Original Rhythm Research Articles

An Experimental Investigation of Rhythmic Irrationality

Abstract The present paper investigates ‘rhythmic irrationality’ in the medium of recited ‘word’, as this is defined by Aristoxenos and Dionysios Halikarnasseus in three rhythmic contexts: that of the anapaest, of the dactyl, and of the trochee (choreios). For this purpose, computer experiments have been devised, one for each of the aforementioned irrationalities: against the background of a monitored metronome, a line in each rhythm is initially recited in the rational mode. The line is subsequently recited another seven times, with the podic duration which is to suffer diminution or augmentation, in steps of eighths of the time unit. The eight vocal renderings of each line are then assessed psychoacoustically, in order to locate: (a) the point at which our hearing detects the onset of irrationality, and (b) the point at which a shift from the original rhythm to another is sensed.

2. Marketing Communication Tools and Cultural Tourism in the Northeast of Brazil: the ‘forró pé de serra’ of Salvador/BA

The aim of this study is to discover how forró artists/bands in Salvador-BA, who work with forró pé de serra - considered the original rhythm and form in which execution of the music is based on the accordion, zabumba and triangle - use marketing communication tools to disseminate their work, reach their target audience and exert an influence on the cultural tourism market. The article presents the cultural tourism market in the northeast, forró, concepts of cultural production and marketing (communication and advertising) to set against the participants’ insights. This research, an exploratory and qualitative multiple case study, interviewed three artists/bands for this purpose. As a result, the range of marketing communication used by the actors of this research and their influence on the cultural tourism market was observed. Different uses were identified on account of their management styles. Bands which have greater knowledge and use of marketing and communication tools had a wider audience and higher profits in the groups studied. Furthermore, this research helps to reveal how forró production in Salvador-BA operates.

A Translation from German into English of Joseph von Eichendorff's Romantic Novel Ahnung und Gegenwart (1815) by Joseph von Eichendorff

Reviewed by: A Translation from German into English of Joseph von Eichendorff's Romantic Novel Ahnung und Gegenwart (1815) by Joseph von Eichendorff Erlis Wickersham Joseph von Eichendorff. A Translation from German into English of Joseph von Eichendorff's Romantic Novel Ahnung und Gegenwart (1815). Ed. and trans. Dennis F. Mahoney and Maria A. Mahoney. Lewiston, NY: Edwin Mellen Press, 2015. 426 pp. It is a notable event for students of Romanticism and general readers alike that renowned scholars Dennis F. Mahoney and Maria A. Mahoney have prepared the first English translation of Ahnung und Gegenwart (1815). Indeed, it is the first translation of this unjustly neglected novel into any language at all. The authors hope that this groundbreaking example of a late Romantic narrative with its ethereal and musical poetic inclusions will serve as a text for college classes in several disciplines while opening the way for specialists in comparative literature and other humanities or social sciences to integrate consideration of this novel into their scholarship. The sturdy paperback format of this book with its attractive youthful photograph of Eichendorff is both practical and reasonably priced. It offers a competent introduction consisting of a biography and a welcome overview of influences on his life and work. There are also accurate assessments of his place in the Romantic era and modern scholarship. Finally, the authors offer interpretations of salient aspects of the text to guide general readers as they approach an unfamiliar story. The authors provide informative notes throughout the text. They appear on the pages where individual items need elucidation rather than at the end of the book. This benefits general readers who may find endnotes cumbersome. It also tends to minimize intrusion on the narrative flow. Notes sometimes refer to secondary works pertinent to a particular passage. They serve the function of a selected bibliography and do not intrude on the translators' intention to provide an approachable story for contemporary readers. In a literary work of this kind a translator must decide the vexing question of whether to render the familiar poetry in its original form or to give prose translations. Happily for future readers, the Mahoneys successfully retain the original spirit of Eichendorff's language while keeping the English poetic lines as close to the original as possible. Here is one of many lovely examples: "Oh valleys wide, oh heights / Oh forest green so fair, / In pains and my delights / I found sweet [End Page 297] refuge there" (145). The German reads: "O Täler weit, o Höhen / O schöner, grüner Wald / Du meiner Lust und Wehen / Andächtiger Aufenthalt." Another example is "Mild air comes down blue and flowing / Springtime, springtime it must be" (165), and, in German, "Laue Luft kommt blau geflossen, / Frühling, Frühling soll es sein." When the translators depart from the poetic form of a poem, as they do in the ballad "Der Reitersmann," they explain their rationale: "The following long ballad … has an 'ABAB' rhyme scheme with an irregular rhythm. As with other long ballads within the novel, we have elected to concentrate on the story line, with rhymes for the second and fourth lines, while following Eichendorff's original rhythm as far as possible" (320). The task of translating Eichendorff is complicated not just by the great familiarity of his language but also by the disarmingly simple emotions and phraseology of the original. Indeed, the poetry is so musical that composers have always been attracted to it. Many Germans think of these poems as folk songs rather than the achievement of one person. Another difficulty of translation concerns the rendering of the novel's title into English, which the translators neatly sidestep by keeping the original German. While the notes that accompany the narrative elucidate the action, they also provide comparisons to other literary works, and these can be very helpful. To illustrate the scope of such notes, here is a straightforward example from chapter 14. Friedrich is looking at "a collection of old paintings that he had only recently purchased and … had planned to enjoy" (232). One of them is a surprisingly vivid depiction of Genevieve: "and the sun shines splendidly, everything making music in...

