Use Of Rhythm Research Articles

Nursery Rhyme, Rhythm and Narrative Thinking in Early Childhood Education

The contribution focuses on the effectiveness of nursery rhymes, music, and storytelling in early childhood education. Various research studies carried out over the past twenty years have demostrated the way in which the use of rhythm, music, and storytelling can facilitate the development of a child’s overall personality. This study examines the impact of incorporating silent books into early childhood education to enhance a child’s language skills, social interaction, and cognitive development. Over the course of one month, teachers assessed the progress of young children in various domains, including vocabulary acquisition, narrative fluency, and peer interaction. The results highlight the importance of providing diverse opportunities for play with stories, images, and music in supporting holistic development in young children. By integrating these rich experiences into early education practices, educators can effectively nurture linguistic, social, and emotional competencies, laying a solid foundation for lifelong learning and growth.

Infants show systematic rhythmic motor responses while listening to rhythmic speech.

Rhythm is known to play an important role in infant language acquisition, but few infant language development studies have considered that rhythm is multimodal and shows strong connections between speech and the body. Based on the observation that infants sometimes show rhythmic motor responses when listening to auditory rhythms, the present study asked whether specific rhythm cues (pitch, intensity, or duration) would systematically increase infants' spontaneous rhythmic body movement, and whether their rhythmic movements would be associated with their speech processing abilities. We used pre-existing experimental and video data of 148 German-learning 7.5- and 9.5-month-old infants tested on their use of rhythm as a cue for speech segmentation. The infants were familiarized with an artificial language featuring syllables alternating in pitch, intensity, duration, or none of these cues. Subsequently, they were tested on their recognition of bisyllables based on perceived rhythm. We annotated infants' rhythmic movements in the videos, analyzed whether the rhythmic moving durations depended on the perceived rhythmic cue, and correlated them with the speech segmentation performance. The result was that infants' motor engagement was highest when they heard a duration-based speech rhythm. Moreover, we found an association of the quantity of infants' rhythmic motor responses and speech segmentation. However, contrary to the predictions, infants who exhibited fewer rhythmic movements showed a more mature performance in speech segmentation. In sum, the present study provides initial exploratory evidence that infants' spontaneous rhythmic body movements while listening to rhythmic speech are systematic, and may be linked with their language processing. Moreover, the results highlight the need for considering infants' spontaneous rhythmic body movements as a source of individual differences in infant auditory and speech perception.

Analyzing the Development History of Chinese Ceramic Packaging Containers and Their Modern Design Innovation Based on Multivariate Statistics

Abstract This paper explores the development history and modern design innovation of Chinese ceramic packaging containers through multivariate statistical analysis, revealing their essential role in the market and cultural heritage. The development history and contemporary design innovation of Chinese ceramic packaging containers are studied in depth. The study finds that ceramic packaging containers have evolved from prehistoric hand-kneaded small pieces to the present, constantly incorporating new crafts and cultural elements. Regarding formal aesthetics, the use of rhythm and rhyme in ceramic packaging containers grew at 81.13% between 2015 and 2020, suggesting that designs tend to be more dynamic and expressive. Data analysis shows that the key factors influencing the design of ceramic packaging containers include process technology, trade development, cultural concepts and religious beliefs. Regression analysis indicates that these factors significantly positively impact the design quality of ceramic packaging containers, with a model fit of 63.52%, revealing that these factors jointly promote the improvement of design quality. Innovative combination of traditional elements and modern technology is the key to fostering innovation of ceramic packaging container design and cultural heritage. The market competitiveness and cultural value of ceramic packaging containers can be effectively promoted by emphasizing the development of craft technology and the integration of cultural elements.

Pandangan IPQOH Kota Medan terhadap Seni Membaca Al-Qur’an dengan Langgam Jawa (Analisis Nilai Estetis Al-Qur’an)

On May 15, 2015 the government of the Republic of Indonesia held an Isra' Mi'raj event at the State Palace in Jakarta. Muhammad Yaser Arafat, one of the Qori chosen to recite the Qur'an at the event. However, he read the Koran in Javanese style, this event has reaped pros and cons for some people, both nagham experts and scholars. As for the method that the author uses in this research, namely the descriptive qualitative method, namely the research method by discussing the problems to be studied, namely interviewers and resource persons. The results of the interview are quoting the opinion of Ustadz Muhammad Zaini Lubis. He is of the opinion that the use of rhythm in reading the holy verses of the Qur'an other than the Arabic rhythm or style is not justified, whether reading the whole verse or only inserting a part of the style other than the Arabic style in the middle. But in the context of its aesthetic value, because the purpose of art is to be enjoyed by listeners, as long as the rhythm reaches the listener's heart and is enjoyed by the listener, it is permissible to use variations of the Javanese style by following a predetermined tajwid order.

