Rhythmic Modes Research Articles

The Burda: Reweaving the Mantle, Renovating Arab Music Tradition between Egypt and the Arab Levant

AbstractThis article critically considers how the musical piece, “Al-Burda,” has introduced ground-breaking formal and rhythmic innovations within Arab contemporary traditional music. I explore the centrality of Mustafa Said’s musical adaptation of Arabic prosody in generating new rhythmic modes whilst highlighting Said’s claims of continuity with an Arab literary and musical tradition through the musical adaptation of the poetics of mu’arada, which means building upon pre-existing models. This article draws upon postcolonial theory as a fundamental tool of analysis for the underpinning socio-political commentary present at every stage of creation and production of “Al-Burda.”

The "Acoustic Mirror": Reframing the Maternal Voice in the Hebrew Lullaby

The "Acoustic Mirror":Reframing the Maternal Voice in the Hebrew Lullaby Lilach Lachman (bio) What leads to sleep has the shape of rhythm, of regularity and repetition. … The only processes that belong to sleep are those of respiration and circulation. … When it goes to sleep, the body is rocked to the rhythm of its heart and lungs. … Rocking movements put us to sleep because sleep in its essence is itself a rocking, not a stable motionless state. Lullaby: one charms, one enchants, one puts mistrust to sleep before putting wakefulness itself to sleep, one gently guides to nowhere—swing low, sweet chariot, coming for to carry me home. In this meditation on the lullaby, Jean Luc Nancy (2009, pp. 29–30) engages a rhythmic mode of being that departs from the waking self and detaches itself from the "you" and from the world. The "lullaby" that performs the night ritual, within both body and soul, approximates a primal world, measured only by the repeated beat of "respiration and circulation," which puts wakefulness to sleep. Nancy's phenomenological narrative of dropping into an endless pursuit of an imaginary "home" does not sound alien to our ears. Even though we are subjected to the mechanism of social media and at times deprived of biological and cosmic rhythms, many of us have often entered sleep with some sort of lullaby. The "swaying of the world which makes the cradle" on which Nancy reflects may be familiar to us both as (grand) parents and as adults who have been blessed with some kind of early lulling experience. We may note that the dumb rhythmic signals ("respiration and circulation," "cadence," "rocking") mentioned in the above passage are all vocalized by means of the lulling or [End Page 485] lulled voice: swing low, sweet chariot, coming for to carry me home.1 The voice that is to wrap the sleeper who resists sleep may be attributed either to the one attending them or to the sleeper herself who has interiorized the lull. In her book, The Acoustic Mirror (1988), Kaja Silverman, the cinema and psychoanalytic theorist, conceptualizes the image of the infant held within the sphere of the mother's voice; she clearly genders this primary experience and characterizes it as a "blanket of sound, extending on all sides of the newborn infant" (p. 72). Viewed from the site of the unconscious, this image is commonly considered an emblem of infantile plenitude and bliss. Silverman cites the "sonorous envelope" (Rosolato 1974 and Doane, 1980) that "surrounds and cherishes the child," a "mobile receptacle" that absorbs the infant's "anaclitic facilitations" (Kristeva, 1986), and a "bath of sounds" (Anzieu, 1976) as variants of an overruling trope that turns upon "the image of infantile containment" held within the environment of the mother's voice (Silverman, 1988, p. 73). Vital to Silverman's argument is the assumption that this containing trope grows out of a cultural male fantasy that is evident in both recent psychoanalytic theory and classic cinema. Significantly, Silverman has shifted the theory's center of gravity from Freud's focus on the father and from Jacques Lacan's mirror phase, to the maternal voice.2 The Acoustic Mirror and the Lullaby: Between Paternal and Maternal In parallel to Lacan's (1977) "mirror stage" that entails a "misidentification" that allows the forming of the "imaginary" within the infant's development, Silverman (1988) posits the experience of hearing another voice. This auditory voice echoes, responds, and produces new sounds in the duet played when language begins to form in children's mouths and brains as they start acquiring speech and articulating emotion. Not only does Silverman replace Lacan's emphasis on the visual with the vitality of the oral, but instead of Lacan's emphasis on the absent male phallus, Silverman highlights the role of the maternal voice. On the one hand, by means of voice, the subject enters [End Page 486] language and thereby relinquishes themself; the materialization of voice is accordingly accompanied by phenomenological loss. On the other hand, the birth of desire often enacts an aspiration toward authoring discourse. The maternal voiceover, which Silverman detects in Hollywood films, is often first heard in lullabies. The...