TRANSFORMASI MUSIK CALEMPONG UNGGAN KE DOMAIN KOMPOSISI IMPRESSIONIS UNGGAN

The music composition "Impressioniss Unggan" through the construction of musical material, issued an "impression" of the result of the merger of the original rhythm and tone of the music Calempong Unggan in modern musical harmony system vertically and horozintal. Then the musical understanding detected and understood due to phsikoakustik analysis or any listener to hear the music thoroughly enters into the depths of music. The aim of the Impressionists was to "explain the music, not to describe the music, not for reflection object but an emotional reaction to the object. Also interpret impressions through search found from reality". Mystery behind the reality of the music that you want, impressionist is the antithesis of a realist. Keywords: transformation , music of Calempong, impressionist Unggan

Difference & Modernity of Lee YounTaek’s Adaptation of Shakespeare’s Works in Hamlet and MunJeInGan YeonSan

Lee YoonTaek can be regarded as the representative playwright and director of Korea in adapting Shakespeare’s works with Korean traditional style. He, in his plays and performances, has tried to restore traditional theatre by connecting Shakespeare works with Gut and traditional entertainments. Lee YounTaek has supported Oh TaeSuk’s theatrical movement of “Korean Racial Theatre” by announcing that Korean theatre should restore the ‘Korean-ness’ in producing performances on the stage. This ‘Korean-ness’ means the original emotion, rhythm and movement of Koreans on the theatrical performance. This means his positive attitude of agreement, inheritance and cooperation for Oh TaeSuk’s theatrical movement. Lee YounTaek has continued to experiment in adapting Shakespeare’s Hamlet in his own style of direction by means of ‘Gut.’ He introduces supernatural ‘inspiration’ of Gut in several scenes to cure madness or psychological instability, which can create the uniqueness of his theatrical world. And he tries to overcome the nihilistic result of the last scene in Shakespeare’s original works in which most of major characters should die without any vision of salvation. Instead, Lee lets Hamlet rise to heaven by tearing white textile ritually, the symbol of death, after his death as the scapegoat for the purgation of the world. The audience can feel successful exorcisement of skillful Gut by watching Hamlet’s role as a Korean shaman(Mudang) in the last scene. Lee endeavors to use his dialectical method in connecting the tradition and the modern, the Oriental and the Western, and Shakespeare and the traditional Gut. By doing so, Lee is able to produce the synthesis from the mixture of two different elements in his performance of MunJeInGan YeonSan. He inserts a lot of motifs of Shakespeare works such as Hamlet and Macbeth. Different from Hamlet, MunJeInGan YeonSan is composed of historical anecdotes of King YeonSan which reminds us of similar motifs of Hamlet and Macbeth. YeonSan, by using Guts, tries to solve his mother’s regrets by which she could not leave for the world of death. Accordingly, the audience can enjoy opposite elements simultaneously, which can create the synthesis in theatrical effects dialectically. Also, Lee describes YeonSan as extremely decadent character who searches for murder and sexuality to the limit without any vision of salvation. YeonSan’s nihilistic attitude in contrast with Hamlet’s positive one, can be said to create modernity by showing destructive ending in spite of its major structure of traditional Gut.