The Exoticism of Olivier Messiaen

"In the final decades of the 19th century and in the 20th century, exoticism and orientalism contributed greatly to the evolution and innovation of Western music composition. Using the rules and techniques of Western music, composers incorporated in their works elements pertaining to or inspired by foreign cultures and their music. The current study continues the investigations brought to attention by the authors in their previous articles: it desires to reveal and analyze the way exoticism and orientalism influenced the creation of various composers, pointing to those aspects that represented innovation brought about by the contact with the music and culture of other cultures than the Western world. The musical language of Messiaen is deeply rooted in the universal musical heritage, comprising elements belonging to the music of the Ancient Greeks, the Orient, Africa, or Europe. The present paper presents and offers examples regarding the way rhythm and melody are organized and employed by Messiaen using means that are inspired by Hindu music: the correspondence between the deçî-tâlas (Hindu rhythms) and Messiaen’s use of rhythm, as well as the similarities between the Hindu rāga and the modes of limited transposition. Apart from the Hindu influences on rhythm and melody, Messiaen was also inspired by the Japanese Gagaku, its instruments, and relation between harmony and melody, as well as Indonesian music (Balinese and Javanese), both having an important influence on the way the composer perceives and creates timbre. But apart from striving to create new means of musical expression using exotic elements, Messiaen desired to unveil certain spiritual and theological truths, mirrored in his music and the construction of his musical discourse. Keywords: exoticism, Hindu, Japanese, Bali, Messiaen"

‘Song-Song Stare’: Maggie O’Sullivan’s Ritual Listening in Poetry and Performance

Drawing from research in the field of creative writing, this poetics essay explores performance and ritual in the work of Maggie O’Sullivan. I focus on sound poetry and listening to explore some of O’Sullivan’s ritual techniques of transformation. Following O’Sullivan’s ‘mattering of material,’ I elucidate some of the processes of ritual, embodiment and ecological relation which she makes use of in her poems and performances. I bring concepts from ritual theory and performance studies into play with O’Sullivan’s poems and sound texts. Ritual techniques are used by O’Sullivan to transform the material of language and open up a liminal potential of poesis, a making anew in language or a sensual re-enchantment. These ritual techniques include fragmentation and re-composition of language into new material, the use of rhythm and repetition in a poem to create a resonant ‘pulsing’ and approaches which emphasise the embodied connections between those present in the space of the poem and their ecological interrelation. O’Sullivan makes poetry a medium for transformation where language becomes ‘an active physical presence in the world’, creating the possibility in performance of a liminal ‘space of undiminishment’, a poesis which opens our ears to ‘other-than-(as well as human)-sentience’ (in Olsen 204). The essay asks what new openings might be possible in the field between embodied arts and poetry.

Poetry and Motion: Rhythm, Rhyme and Embodiment as Oral Literacy Pedagogy for Young Additional Language Learners

Literacy pedagogy that integrates oracy, poetry and embodiment can foster children’s language development in multiple ways: (1) oracy is foundational to children’s emergent literacy as writing extends from oral language, (2) poetry uses rhythm and rhyme to support letter-recognition and the learning of phonemes and morphemes, (3) embodiment and roleplay provide semiotic support and opportunities for expressive and receptive communication. This article shares findings from a phenomenological case study investigating how literacy pedagogy that integrated oracy, poetry and embodiment impacted three additional language students aged 6. A series of weekly literacy classes in a school in Sydney’s multicultural western region were observed and recorded on video. This instrument was able to capture ‘micro-moments’ of learning between peers, depicting how physicalisation and the use of rhythm and rhyme effectively engaged students whose first language was not used in the classroom. Using a hermeneutic phenomenological approach to data analysis, case study findings revealed that embodied explorations of poetry immersed participants socially and imaginatively whilst pushing them beyond their additional language comfort zone. The pedagogy was also shown to increase comprehension and support the acquisition of new vocabulary.

