Stress, Meter, and Text-Setting

2020 ◽  
pp. 656-675
Author(s):  
Paul Kiparsky
Keyword(s):  
Final Section ◽  
Text Setting ◽  
Abstract Form ◽  
Metrical Structure ◽  
Verbal Art ◽  
Musical Rhythm ◽  
Musical Traditions ◽  
Theory Of Constraint ◽  
Rhythmic Structures

Verse meter organizes prominence-marking categories into isochronous and binary hierarchical rhythmic structures, subject to principles that are rooted in the faculty of language, stylized in verbal art, and manifested in a generalized and more abstract form in music and dance. This chapter outlines a theory of constraint-based generative metrics, and sketches out how it represents metrical structure and derives the typology of metrical systems. It illustrates the analysis of stress-based meters with Shakespeare’s blank verse, and it reviews the typology of quantitative meters with a view to showing that they have rhythmical properties and that they are built from the same foot types that are familiar from the phonological theory of stress. A final section discusses ways in which different musical traditions reconcile conflicts between phonology, verse meter, and musical rhythm in text-setting.

scholarly journals Feeling the Beat in an African Tone Language: Rhythmic Mapping Between Language and Music

2021 ◽  
Vol 6 ◽  
Author(s):  
Kathryn H. Franich ◽  
Ange B. Lendja Ngnemzué
Keyword(s):  
Text Setting ◽  
Metrical Structure ◽  
Musical Rhythm ◽  
Tone Language ◽  
Tone Languages ◽  
Bantu Language ◽  
Grassfields Bantu ◽  
Language And Music ◽  
Data Source ◽  
Stem Position

Text-setting patterns in music have served as a key data source in the development of theories of prosody and rhythm in stress-based languages, but have been explored less from a rhythmic perspective in the realm of tone languages. African tone languages have been especially under-studied in terms of rhythmic patterns in text-setting, likely in large part due to the ill-understood status of metrical structure and prosodic prominence asymmetries in many of these languages. Here, we explore how language is mapped to rhythmic structure in traditional folksongs sung in Medʉmba, a Grassfields Bantu language spoken in Cameroon. We show that, despite complex and varying rhythmic structures within and across songs, correspondences emerge between musical rhythm and linguistic structure at the level of stem position, tone, and prosodic structure. Our results reinforce the notion that metrical prominence asymmetries are present in African tone languages, and that they play an important coordinative role in music and movement.

Timbre and Instrumentation

2018 ◽  
Author(s):  
David Temperley
Keyword(s):  
Production Process ◽  
Crucial Role ◽  
Final Section ◽  
Metrical Structure ◽  
Choice Of Instruments ◽  
Structural Aspects

This chapter considers some general approaches to the study of timbre and how they might be applied to rock; it also surveys the major rock instruments and the kinds of sounds they can produce. With regard to instrumentation—the choice of instruments and the ways that they are used—the focus is on how this relates to the structural aspects of rock discussed in other chapters. The chapter examines two guitar solos and discusses their contrasting approaches to the issue of melodic-harmonic coordination. With regard to drums, it considers their crucial role in conveying metrical structure and discusses four important rock drummers and their unique styles. Briefer discussions follow of the bass, piano, orchestral instruments, and sequencers; the final section explores the role of the production process in shaping the sound of a song.

Introduction

2019 ◽  
pp. 1-19
Author(s):  
Richard K. Wolf ◽  
Stephen Blum ◽  
Christopher Hasty
Keyword(s):  
Human Cognition ◽  
Ideal Types ◽  
Musical Rhythm ◽  
Regional Specificity ◽  
Musical Traditions ◽  
Musical Systems ◽  
Musical Interaction ◽  
Scholarly Discourse ◽  
Regional Histories ◽  
Insight Into

THOUGHT AND PLAY IN MUSICAL RHYTHM seeks to explore representations, ideal types, and implicit theorizing of rhythm in relation to aspects of performance that “play”—that pull against these ideal types, resist objectification, and/or are elastic. Our aim has been to incorporate a diversity of musical traditions and scholarly approaches, embracing those of performers, music theorists, and music ethnographers. The performance dynamic implicit in “thought and play” can, with some imagination, be recast in terms of a larger dynamic in scholarly discourse on rhythm and music more generally—that between “universalizing” and “local” approaches. The former include efforts to create overarching models that accommodate the diversity of music and to gain insight into human cognition generally, as well as craft terminologies (meter, beat, etc.) that apply cross-culturally. Local, by contrast, signals attention to musical systems and practices as they are constituted in one region, however narrowly or broadly defined; attention focuses on the specifics of musical interaction, uses of language, and regional histories. Most music scholars attempt to bring out the historical and regional specificity of what they study while also contributing to general knowledge about musical process....