Tra-la-Lyrics 2.0: Automatic Generation of Song Lyrics on a Semantic Domain

Abstract Tra-la-Lyrics is a system that generates song lyrics automatically. In its original version, the main focus was to produce text where stresses matched the rhythm of given melodies. There were no concerns on whether the text made sense or if the selected words shared some kind of semantic association. In this article, we describe the development of a new version of Tra-la-Lyrics, where text is generated on a semantic domain, defined by one or more seed words. This effort involved the integration of the original rhythm module of Tra-la-Lyrics in PoeTryMe, a generic platform that generates poetry with semantically coherent sentences. To measure our progress, the rhythm, the rhymes, and the semantic coherence in lyrics produced by the original Tra-la-Lyrics were analysed and compared with lyrics produced by the new instantiation of this system, dubbed Tra-la-Lyrics 2.0. The analysis showed that, in the lyrics by the new system, words have higher semantic association among them and with the given seeds, while the rhythm is still matched and rhymes are present. The previous analysis was complemented with a crowdsourced evaluation, where contributors answered a survey about relevant features of lyrics produced by the previous and the current versions of Tra-la-Lyrics. Though tight, the survey results confirmed the improvements of the lyrics by Tra-la-Lyrics 2.0.

The Animator’s Body in Expanded Cinema

Building on phenomenological studies of the body and feminist structural materialist film theory and practice, this article proposes that performed methods of direct-on-film animation shape novel choreographies and produce original filmic patterns and rhythms. The author draws a parallel between Foucault’s disobedient ‘non-normative’ body and non-standardized interventions with film technology. The article analyses the innovative choreographies that arise from rotoscoping techniques, direct-on-film practices and expanded cinema performances. Focusing specifically on Free Radicals (Len Lye, 1958) and Reel Time (Annabel Nicolson, 1973), the author uses these analyses to shed light on her own performance of making films by moving in unusual ways, in time with technologies, and marking directly onto the film surface with the animated body. While engaging with structural materialist questions of film form, process and materials, this article departs from such modernist concerns to propose that the performance of filmmaking offers opportunities to explore the tenacity and vulnerability of particular bodies. The author suggests that performed filmmaking is equally about the traces of actions made on film and the unusual choreography that brings these marks into being.

Neural correlates of musical creativity: differences between high and low creative subjects.

Previous studies of musical creativity suggest that this process involves multi-regional intra and interhemispheric interactions, particularly in the prefrontal cortex. However, the activity of the prefrontal cortex and that of the parieto-temporal regions, seems to depend on the domains of creativity that are evaluated and the task that is performed. In the field of music, only few studies have investigated the brain process of a creative task and none of them have investigated the effect of the level of creativity on the recruit networks. In this work we used magnetic resonance imaging to explore these issues by comparing the brain activities of subjects with higher creative abilities to those with lesser abilities, while the subjects improvised on different rhythmic fragments. We evaluated the products the subjects created during the fMRI scan using two musical parameters: fluidity and flexibility, and classified the subjects according to their punctuation. We examined the relation between brain activity and creativity level. Subjects with higher abilities generated their own creations based on modifications of the original rhythm with little adhesion to it. They showed activation in prefrontal regions of both hemispheres and the right insula. Subjects with lower abilities made only partial changes to the original musical patterns. In these subjects, activation was only observed in left unimodal areas. We demonstrated that the activations of prefrontal and paralimbic areas, such as the insula, are related to creativity level, which is related to a widespread integration of networks that are mainly associated with cognitive, motivational and emotional processes.

An Anthology of Modern Italian Poetry: In English Translation, with Italian Text. (Texts and Translations, 25) by Ned Condini, Dana Renga