A comparative analysis of melodic rhythm in two corpora of American popular music

This paper compares two corpora of melodies drawn from premillennial and postmillennial American popular music, and identifies several notable differences in their use of rhythm. The premillennial corpus contains melodies written between 1957 and 1997 [deClercq and Temperley (2011. “A Corpus Analysis of Rock Harmony.” Popular Music 30 (1): 47–70)], while the postmillennial corpus (compiled for this study) consists of songs popular between 2015 and 2019. For both corpora, we analysed (1) the distribution of note onsets within measures; (2) the distribution of four-note rhythmic cells, (3) the speed of melodic delivery, and (4) the tempo of the tactus. Our analyses indicated that the postmillennial melodies are delivered more quickly, are distributed more evenly throughout their measures, repeat rhythmic cells more frequently, and are annotated at slower tempos. Even when the tactus tempos were standardized into an allowable window of 70–140 BPM, this effect, though smaller, remained. We then use our techniques to observe the properties of three representative postmillennial tracks, finding that salient information can be located in both standardized and non-standardized tactus data, and that tempo-variant differences between corpora are closely connected to musical genre, with music designated as “pop” being more similar over both genres, and postmillennial rap and hip-hop introducing the most uniqueness.

Metric Ambiguity and Rhythmic Gesture in the Works of George Crumb

Despite a growing body of theoretical work on the music of George Crumb, surprisingly little has been said about his use of rhythm and metre, elements which are often more aurally accessible than complex pitch structures and which constitute a recognisable aspect of Crumb’s style. Much of Crumb’s output is characterised by a unique combination of metric ambiguity with clear and often recurrent rhythmic gestures whose use and juxtaposition creates varying levels of metricity. A significant portion of his music can then be situated in the middle of a spectrum that ranges from completely non-metrical to clearly metrical. The result is a unique rhythmic language that stringently avoids large-scale metrical structures but makes frequent use of localised metrical gestures and brief moments of metrical emergence. These rhythmic and metric structures are then used in different ways to create a range of temporal and formal effects. This paper focuses on the rhythmic and metric characteristics of motives from several pieces by George Crumb. Emphasis will be placed on a particularly interesting case in the final movement from Crumb’s Vox Balaenae, where the repetition and shifting musical context of a small set of rhythmic motives results in a process of metrical emergence and dissolution that contributes to the arch form of the piece.

Use of Fertility Awareness-Based Methods for Pregnancy Prevention Among Ghanaian Women: A Nationally Representative Cross-Sectional Survey.

Few studies in low- and middle-income countries have examined the use of fertility awareness-based methods (FABMs) for pregnancy prevention. Understanding the prevalence of FABM use among Ghanaian contraceptors and the characteristics and practices of users is essential. Our 2018 nationally representative survey of Ghanaian women included detailed questions on the use of rhythm and Standard Days Method/Cycle Beads (SDM). After considering multimethod use patterns, we estimated likely FABM prevalence among contraceptors, identified characteristics associated with current use of an FABM (vs. current use of a hormonal method/intrauterine device [IUD]), and described how women report using FABMs. At least 18% of contracepting Ghanaian women likely use an FABM, though this may be underreported. Among FABM users, 57% reported current use of an FABM alone; the remainder reported concurrent use of other methods. Women who were older, richer, more educated, and had fewer children had higher odds of current FABM use versus IUD/hormonal method. Although FABM users were more likely than other contraceptors to correctly identify the approximate fertile time, only 50% of FABM users did so correctly. Most (92%) rhythm users were interested in making their method use more effective. While 72% had heard of SDM, less than 25% had heard of various other ways to make the rhythm method more effective. Only 17% of rhythm users had ever discussed the method with a health professional. Rhythm users indicated substantial willingness to track additional biomarkers (e.g., daily temperature or cervical mucus) or to use a phone to enhance the effectiveness of their method, and most indicated no substantial difficulty getting partners to abstain or withdraw on fertile days. A nontrivial proportion of reproductive age Ghanaian women are using an FABM, nearly all of whom are interested in learning how to improve its effectiveness. The family planning field should better address these women's contraceptive needs in commitment to reproductive autonomy and choice.

Декоративното рисуване в ритмично организираните рисунки, като форма на изграждане на двигателни умения и усещания за съгласуваност у децата в предучилищна възраст

When creating decorative drawings, preschool children build stylized forms – elements and ornaments, rhythmically connected in decorative compositions. The use of rhythm as the main mean of expression is the basis for the improvement of controlled motor skills, which are a necessary condition for the construction of written speech. Developing a sense of coherence between the individual elements and connecting them into a single whole is the challenge in building a decorative composition. The use of an exact number of decorative elements and their logical and rhythmic alternation in the composition help to build a sense of coherence and perfection in the decorative drawings of preschool children.