CPG-based generation strategy of variable rhythmic chewing movements for a dental testing chewing robot.

The rhythmic chewing movement pattern is dynamically reshaped to adapt to a variable chewing environment. The variance affects the wear performance of dental prostheses. This study was aimed to generate these variable rhythmic chewing movements for dental testing equipment. A six-axis parallel chewing robot DUT-2 was adopted as the dental testing equipment. Four variances were extracted from the rhythmic movement, including period, offset, amplitude, and mode. The relevant movement cases, including gradually accelerating movement, gradually increasing movement, gradually shrinking movement, and bilateral movement, were designed. Then, a central pattern generator (CPG) model based on morphed phase oscillators was proposed. According to the coupling feature of the rhythmic movements, the specific modulation method of the CPG model was provided for these movements. The simulated incisor trajectory was outputted by importing the driving amplitudes from the CPG model to the virtual prototype of the chewing robot. The bite force (considering two-body and three-body contacts) was analyzed by writing the driving amplitudes into the motion controller of the chewing robot's physical prototype. The relative errors of offset and amplitude in the z-direction were 4.14% and 0.74%, respectively. The transition was smooth around the turning point during the gradually increasing movement and bilateral movement. For two-body contact, the average relative error and bias of the maximum bite force were 4.15% and 1.08%, respectively. The food involvement decreased the accuracies to 13.18% and 2.50%, respectively. The CPG model supplies a bionic and explicit approach for generating the variable rhythmic chewing movements. The variable movements related to chewing preferences and food properties could be replicated. Besides, the high repeatability of the maximum bite force is beneficial for running the repetitive wear tests. Finally, the CPG model makes it possible to study the influence of the variance on wear performance.

A Corpus Study on Rhythmic Modes in Turkish Makam Music and Their Interaction with Meter

A Corpus Study on Rhythmic Modes in Turkish Makam Music and Their Interaction with Meter

Delta/Theta band EEG activity shapes the rhythmic perceptual sampling of auditory scenes

Many studies speak in favor of a rhythmic mode of listening, by which the encoding of acoustic information is structured by rhythmic neural processes at the time scale of about 1 to 4 Hz. Indeed, psychophysical data suggest that humans sample acoustic information in extended soundscapes not uniformly, but weigh the evidence at different moments for their perceptual decision at the time scale of about 2 Hz. We here test the critical prediction that such rhythmic perceptual sampling is directly related to the state of ongoing brain activity prior to the stimulus. Human participants judged the direction of frequency sweeps in 1.2 s long soundscapes while their EEG was recorded. We computed the perceptual weights attributed to different epochs within these soundscapes contingent on the phase or power of pre-stimulus EEG activity. This revealed a direct link between 4 Hz EEG phase and power prior to the stimulus and the phase of the rhythmic component of these perceptual weights. Hence, the temporal pattern by which the acoustic information is sampled over time for behavior is directly related to pre-stimulus brain activity in the delta/theta band. These results close a gap in the mechanistic picture linking ongoing delta band activity with their role in shaping the segmentation and perceptual influence of subsequent acoustic information.