MLR, 105.4, 2010 1167 build a Canadian identity, the latter tomaintain a Catholic French Canadian one. She cogently argues that the giftedRoy was no victim but rather a beneficiary of this power struggle, successfully manipulating both sides, not just as a survival tactic, but as a source of power and pleasure' (p. 19). Roy was thus able to shape the open bilingual and bicultural identity thatwould ultimately be the basis of her outstand ing achievement as a francophone author successfully bridging the 'two solitudes' of Canadian writing in French and in English. Chapman then concentrates on Roy's fictional and autofictional depiction of the play of power relations in a diglossic educational environment, focusing on the teacher as thedesignated vector of opposing colonial narratives (anglophone or francophone), but also as a force for their transformation where the identity of the other' (including aboriginal, metis, and immigrant) iswelcomed and valued. She follows thiswith a particular emphasis on the issue of language, examining the communicational difficulties of Roy's protagonists and the inequalities of power thereby displayed. This reflection on the problematic aspects of interlingual and intercultural relations is subsequently reoriented to an analysis of theways inwhich translation intoEnglish has simultaneously widened the ambit and modified perceptions of Roy's ceuvre across itsdiverse Canadian readership. Chapman then concludes with a discussion of excerpts from Roy's 1940-46 pan-Canadian journalism commissioned by the Quebec-based Bulletin des agriculteurs, and the later transmutation of some of this material in fictional texts such as La Riviere sans repos (1970). Roy's criss-crossing ofCanada is argued as both personally formative and paradigmatically exemplary, developing her lifelong search, born of the duality of herManitoban upbringing, for more fluid and more open forms of identity, while also constructing an itinerary readable theoretically as a movement produced by colonial power relations thatprefigures and explores the possibilities of the postcolonial' (p. 18). Chapman's book offers new areas of significant reflection to Roy specialists, while simultaneously opening up her work to a wider range of readers interested in postcolonial studies, translation studies, and language policy, the latter still an area of significant tension within Canada, notably but by no means exclusively inQuebec. Extensive quotation, including original and translated excerpts from Roy's corpus, supports Chapman's analysis. It is to be hoped that the extracts of Roy's original French will encourage all those not already familiar with her work to explore further the poignant clarities of her unique literaryvoice. University of Leeds Rachel Killick An Anthology of Modern Italian Poetry: In English Translation, with Italian Text. Ed. and trans, by Ned Condini. Introduction and notes by Dana Renga. (Texts and Translations, 25) New York: Modern Language Association of America. 2009. xxxvii+431 pp. $11.95. ISBN 978-1-60329-032-6. This dual-language anthology comes as a most welcome contribution to a still limited corpus of Italian poetry in translation. It brings together the work of thirty-eight Italian poets from the end of the nineteenth century to n68 Reviews the contemporary period, some translated for the first time. Canonical texts such as Guido Gozzano's 'La signorina Felicita owero la felicita, Dino Campana's 'Chimera', and Pier Paolo Pasolini's 'Le ceneri di Gramsci' are included alongside lesser-known works by poets such as Gian Pietro Lucini, Roberto Sanesi, and Luigi Fontanella. Women poets are particularly well represented and integrated into the anthology, from Amelia Rosselli, Antonia Pozzi, and Maria Luisa Spaziani to Sibilla Aleramo and Amalia Guglielminetti. There are, however, some notable omissions, especially Vittorio Sereni and Attilio Bertolucci, who, as central protagonists for the development of the lyric form, one would expect to find represented alongside contemporaries such asMario Luzi and Franco Fortini. Ned Condini's translations are highly readable and he skilfullymoves between different registers and styleswhile maintaining a consistency of voice across the work of individual poets. Considerable effort is also made to preserve something of the original rhythm and metrics, with the translator opting for themost suitable equivalent rhymes or half-rhymes in English, and often playing very effectively with assonance and consonance. An emblematic example comes in Condini's translation of D'Annunzio's 'La pioggia nel...

Song recognition without identification: When people cannot "name that tune" but can recognize it as familiar.

Recognition without identification (RWI) is a common day-to-day experience (as when recognizing a face or a tune as familiar without being able to identify the person or the song). It is also a well-established laboratory-based empirical phenomenon: When identification of recognition test items is prevented, participants can discriminate between studied and unstudied test items. The present study demonstrates this finding in the realm of music. A song RWI effect is reported across 4 experiments, despite very low identification rates in each. The effect was found with unidentifiable song fragments (Experiment 1), with song notes removed from their original rhythms (Experiment 2), and with songs unidentifiable from their tapped out rhythms (Experiments 3 and 4). Theoretical implications of these results are relevant to both the study of familiarity-based recognition and the study of music cognition. (PsycINFO Database Record (c) 2009 APA, all rights reserved).

Donepezil-Induced Adverse Side Effects of Cardiac Rhythm: 2 Cases Report of Atrioventricular Block and Torsade de Pointes

Acetylcholinesterase inhibitors (AChIs) are widely used in the treatment of mild-to-moderate Alzheimer's disease (AD), but their cholinergic effects could generate adverse side effects in the cardiovascular system. This report presents the cases of 2 patients who experienced adverse side effects of cardiac rhythm with QT prolongation caused by Donepezil. Both of them improved to the original rhythm and shortened QT intervals after the discontinuation of Donepezil. The present cases suggest that the cholinergic effects of Donepezil could induce adverse side effects on cardiac rhythm and careful consideration is needed for the patients treated by Donepezil.