Rūmī’s Verse at the Crossroads of Language and Music

AbstractThis article demonstrates how Rūmī has made use of the Iranian musical system and Persian classical prosody, two separate semiotic systems with overlapping forms and aesthetic principles, in order to create a hybrid semiotic system in his poetry. His poetic feat can be observed through a comparative analysis of the linguistic and musical components of his poems in the Divān-e Shams-e Tabrizi, used extensively in the sacred tradition of samāʿ as well as in Iranian musical performances. This essay shows how the systematic use of rhythm and music in versification reaches new heights in Rumi’s ghazals, where the combination of language and music gives birth to a transcendental mode of expression devised with the aim of expressing the ineffable Ultimate Truth. Rumi employed this unique sign system to communicate a mystical message that cannot be conveyed using ordinary language. His unparalleled means of expression, in direct relation with the mystic experience of wajd, is used to incarnate what Sufis call maʿnā (the archetypal meaning). These archetypal ideas cannot be understood through dialectic means of the intellect but can only be taken in by the heart of the mystic in a state of ecstasy.

Loops and Jazz Gaps: Engaging the Feedforward Qualities of Communicative Musicality in Play Therapy with Children with Autism

Consideration is given to the hypothesis provided by Trevarthen and Delafield-Butt (2013) – that disruption of social synchrony in autism is rooted in disturbance of prospective motor control for expressive action and active perception of other's expression: crucially, autism is a disturbance of “sensorimotor intentionality” (Delafield-Butt & Gangopadhyay, 2013). The feedforward qualities of communicative musicality (Malloch & Trevarthen, 2009) – the temporal motivation and organisation inherent in pulse and vitality – are taken as foundational for a series of therapeutic principles developed here. The aim: to support disrupted prosocial “intentional movements” by overlaying, integrating, and piggy-backing on intact rhythm and vitality imported, in the moment, from cross-modality experiences – to imbue a child’s actions with forward looking organisation and impulse to interact. These principles are illustrated in the form of mini case studies, taken from real play therapy sessions. Certain key concepts are introduced, including: the use of rhythm as compelling structure, the 'jazz gap' as temporal catalyst, the calming and engaging effect of inter- synchrony, and the vitality-matching of a child's emotive and motoric patterns.

On Walking and Thinking: Two Walks across the Page

On Walking and Thinking: Two Walks across the Page

How can Shakespeare’s iambic pentameter enable inclusion of and encourage participation of autistic pupils in a year 7 boy’s mainstream classroom?

PurposeThe purpose of this paper is to facilitate a greater understanding of verbal and non-verbal communication in an open space learning (OSL) environment. This is an exploration of the premise that by using Shakespeare’s iambic pentameter as a scaffolding for learners on the autism spectrum, a “safe place” can be accessed.Design/methodology/approachUsing an action research model and following government guidelines, using common assessment framework analysing the findings using School’s assessment criteria model that is used for single exercises through to whole scheme of work: making–performing–evaluating (self-evaluation sheets/peer evaluation sheets/teacher evaluation).FindingsThere has been hypothesis that people with ASD may be more able to track their heart beats for longer than neurotypicals. Kimberly et al. (2015) suggest that empathetic abilities and emotional experiences in people with ASD can produce negative experiences, anxiety can occur and the interoceptive awareness and ability to positively relate to self can be caused to dislocate. The use of the rhythm of the heartbeat may aid communication skills in ASD learners.Research limitations/implicationsIn the autistic learner, overload, caused by hypersensitivity/hyposensitivity, can also affect and be effected by environmental issues in OSL environment. The autistic learner can be deeply affected. Unlike a desk-based class there is nowhere to hide, no place of safety.Practical implicationsBy trying to find a common ground where the autistic learners can realise their full capacity the use of the heartbeat iambic rhythm can, the author posits, impact on the autistic learners sense of self and confidence, aiding learning.Social implicationsAs Hunter (2015) espouses, the heartbeat is a nurturing instrument. The author advocates that the heartbeat is also a unilateral marker that unifies a class/the environment at the same time as comforting the autistic learner.Originality/valueThere is an element in every being that has to be present from inception, the heartbeat, it is the first function an embryo performs. The heartbeat also produces a primal symbiotic interdependency in mother and child. It is a pure connection. The author posits that the replication of this pure function can comfort, reassure and foster communication. There is no empirical evidence, but research is currently taking place at the Nisonger Centre at the Ohio State University, where, under the leadership of Dr Marc J. Tasse, pilot workshops have taken place. The author also have no empirical evidence as to why the heartbeat is instrumental in helping the autistic learner to communicate. The author gives the conjecture in the paper.

