in contact with the Egyptian as an Afroasiatic language, and with the category of actuality in the message until our contemporary existence (verb to be). Thus, at the position of the verb an implicit theology is recognized in the syntax, the primitive original and originant rhythm.

Non-human animals detect the rhythmic structure of a familiar tune.

The musical motives of a song emerge from the temporal arrangement of discrete tones. These tones normally have few durational values, and are organized in structured groups to create metrical patterns. In the present study we show that the ability to detect the rhythmic structure of a song, while ignoring surface changes, is also present in other species. We familiarized rats (Rattus norvegicus) with an excerpt of the Happy Birthday song. During test, we presented the animals with (i) the same excerpt of the familiarization, (ii) a constant-pitch version of the excerpt that reduced melodic intervals to only one tone (i.e., isotonic) but preserved rhythmic structure, and (iii) a rhythmically scrambled version of the excerpt that preserved the melodic intervals. The animals discriminated the rhythmically scrambled version from the versions that preserved the original rhythm. This demonstrates that rats were sensitive to at least some parts of the rhythmic structure of the tune. Together with previous findings, the present set of results suggests that the emergence of rhythmic musical universals might be based on principles shared with other species.

Uma nova tradução para Ovídio, Amores 1.8

A presente tradução é parte uma primeira revisão do trabalho tradutório apresentado em dissertação de mestrado (SOUZA, 2016). A proposta foi traduzir os dísticos elegíacos de Ovídio em uma forma que ecoasse o ritmo original do poema latino. Para isso, partiu-se da proposta de Carlos Alberto Nunes, a substituição de longas em posição princeps por tônicas. Porém, nesta tradução, ao contrário da de Nunes, permitiu-se também o seguimento desta tônica por apenas uma átona, formando troqueu que pode ser executado em performance como espondeu. Dessa maneira, a possibilidade de variação no metro foi mantida, mas os dátilos foram mantidos fixos no quinto pé do hexâmetro e segundo hemistíquio do pentâmetro. A cesura obrigatória do pentâmetro datílico foi executada com a aproximação de duas tônicas e enfatizada com espaçamento obrigatório, que induz o leitor ao reinício do ritmo. Para manter o andamento do metro, foram utilizados recursos como deslocamento de tônica, elisão entre o fim do hexâmetro e início do pentâmetro, elisões em geral. A presente revisão apresenta alterações no hexâmetro, que procura executar as suas cesuras, porém com o resultado de várias cesuras femininas. Além disso, o tom do poema procurou maior leveza e fluidez, com a eliminação de hipérbatos radicais e o rearranjo de informações dentro do dístico, que é a unidade dentro do poema. O poema traduzido, oitavo do livro 1, apresenta a figura da alcoviteira, personagem comum na comédia nova latina, que aqui é a presentada como uma bruxa que influencia a amada a extorquir os seus amantes e a desprezar o eu-poético, que sendo poeta, não tem como dar presentes valiosos além dos próprios poemas.

Translations of Bolesław Leśmian’s ballads in the context of comparison between the Polish and the Ukrainian versification

The main goal of this article is to analyze translations of Bolesław Leśmian’s ballads in the context of comparison between the Polish and the Ukrainian versifi cation. This author examines the text of Świdryga i Midryga (Hopster and Bobster/ Whirlus and Twirlus) translated by Yuriy Bedryk, Marianna Kiyanovska, Yulia Lyskun, Viktor Koptylov, Vasyl Borovy, because its original rhythm is evidence that the Ukrainian culture inspired the poet in terms of sound. She also compares translations of the poem Żołnierz (Soldier) made by Rostyslav Radyshevski and Yulia Lyskun.

Patterns of Heart Rate Dynamics in Healthy Aging Population: Insights from Machine Learning Methods

Costa et. al (Frontiers in Physiology (2017) 8255) proved that abnormal features of heart rate variability (HRV) can be discerned by the presence of particular patterns in a signal of time intervals between subsequent heart contractions, called RR intervals. In the following, the statistics of these patterns, quantified using entropic tools, are explored in order to uncover the specifics of the dynamics of heart contraction based on RR intervals. The 33 measures of HRV (standard and new ones) were estimated from four hour nocturnal recordings obtained from 181 healthy people of different ages and analyzed with the machine learning methods. The validation of the methods was based on the results obtained from shuffled data. The exploratory factor analysis provided five factors driving the HRV. We hypothesize that these factors could be related to the commonly assumed physiological sources of HRV: (i) activity of the vagal nervous system; (ii) dynamical balance in the autonomic nervous system; (iii) sympathetic activity; (iv) homeostatic stability; and (v) humoral effects. In particular, the indices describing patterns: their total volume, as well as their distribution, showed important aspects of the organization of the ANS control: the presence or absence of a strong correlation between the patterns’ indices, which distinguished the original rhythms of people from their shuffled representatives. Supposing that the dynamic organization of RR intervals is age dependent, classification with the support vector machines was performed. The classification results proved to be strongly dependent on the parameters of the methods used, therefore determining that the age group was not obvious.