Temporal interactions between cortical rhythms

Multiple local neuronal circuits support different, discrete frequencies of network rhythm in neocortex. Relationships between different frequencies correspond to mechanisms designed to minimise interference, couple activity via stable phase interactions, and control the amplitude of one frequency relative to the phase of another. These mechanisms are proposed to form a framework for spectral information processing. Individual local circuits can also transform their frequency through changes in intrinsic neuronal properties and interactions with other oscillating microcircuits. Here we discuss a frequency transformation in which activity in two co-active local circuits may combine sequentially to generate a third frequency whose period is the concatenation sum of the original two. With such an interaction, the intrinsic periodicity in each component local circuit is preserved – alternate, single periods of each original rhythm form one period of a new frequency – suggesting a robust mechanism for combining information processed on multiple concurrent spatiotemporal scales.

The Bible and the Caesurae of Time

Abstract I The Sabbath The Sabbath, the sabbatical year, and the jubilee are all fundamental Biblical commandments which have in common the fact that they structure time according to the same original rhythm of six units of work followed by a unit of rest. In fact, here it is a question of one and the same principle applied successively to three temporal cycles: the succession of days, the succession of years, and the succession of epochs. The Sabbath, the basic temporal unit, confers its particular cadence to the passing of days, which would otherwise be amorphous and which, if left to themselves, would all resemble each other. The sabbatical year (shmita) interrupts the course of years and institutes a festive exception in which the earth and its inhabitants are delivered from the habitual servitude which governs their relations. The jubilee (yovel) comes at the end of a historical period (fifty years represent on average the time of a generation and a half, the time it takes for an individual to be born, to grow, to procreate, and to see his children attain adulthood) and inaugurates a new historical period. However, in contrast to the Sabbath and the shmita, which occur at the beginning of the seventh moment of the cycle (the Sabbath begins on the evening of the sixth day, while the shmita begins on the first day of the first month of the seventh year), the jubilee begins at the start of the fiftieth year and not of the forty-ninth. From the point of view of the succession of historical epochs then, the jubilee marks not the end of a cycle but already the beginning of the following one. While the Sabbath and the shmita come in a way to fulfil and to crown the unity of time, the jubilee inaugurates a new phase, which is unknown with respect to the one that precedes it.

Letter by O’Rourke Regarding Articles, “Prevalence of Long-QT Syndrome Gene Variants in Sudden Infant Death Syndrome,” “Cardiac Sodium Channel Dysfunction in Sudden Infant Death Syndrome,” and “Contribution of Long-QT Syndrome Genes to Sudden Infant Death Syndrome: Is It Time to Consider Newborn Electrocardiographic Screening?”