Torino 6 unica. Un’indagine preliminare sul manoscritto Varia 42/2 della Biblioteca Reale

Turin’s Royal Library preserves an early-14th-century parchment manuscript containing three conducti and thirty-one motets. Six of its items (one conductus and five motets) are unica, yet their verbal texts have never been critically edited thus far. This article provides a full transcription and a comment of the texts, both in Latin and in French; moreover, it offers a preliminary survey on the entire manuscript, summing up the hypotheses surfaced along one century of episodic attention devoted to its content, before and after its only full transcription, published in 1953. The relationship to the two main collections of motets (mss. Bamberg and Montpellier) and to many manuscripts preserving trouvère songs (often with, sometimes without music) is one of the primary focuses; furthermore, the article explores the plurality of models represented in the small collection of conducti and in the large collection of motets, figuring out a possible relationship between them. While no conclusive statement can be made in the absence of a critical edition of all texts and music, some phenomena concerning the unica are highlighted: among these, use of Latin vs French Tenor, presence vs absence of a rhythmic mode in one or all parts, “Petronian” features of the Triplum, use of the same melody in the Tenor of a motet and in one of the upper voices in another, presence vs absence of spots showing voice-exchange (Stimmtausch), number and position of thirds in the resulting harmony.

Evidence for the Rhythmic Perceptual Sampling of Auditory Scenes.

Converging results suggest that perception is controlled by rhythmic processes in the brain. In the auditory domain, neuroimaging studies show that the perception of sounds is shaped by rhythmic activity prior to the stimulus, and electrophysiological recordings have linked delta and theta band activity to the functioning of individual neurons. These results have promoted theories of rhythmic modes of listening and generally suggest that the perceptually relevant encoding of acoustic information is structured by rhythmic processes along auditory pathways. A prediction from this perspective—which so far has not been tested—is that such rhythmic processes also shape how acoustic information is combined over time to judge extended soundscapes. The present study was designed to directly test this prediction. Human participants judged the overall change in perceived frequency content in temporally extended (1.2–1.8 s) soundscapes, while the perceptual use of the available sensory evidence was quantified using psychophysical reverse correlation. Model-based analysis of individual participant’s perceptual weights revealed a rich temporal structure, including linear trends, a U-shaped profile tied to the overall stimulus duration, and importantly, rhythmic components at the time scale of 1–2 Hz. The collective evidence found here across four versions of the experiment supports the notion that rhythmic processes operating on the delta time scale structure how perception samples temporally extended acoustic scenes.

Mode and change of mode in the 13th-century motet

La mayoría de las diferentes versiones en las que eran anotados los motetes en varios manuscritos desde el siglo XIII dan fe de la gran flexibilidad de este género. El presente artículo se centra en las pocas claves existentes en las fuentes prácticas y teóricas que indican que el modo rítmico en sí mismo estaba, a menudo, sujeto a cambios dentro de un grupo concreto de motetes. La evidencia de esta práctica se halla en un grupo temprano de manuscritos y después, de nuevo, en los posteriores, que son fuentes más orientadas hacia la liturgia, incluyendo Las Huelgas. Al principio, el primero y segundo modos podían ser intercambiados para corresponderse con textos en latín o en francés, respectivamente, y en posteriores ocasiones la combinación anotada de tercer y quinto modos, ahora considerada anticuada, podía ser interpretada simplemente como sexto y segundo modos. En ambos casos el cambio de modo aparece para representar una práctica casi improvisatoria la cual podía ser interpretada sin alterar la versión escrita, o sea, era una práctica posiblemente más común que lo que indican las propias fuentes.

Poetic Line and Musical Structure in the 13th-century Motet

El examen de motetes antiguos para dos voces revela el predominio de la línea de siete (u ocho) sílabas en los poemas. Cuando se declaman de la manera habitual, p.e., silábicamente, tanto en el primer como en el segundo modo rítmico, este verso se conforma en un marco temporal de dos dobles longas (o dos compases modernos en compás %). Los diferentes patrones de tenor que están combinados con las voces superiores, conforman el mismo marco temporal, produciendo una norma en la que las dos voces coinciden a intervalos regulares. Partiendo de esta norma se produce el paso por encima de las dos voces en interés de la variedad. De más utilidad para explicar este fenómeno, sin embargo, son, no los tratados sobre música del siglo XIII, sino, mejor, aquellos que tratan de la nueva poesía «rítmica» de la época.