“So Complete in Beautiful Deformity”: Unexpected Beginnings and Rotated Riffs in Meshuggah’sobZen

The music of Swedish extreme metal band Meshuggah is known for combining a rigid ".fn_meter(4,4)."-based hypermetrical song structure with riffs having a variety of durational spans. These looping riffs fall in and out of alignment with this background structure, but rarely overcome it, as their cycling is cut off at the end of the hypermetrical segment. Some riffs, however, further complicate this structure by seeming to beginin media res. This article studies three such riffs from the 2008 albumobZenas a way of analyzing the larger juxtaposition of rigidly regular quadruple hypermetrical song segments with riffs that struggle—and usually fail—to destabilize those structures. In my analyses, I move between conventional transcriptions and spectrograms, with an eye (and ear) toward questioning what each can tell us about musical events. Finally, with lyrics often centered on the desire for radical freedom or enlightenment, and musical patterns that ritualize the suppression of elements that break the “order” of ".fn_meter(4,4).", I suggest that Meshuggah’s use of rhythm and form explores ideas of freedom and rigid control, liveliness and predictability, with which listeners engage via a variety of embodied listening practices.

KONSEP KOREOGRAFI BEDAYA HERJUNA WIWAHA

This research is entitled A Choreography Concept of Bedaya Harjuna Wiwaha Dance. The Yogyakarta style of Bedaya Harjuna Wiwaha dance was composed by KRT Sasmintadipuro performed in Tingalan Dalem Sri Sultan Hamengku Buwana IX in 1976. In Bedaya Harjuna Wiwaha dance, all dancers have their respective roles. The role of the dancers in Bedaya Harjuna Wiwaha dance is like the other Bedaya dance. The roles of the dancers includeEndhel Pajeg, Batak, Jangga, Dhadha, Buntil, Apit Ngajeng, Apit Wingking, Endhel Wedalan Ngajeng and Endhel Wedalan Wingking. Some of these roles represent characters in the story contained in Bedaya Harjuna Wiwaha dance, such as Prabu Newatakwaca, Harjuna and Dewi Supraba. In addition, norms or rules for the arrangement of Bedaya Harjuna Wiwaha dance include: rules for the use and application of dance motives, rules for the use and application of floor patterns, rules for the use of rhythm of motion, story sources, dance forms and dance styles . Keywords: Choreography Concept, Bedaya Herjuna Wiwaha

Influencia del baile latino "Bachata" sobre la vida social y funcional en mayores.

Son muchos los estudios que corroboran los beneficios de la práctica asidua de la actividad física en la población de personas mayores, los cuales abarcan muchos aspectos de la vida, bien a través de aspectos físicos, o bien como es el caso de la presente investigación, donde se pretende evaluar los cambios producidos sobre aspectos cognitivos (Colcombe y cols., 2003), emocionales (Kattenstroth y cols., 2010), y de condición física saludable de la persona mayor practicante (Rikli y Jones 1999). De ahí la necesidad de trabajar estos aspectos mediante el uso del ritmo como medio principal de práctica física, mediante su modalidad latina denominada “Bachata”, donde a través del baile, se pretende demostrar su relación con los beneficios sobre el estado de ánimo, la movilidad funcional y confianza personal de quién la práctica, así como en el equilibrio y disminución de la ansiedad y depresión (Cobo y cols., 2011). La presente investigación quiere integrar todas las variables citadas, mediante una intervención dirigida de Bachata, de seis meses de duración, organizado por la Universidad de Almería, y en colaboración conjunta con el Aula de Mayores de la misma, con una frecuencia semanal de dos días y una hora cada día.

Corporeal Perceptions of the Immaterial Agency and Rhythm in Palaeologan Monumental Painting

In this paper I look at aspects of the nature of the relationship between the faithful and the holy image inside church space. In order to do this, I will use as examples images from the funerary chapel of the Chora monastery in Istanbul. In examining how the agency of the sacred image is articulated inside church space, I will focus on the interaction between icon and beholder, and demonstrate how the use of a certain pictorial technique, that of rhythm, shapes the beholder’s experience of divine presence inside the funerary chapel of the Chora monastery. Through the use of rhythm, the icon exercises its agency on the faithful not only on an intellectual or spiritual level but most importantly, on a corporeal level.

Music and health: what interventions for what results?

Music and health: what interventions for what results?