HomeCirculationVol. 116, No. 4Letter by O’Rourke Regarding Articles, “Prevalence of Long-QT Syndrome Gene Variants in Sudden Infant Death Syndrome,” “Cardiac Sodium Channel Dysfunction in Sudden Infant Death Syndrome,” and “Contribution of Long-QT Syndrome Genes to Sudden Infant Death Syndrome: Is It Time to Consider Newborn Electrocardiographic Screening?” Free AccessLetterPDF/EPUBAboutView PDFView EPUBSections ToolsAdd to favoritesDownload citationsTrack citationsPermissions ShareShare onFacebookTwitterLinked InMendeleyReddit Jump toFree AccessLetterPDF/EPUBLetter by O’Rourke Regarding Articles, “Prevalence of Long-QT Syndrome Gene Variants in Sudden Infant Death Syndrome,” “Cardiac Sodium Channel Dysfunction in Sudden Infant Death Syndrome,” and “Contribution of Long-QT Syndrome Genes to Sudden Infant Death Syndrome: Is It Time to Consider Newborn Electrocardiographic Screening?” Michael F. O’Rourke Michael F. O’RourkeMichael F. O’Rourke St. Vincent’s Clinic, University of New South Wales, Sydney, Australia Search for more papers by this author Originally published24 Jul 2007https://doi.org/10.1161/CIRCULATIONAHA.107.697540Circulation. 2007;116:e92To the Editor:I read with interest the papers by Arnestad et al1 and Wang et al,2 as well as the editorial by Berul and Perry,3 which rekindle debate on neonatal assessment of long-QT syndrome as an underlying cause of sudden infant death syndrome. The authors appear to presume that ventricular fibrillation (VF) is responsible for the lethal event, and they liken this to sudden death in adults with ischemic and other cardiac disease.As supervisor of cardiac activities in the ambulance service for the Australian state of New South Wales (population, 6.3 million), I had the opportunity to review 12 490 cases of sudden cardiac arrest in which ECG monitoring was performed with defibrillator pads or paddles.4 VF was the original rhythm in 40% of adults, but in <5% of young children. Hospital survival for VF in adults was ≈13% but zero for infants over the 10-year period.Our findings provide no enthusiasm for mass ECG or genetic screening, or for focus on tachyarrhythmia with consideration of β-blocker therapy or defibrillator implant. Findings do support the majority view that a respiratory event is the primary cause of most sudden infant death syndrome cases. Attention to respiratory issues (ie, position in crib, location of pillow and bedclothes, passive smoking) have led to a dramatic fall in the occurrence of sudden infant death syndrome in Australia.5Before health authorities promote any screening or treatment plan aimed at prevention of VF in infants, it is desirable that they first question their assumptions and provide evidence that infantile VF is a correctable problem in society.DisclosuresNone.1 Arnestad M, Crotti L, Rognum TO, Insolia R, Pedrazzini M, Ferrandi C, Vege A, Wang DW, Rhodes TE, George AL Jr, Schwartz PJ. Prevalence of long-QT syndrome gene variants in sudden infant death syndrome. Circulation. 2007; 115: 361–367.LinkGoogle Scholar2 Wang DW, Desai RR, Crotti L, Arnestad M, Insolia R, Pedrazzini M, Ferrandi C, Vege A, Rognum T, Schwartz PJ, George AL Jr. Cardiac sodium channel dysfunction in sudden infant death syndrome. Circulation. 2007; 115: 368–376.LinkGoogle Scholar3 Berul C, Perry J. Contribution of long-QT syndrome genes to sudden infant death syndrome: is it time to consider newborn electrocardiographic screening? Circulation. 2007; 115: 294–296.LinkGoogle Scholar4 Adelstein BA, O’Rourke MF, Love A. Out-of-hospital VF in children: frequency and outcome. Circulation. 1998; 98 (suppl 1): I-140.MedlineGoogle Scholar5 Dwyer T, Ponsonby AL. The decline of SIDs: a success story of epidemiology. Epidemiology. 1996; 7: 323–325.MedlineGoogle Scholar Previous Back to top Next FiguresReferencesRelatedDetails July 24, 2007Vol 116, Issue 4 Advertisement Article InformationMetrics https://doi.org/10.1161/CIRCULATIONAHA.107.697540PMID: 17646591 Originally publishedJuly 24, 2007 PDF download Advertisement SubjectsCardiopulmonary Resuscitation and Emergency Cardiac CareCongenital Heart Disease

The development of rhythm at the age of 6–11 years: non-pitch rhythmic improvisation

In the statistical and transcriptional analyses reported in this exploratory study, original rhythms of 6–11-year-old children (N = 36) were examined. The hypotheses were based on a new model of musical development, and tested empirically using non-pitch rhythmic improvisation in a MIDI-environment. Several representational types were found in cluster analysis. The types are comparable to those found in earlier studies of rhythm. A dimensional conflict appeared between grouping and metre, and was solved in the last substage (10–11 years). Age was found to be a significant factor in the development of the hierarchy of form, the amount of different rhythm patterns, the metrical hierarchy, as well as the understanding of the relation of grouping and metre in rhythmic improvisation. The results supported the hypotheses that, in the first substage, children focused on either the surface (rhythmic figures) or deep (metric hierarchy) structures of the event. In the next substage, surface and deep structures started to become coordinated, and by the last substage, they were fully integrated.

Native American Picture Books of Change: The Art of Historic Children's Editions (review)