O (anti-)método de rítmica de José Eduardo Gramani: uma proposta para o equilíbrio entre o sensorial e o racional

Este artigo analisa os estudos rítmicos de Gramani sob a ótica de um (anti-)método e trata de trazer à tona suas implicações para além de sua origem fundamentada na rítmica assimétrica stravinskiana, tendo como modelo a História do Soldado. Especula sobre sua vinculação aos princípios dos Modos Rítmicos medievais, através de séries rítmicas aditivas; relaciona-o com as aberturas aos preceitos da rítmica não-europeia, partindo das linhas rítmicas baseadas em ostinatos cíclicos que aproximam-se mais apropriadamente ao conceito de timeline revelados pela etno-musicologia africanista; discute-se a hipótese de que a divisão de atenção e a percepção multidirecionada necessária à execução dos exercícios estruturados por Gramani, poderiam induzir o estudante a estimular a lateralidade e a assimetria funcional dos hemisférios cerebrais inerentes à percepção musical e a transitar pelas sensações provenientes da “modulação hemisferial” do ouvir e fazer música. Trata-se de considerar os exercícios rítmicos de Gramani como um caminho de equilíbrio entre o hemisfério direito (HD) e esquerdo (HE) do cérebro, uma ponte entre o racional e o sensorial, o contar e o sentir, um ponto de encontro entre razão e emoção, a escrita e o fenômeno sonoro. Todas essas questões são prementes no ensino de música e na performance musical. Portanto, este artigo pretende trazer para discussão em que medida o (anti-)método de Gramani atua como um ponto de equilíbrio entre o racional e o sensorial, e revelar implicações musicais e extra-musicais que sua Rítmica apresenta.

Communicating Between Species and Between Disciplines—Lessons from the Old English Seafarer

ABSTRACTThis article examines the analogy of birdsong in the Old English Seafarer as an access point for critical and meta-critical discussions regarding the communicative prohibitions and possibilities between birds and humans, literary criticism, and the biosciences. It argues that while the seafarer initially hears the calls of birds within the analogical framework of birdsong, on the ocean such a position is short-lived. The seafarer recalibrates his sense of sound and of song to that of motion, entraining and then attuning his entire motional self to a rhythmic mode of listening. As he “listens” with his body, the seafarer forecloses analogical similarities between his voice and those of birds and participates in an embodied form of bird–human communication that extends entrainment and attunement towards an ethical posture. The Seafarer’s imaginary encounter between birds and humans serves as a model for actual ones. The article argues that embodied listening permits non-analogical moments of bird–human communication and diminishes the communicative barriers between literary criticism and bioscientific research. Turning away from analogy loosens the prohibition on interspecies and interdisciplinary communiqués and permits an “ethics of attunement” to emerge between species and disciplines.

An Investigation into An Gi-ok’s View on Rhythm Patterns in Joseon Music

An Investigation into An Gi-ok’s View on Rhythm Patterns in Joseon Music

ВЕЙВЛЕТЫ КАК ИНСТРУМЕНТ ПОВЫШЕНИЯ ЭКСПЛУАТАЦИОННОЙ НАДЕЖНОСТИ ОБЪЕКТОВ ВОДНОГО ТРАНСПОРТА

To create new ways of information processing, control and monitoring of technical systems and technological complexes of water transport facilities, there are required tools, which can bring about radically new solutions. The mathematical apparatus of the wavelet provides such opportunity. The article shows that wavelet analysis, in contrast to the commonly used bases of signal processing, allows to analyze working modes of the objects presented by the frequency - time structures of non-stationary signals in the presence of interference. This helps to carry out qualitative comparison of the methods of processing the measured signals in different bases and to consider the wavelets the most promising tool in the study of the processes of multimodal dynamics of water transport facilities with rhythmic modes, removing frequencies from each other, using terms of instantaneous amplitudes, frequencies and phases of oscillations. The ability to define narrow-band "bursts" of signals, which usually precedes the occurrence of malfunctions in work of the internal combustion engine and other dynamic designs, allows to prevent emergencies by using wavelets and improving reliability and safety on water transport operation.

Rhythmic Modulation of Entrained Auditory Oscillations by Visual Inputs.