Subtitling Song Lyrics in Films – Pilot Reception Research

Abstract The following article is based on a study into the reception of subtitled song lyrics in audiovisual translation. The study involved nine musicals subtitled into Polish and screened at a recurring cultural event every two weeks over a span of eight months. After each screening, a survey was distributed to investigate the perception of the target text: whether the audience could spot if the subtitles rhymed and respected the original rhythm, and whether the presence of rhymes and rhythm in song subtitles influenced audience satisfaction. The total number of songs tested was 88, and the total number of distributed surveys was 209. The results showed that the viewers were unable to recognize the presence or absence of the musical match – they tended to respond that the subtitles matched the music regardless whether the actual musical match of the translation was 70% or 5%. A high percentage of the surveys (40%) showed lack of attention towards the presence of rhymes. The responses of those who declared that they paid attention to rhymes were somewhat correct. Lastly, the results showed that the presence of the musical match and rhymes has little or no effect on the satisfaction with the subtitles.

Translation Strategies in the Chinese and Indonesian Translations of English Christmas Carols

This paper analyzed the translations of three English Christmas carols of Silent Night, Away In A Manger, and The First Noel, as the most popular carols that have been translated into many languages, adopted from the hymnal book by the Church of Jesus Christ of Latter-day Saints. The English versions were compared with their Chinese and Indonesian translations. The analysis was performed by classifying the stanzas individually based on Guerra (2012) fifteen translation strategies. Identification of equivalence as the most common strategy in the Chinese translation could be because of numerous “unnatural” English expressions in Chinese language and culture, whereas for the Indonesian translation, omission was the most common strategy, which helped to retain completeness, or the overall meaning of the stanzas, or completeness. Omission was also used to leave out redundant or insensible information throughout the translated carols in both languages and contributed to successful maintenance the original rhythm and rhyme in the translation of the three carols. Findings of this study could be further validated by analysing more Christmas carols in Chinese and Indonesian Languages, and other languages. Researchers could also look precisely into the cultural elements that could potentially affect this type of translation.

Choreographic code of short stories by Volodymyr Korniychuk

In the article on the material of the short stories «Chrysanthemum» (in the rhythm of the waltz), «Adducted Ksenia, abducted ...» (Semi-extravaganza in the rhythm of the tango), «Oleksa» (Tragedy polka on two sides), «We are Dancing”(In the rhythm of the incendiary hopak) by contemporary Ukrainian writer VolodymyrKorniychuk explores the specifics of the artistic embodiment of the choreographic material at different levels – genre, plot creation, mood-intonation, problem-thematic, visual, rhythmic, syntactic. Each work, taking into account the subtitles, has its own choreographic code, which reveals a hidden melodic line, emphasizes the event, marks the dynamic pattern of the piece in the appropriate sense. So, thanks to the dance (its motives) Volodymyr Korniychuk's works are enriched with new psychological meanings, creating an original figurative model. The dance in short stories is implemented in various artistic and semantic formats. The waltz in «Chrysanthemums» drivesthe plot and is the culmination of the relations of heroes, an eloquent exponent of the characters’ feelings. Artistic mastering of the dance form of tango in the short story «Adducted Ksenia, Abducted ...»is a successful attempt of updating modern small prose by the author. The musical form of the polka is skillfully sustained in the work of «Oleksa»; the rhythmic pattern of the short story«We are Dancing» is more expressive with the help of verbal repetitions (fragments of rehearsal work with the children's choreographic collective). Despite of the different aspects of the development of choreographic constructions, the original rhythm is common for short stories. An intermedial approach to the analysis of short stories by Volodymyr Korniychuk provides a diverse and deep reading of complex texts, where music and choreographic material is an organic component of a literary work, a means of characterizing the heroes, their complex world of feelings and emotions. Paratextuality sets the reader to a promising dialogue with the text, maximizes the decoding of choreographic indicators, verbalized in the text, which are rhythm, figures, tact, dramatic situation, tonality of interpersonal relationships of dance performers.