Reviewed by: Native American Picture Books of Change: The Art of Historic Children's Edition Connie A. Jacobs (bio) Rebecca C. Benes . Native American Picture Books of Change: The Art of Historic Children's Edition. Santa Fe: Museum of New Mexico Press, 2004. xvi + 163 pp. Two events in the early 1920s, one very public and one seemingly insignificant ushered in a century of radical changes for Native people. The public event was the 1924 long-overdue awarding of U.S. citizenship to Native people, followed in 1934 by the Howard-Wheeler Indian Reorganization Act. The founding of AIM and the passage of the Indian Civil Rights Act in 1968 and the subsequent [End Page 123] awarding of land claims to tribes are outcomes directly attributed to the beginning of civil rights for Native people begun in 1924. Similarly, the publication of Taytay's Tales in 1922, written by Elizabeth De Huff and illustrated by Fred Kabotie, marked another major shift, this one in governmental educational policies, which initiated a quiet revolution in Indian education. Why would an illustrated children's book by an Anglo author and teenage Hopi artist be a watershed event? The answer to that question is the subject of Rebecca C. Benes's beautifully illustrated book. Benes, a children's librarian and gallery owner, profiles the picture books used in federally run Indian Boarding Schools after the highly critical 1928 Meriam Report exposed the paucity of relevant cultural materials being used in BIA boarding schools. Benes's study is an overview of the changes in BIA curriculum under the leadership of Willard W. Beatty, appointed in 1936 as BIA Education Director. The administrators, linguists, writers, and artists involved in implementing Beatty's new directives for Indian education make up a virtual "who's who" of important figures in twentieth-century Native education and art. The list includes: • Policy makers: John Collier, commissioner of the BIA, and William Beatty, BIA Education Director • Writer: Ann Nolan Clark, author of over 20 children's books about Native people • Translators: Robert W. Young and William Morgan, editors of the first Navajo dictionary; Edward Kennard, a BIA linguist; and Emil Afraid-of-a-Hawk, a Lakota translator • Art teachers of Native students who became the illustrators for the books: Dorothy Dunn, Santa Fe Indian School; Lloyd Kiva New, Cherokee, Phoenix Indian School • Indian Illustrators: Andrew Standing Bear, Lakota; Oscar Howe, Lakota; Fred Kabotie, Hopi; Alan Houser, Apache; Charles Loloma, Hopi; Harrison Begay, Navajo; Velino Herrera, Zia Pueblo Under Collier's direction, Beatty initiated positive changes in BIA curriculum materials with his introduction of heretofore missing [End Page 124] culturally appropriate materials for Native students. Benes documents the picture and bilingual books that resulted from this momentous educational policy shift. However, she cautions, "This is not a study of Native American education" (4), which is only peripheral to her focus. Instead, she concentrates on the development of children's picture books for Native children and how they evolved from De Huff's collection of grandfather stories illustrated by Kabotie in 1922 to Pablita Velarde, Santa Clare, who in Old Father, The Storyteller, 1960, was both the author and the illustrator of her book and to the Rough Rock Demonstration School near Chinle, Arizona where beginning in 1966 the Navajo Nation created a community-based curriculum for the tribal schools. Benes organizes the book chronologically and focuses her discussion on Picture Books of Pueblo Life and the Indian Life Readers with the Navajo, Sioux, and Hopi Series that were appropriate for third graders. Central to Benes's study is the work of Clark who taught for the Indian Service and worked at Zuni and Tesuque Pueblos and who retold oral tales and wrote stories about life on the Navajo, Lakota, Taos, Picuris, and Blackfeet reservations. Benes claims Clark's authority to tell these stories as she quotes from the dustcover of Clark's award-winning book In My Mother's House, 1941: "'Clark found there was a need in Indian schools for books written from the Indian point of view.' It explains that the stories she tells took form in children's notebooks, capturing the original rhythm and pattern of their thinking" (43...

A Black Woman Superintendent Tells

This poem was composed from the interview data of a participant in a qualitative study on what it is like to be a woman superintendent. These are all her words. The author has rearranged them a little and added or deleted a preposition here and there. The author chose this method of representation to capture the superintendent’s original rhythms, images, and metaphors.

Adjustment of the human circadian system to changes of the sleep schedule under dim light at home

In a field study at home, eight volunteers experienced a sleep period from 01:00 to 09:00 h encompassed by dim light for 6 days, then for another 6 days they were subjected to a 3-h advance of the sleep period, and for the last 6 days they were subjected to a 3-h delay of the sleep period, i.e. they experienced again the original sleep schedule. Following the 3-h advance of the sleep period, the circadian salivary melatonin and cortisol rhythms phase advanced by about 1 h within 6 days as compared with the original rhythm profiles, following the subsequent 3-h delay of the sleep period, both rhythms phase delayed by about 1 h within 6 days and returned roughly to their original phase. The data indicate that shifting of the sleep time under dim light at home, which may occur commonly in everyday life, phase shifts the human circadian system.