Temporal structure is ubiquitous in sensory signals, and the brain has been shown to robustly represent information about temporal structure in the phase of low frequency neural oscillations. In a related construct, the integration of information across the different senses has been proposed to be at least partly due to the phase resetting of these low frequency oscillations. As a consequence, oscillations represent a potential contributor to the encoding of complex multisensory signals with informative temporal structures. Here we investigated these interactions using electroencephalography (EEG). We entrained low frequency (3Hz) delta oscillations using a repetitive auditory stimulus-broadband amplitude modulated noise. Following entrainment, we presented auditory and audiovisual stimuli at variable delays. We examined whether the power of oscillations at the entrained frequency was dependent on the delay (and thus, potentially, phase) at which subsequent stimulation was delivered, and whether this relationship was different for subsequent multisensory (i.e., audiovisual) stimuli when compared with auditory stimuli alone. Our findings demonstrate that, when the subsequent stimuli are solely auditory, the power of oscillations at the entrained frequency is rhythmically modulated by when the stimulus was delivered. For audiovisual stimuli, however, no such dependency is present, yielding consistent power modulations. These effects indicate that reciprocal oscillatory mechanisms may be involved in the continuous encoding of complex temporally structured multisensory inputs such as speech.

Tidal chemotherapy in premenopausal patients with hormone receptor positive breast cancer

Neoadjuvant chemotherapy remains an inseparable part of systemic therapy for hormone receptor positive (HR+) advanced breast cancer. However, efficacy of neoadjuvant chemotherapy in this subtype of patients is inferior to its hormone receptor negative counterpart. Several preclinical and clinical studies have suggested that it was growth rate rather than hormone receptor status that determined sensitivity to chemotherapy. In addition, estrogen was proved to recruit more HR+ breast cancer cells into actively dividing phase according to various studies. For premenopausal females, sexual hormone like estradiol fluctuates with menstrual cycle. When menstruation occurs, women have the lowest level of estradiol, which is resemble to pharmaceutical effect of endocrine therapy. If chemotherapy is given to females during menstruation, it’s almost equal to concurrent use of chemotherapy and endocrine therapy, which is not recommended by guideline. Accordingly, chemotherapy would attain best efficacy applied at the peak of estradiol, because more tumor cells being in actively dividing phase recruited by comparatively high level of estradiol would help cytotoxic agents function better given that majority of chemotherapeutic drugs are cellular phase dependent. We name this rhythmic mode of chemotherapy for premenopausal HR+breast cancer females, giving chemotherapy to patients when estradiol rises and avoiding prescription at menstruation, tidal chemotherapy. It’s postulated that tidal chemotherapy would improve efficacy of neoadjuvant chemotherapy for premenopausal HR+breast cancer females, achieve more pathologic complete response and in the long run improve prognosis.

국악장단을 이용한 음악치료가 치매노인의 상지기능 향상에 미치는 영향

본 연구는 국악장단을 이용한 음악치료가 치매노인의 상지기능 향상에 미치는 영향을 살펴보고자 하였다. 연구 참여자는 B시에 소재하는 요양원의 장기요양보호 적용을 받고 있는 만 65세 이상의 치매진단 환자 13명이며, 상지기능평가(MFT), 일상생활동작, 인지기능검사(관리기능)에 대해 음악치료 전 후의 점수차이를 분석하였다. 연구결과 국악장단의 청각적 자극은 치매노인의 상지기능 향상에 유의한 변화를 가져왔으며, 일상생활은 물론 치매평가의 관리기능까지 증진시킬 수 있다는 것을 확인하였다. 이는 임상현장에서 치매노인을 대상으로 국악장단을 활용한 음악중재의 타당성을 제시하는 기초자료로 활용 될 수 있으며, 또한 치매노인을 위한 음악치료프로그램의 개발 시 국악장단이 이들의 신체기능 뿐만 아니라 인지기능에도 영향을 줄 수 있다는 것을 시사한다. The purpose of this study is to examine the effect of music therapy using Korean traditional rhythmic modes on the upper extremity function of elderly people with dementia. The subjects of this study were 13 patients at the age of 65 or more with dementia receiving long-term care in a nursing home in B City. It was analyzed that the effects of music therapy through the evaluation of manual function test (MFT), Activities of daily living (ADL), Korea dementia rating scale-2 test before and after the experiment. As a result, both of the scores of MFT and ADL were higher than after music therapy(p <.05) as well as Korea dementia rating scale-2 test score(management part). This indicates that the music therapy using Korean traditional rhythmic modes could improve function of the upper extremity with dementia as well as activities of daily living and management of dementia care. In conclusion, music therapy would be helpful to the improvement of not only the physical but also the cognitive function of elderly people with dementia, and it could be effectively employed in clinical settings.