Older Nursing Home Residents Have a Cardiac Arrest Survival Rate Similar to That of Older Persons Living in the Community

To determine the survival rates of older nursing home residents after cardiopulmonary resuscitation (CPR) and to compare it with that of older persons who experienced cardiac arrest in an outpatient setting. To identify patient characteristics, arrest characteristics, and effort characteristics that are associated with higher survival rates. Retrospective review of emergency medical service charts and hospital medical records of a cohort of older nursing home residents (n = 114) after cardiopulmonary resuscitation and a matched cohort of community-residing older persons (n = 228) matched on age, gender, and year of cardiac arrest. A large metropolitan city served by a tiered emergency medical service. Independent variables related to patient, cardiac arrest, and resuscitation effort characteristics. Dependent variables were defined as immediate survival after cardiopulmonary resuscitation and survival status at discharge. The mean age of nursing home residents was 80.3 years; 62.3% were females. The majority of cardiac arrests for both groups were unwitnessed (67%) and had agonal rhythms (asystole and electromechanical dissociation). Emergency medical service efforts were similar for the two cohorts. Among nursing home residents, 26.3% had a return of blood pressure for more than 5 minutes, 70.2% were pronounced dead in the emergency room, and 10.5% were discharged from hospitals alive. In the matched community-residing subjects, 22.7% had a return of blood pressure, 78.1% were pronounced dead in the emergency room, and 9.2% were discharged alive. Between-group comparisons of these variables revealed no significant differences even though our sample size was adequate. We conclude that survival after cardiac arrest of older persons residing in nursing homes is low; however, with an appropriate CPR/DNR selection process and an effective emergency medical system, survival of certain groups of nursing home residents following cardiac arrest could be comparable to that of community residing older persons. Despite the reasonably good survival rates for older persons seen above, our analyses indicated that patients who have unwitnessed arrests are not likely to survive to discharge and that patients with initial rhythms such as asystole or electromechanical dissociation rarely survive. These data suggest that patients who have an unwitnessed arrest in the nursing home should not receive resuscitation attempts, and in those patients for whom paramedics are called, resuscitation efforts should not proceed any further if their original rhythm is asystole or electromechanical dissociation. Thus, modification in nursing home policies regarding CPR efforts is needed.

Dysrhythmias of the respiratory oscillator.

Breathing is regulated by a central neural oscillator that produces rhythmic output to the respiratory muscles. Pathological disturbances in rhythm (dysrhythmias) are observed in the breathing pattern of children and adults with neurological and cardiopulmonary diseases. The mechanisms responsible for genesis of respiratory dysrhythmias are poorly understood. The present studies take a novel approach to this problem. The basic postulate is that the rhythm of the respiratory oscillator can be altered by a variety of stimuli. When the oscillator recovers its rhythm after such perturbations, its phase may be reset relative to the original rhythm. The amount of phase resetting is dependent upon stimulus parameters and the level of respiratory drive. The long-range hypothesis is that respiratory dysrhythmias can be induced by stimuli that impinge upon or arise within the respiratory oscillator with certain combinations of strength and timing relative to the respiratory cycle. Animal studies were performed in anesthetized or decerebrate preparations. Neural respiratory rhythmicity is represented by phrenic nerve activity, allowing use of open-loop experimental conditions which avoid negative chemical feedback associated with changes in ventilation.In animal experiments, respiratory dysrhythmias can be induced by stimuli having specific combinations of strength and timing. Newborn animals readily exhibit spontaneous dysrhythmias which become more prominent at lower respiratory drives. In human subjects, swallowing was studied as a physiological perturbation of respiratory rhythm, causing a pattern of phase resetting that is characterized topologically as type 0. Computational studies of the Bonhoeffer-van der Pol (BvP) equations, whose qualitative behavior is representative of many excitable systems, supports a unified interpretation of these experimental findings. Rhythmicity is observed when the BvP model exhibits recurrent periods of excitation alternating with refractory periods. The same system can be perturbed to a state in which amplitude of oscillation is attenuated or abolished. We have characterized critical perturbations which induce transitions between these two states, giving rise to patterns of dysrhythmic activity that are similar to those seen in the experiments. We illustrate the importance of noise in initiation and termination of rhythm, comparable to normal respiratory rhythm intermixed with spontaneous dysrhythmias. In the BvP system the incidence and duration of dysrhythmia is shown to be strongly influenced by the level of noise. These studies should lead to greater understanding of rhythmicity and integrative responses of the respiratory control system, and provide insight into disturbances in control mechanisms that cause apnea and aspiration in clinical disease states. (c) 1995 American Institute of Physics.