Rehearsal Letters, Rhythmic Modes and Structural Issues in Beethoven’s Grosse Fuge

Beethoven’s Grosse Fuge, published in 1827 after being detached from his string quartet Op. 130, appears to be the first work ever to have been allocated rehearsal letters. These were added by Beethoven’s friend Karl Holz at the request of the composer and his publisher Mathias Artaria. The rehearsal letters can be compared with the work’s structure, which is best perceived as dividing into three main ‘movements’, the third being much the longest. A different approach is necessary for analysing each of the three. In the first, reference to medieval rhythmic modes helps to clarify Beethoven’s procedure. The second is essentially a fugue, albeit unusually homophonic. The third is multi-partite but mainly in $$\raster="rg4"$$ , and includes a 32-bar theme that returns intact – the only substantial exact reprise of material. This movement also include two fugal expositions. Thus there are four full fugal expositions altogether, and each is a double fugue in which the exposition is more or less regular. Holz’s letters match up well but not perfectly with the structure of the work.

Effects of Different Modes of Preparatory Motion on Dart-Throwing Performance

Preparatory motion (consciously or unconsciously moving a body part just before performing a task) enhances motor performance. Repeated body movements are roughly categorized as rhythmic and discrete. However, the most effective mode of preparatory motion remains unclear. The present study utilized both modes of preparatory motion and compared subsequent performances. Twelve participants executed dart throwing after performing rhythmic, discrete, or no preparatory motion. Performance was statistically evaluated by comparing the error components, assumed contributions of each mode of preparatory motion. The results revealed that the mean value of the error component for the rhythmic mode was significantly smaller than that for the discrete mode. This suggests that the rhythmic mode of preparatory motion produced better dart-throwing performance.

Relation Between Surface Rhythm and Rhythmic Modes in Turkish Makam Music

Sounds in a piece of music form rhythmic patterns on the surface of a music signal, and in a metered piece these patterns stand in some relation to the underlying rhythmic mode or meter. In this paper, we investigate how the surface rhythm is related to the usul, which are the rhythmic modes in compositions of Turkish makam music. On a large corpus of notations of vocal pieces in short usul we observe the ways notes are distributed in relation to the usul. We observe differences in these distributions between Turkish makam and Eurogenetic music, which imply a less accentuated stratification of meter in Turkish makam music. We observe changes in rhythmic style between two composers who represent two different historical periods in Turkish makam music, a result that adds to previous observations on changes in style of Turkish makam music throughout the centuries. We demonstrate that rhythmic aspects in Turkish makam music can be considered as the outcome of a generative model, and conduct style comparisons in a Bayesian statistical framework.

Music and Social Institutions:al-Maʾlūfandal-Āla

Music is not only an art form defined by certain formal elements, such as rhythmic and melodic modes. It is also a cultural form that implies significant social interaction. Music naturally evokes deeply felt emotions and can touch upon important social identities, because it helps people to experience feelings and express insights into their own lives. Moreover, the fact that it is performed situates any given musical genre within a specific set of sociocultural frames. Unpacking the social, economic, and political contexts surrounding musical genres can deepen our understanding of larger processes at work. An obvious North African example is Rai music, whose explosion in popularity in the 1980s underscored very important social and economic transformations taking place in Algeria and among migrant Algerian communities in France.