Thought and Play in Musical Rhythm

2019 ◽  
Keyword(s):  
North America ◽  
Case Studies ◽  
North Africa ◽  
Musical Rhythm ◽  
South West ◽  
Multiple Dimensions ◽  
East And Southeast Asia ◽  
Musical Traditions ◽  
Scholarly Discourse ◽  
Theoretical Standpoint

Thought and Play in Musical Rhythm seeks to explore representations and implicit as well as explicit theorizing of rhythm in relation to aspects of performance that resist objectification and/or are elastic. Authored by ethnomusicologists and music theorists, the chapters provide detailed case studies of art and vernacular musical traditions, historical and contemporary, in South, West, East, and Southeast Asia; West and North Africa; Europe; and North America. Together these case studies highlight the multiple dimensions of musical rhythm. Considering rhythm as a topic involves a set of terminologies, methods, assumptions, and efforts at generalizing and abstracting that together point to a larger dynamic in scholarly discourse between universalizing and local approaches to rhythm and music more generally. However, from a theoretical standpoint, the volume rejects the kind of abstraction that removes “rhythm” from musical process and experience.

scholarly journals Articulating the African Diaspora through Rhythm

2011 ◽  
pp. 167-184
Author(s):  
Jesse Stewart
Keyword(s):  
Cultural Heritage ◽  
African Diaspora ◽  
Cross Cultural ◽  
Cultural Contact ◽  
Musical Traditions ◽  
Rhythmic Structures

This essay examines cyclical rhythmic structures drawn from several musical traditions rooted in the African diaspora, focusing on “diatonic rhythms” and on what saxophonist and composer Steve Coleman coined “nested looping structures.” Such rhythmic structures can be regarded not only as retentions of African musical and cultural heritage, but also as a model to understand threads of continuity that exist between many of the disparate musics and cultures that have shared African roots, but radically altered by the passage of time, cross-cultural contact and musical hybridity. Furthermore, the author argues that diatonic rhythms and nested looping structures can provide a means of actively articulating connections between different diasporic musical traditions as evidenced by some of Steve Coleman’s musical collaborations, including his pioneering work from the mid-1990s with Metrics.

scholarly journals Rhythm of music seen through dance: Probing music–dance coupling by audiovisual meter perception

2017 ◽  
Author(s):  
Yi-Huang Su
Keyword(s):  
Action Perception ◽  
Rhythm Perception ◽  
Modal Interactions ◽  
Metrical Structure ◽  
Musical Rhythm ◽  
Visual Rhythm ◽  
Visual Motor ◽  
Point Light ◽  
Visual Modulation ◽  
Common Action

Action–perception coupling in music has been evidenced not only by how patterns of human dance reflect the metrical structure of musical rhythm, but also that moving to music modulates rhythm perception. Given the inherent connection between music and dance, this research investigated whether dance observation could induce meter perception of the visual rhythm similarly to the musical counterpart, and whether the visual meter could modulate concurrent auditory metrical perception. In Experiment 1, participants watched a point-light figure dance to a rhythm they heard simultaneously, both of which varied in meter. Participants responded whether the dance matched the rhythm, and the results were consistent with the imposed audiovisual meter match / mismatch, suggesting that participants could extract the visual meter from dance and compare it to the auditory meter. In Experiment 2, participants watched the dance in different meters while listening to a metrically ambiguous rhythm, which they (to some extent) subsequently identified as being more similar to another rhythm accentuated in the same meter as the dance than one in a different meter. The data partially supported visual modulation of auditory metrical interpretation. Together these results demonstrate parallels in meter perception between music and dance, which may share a common action representation that mediates cross-modal interactions. The findings also support theories of embodied musical rhythm from the perspective of visual-motor simulation.

scholarly journals ‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy

Eikon / Imago ◽  
2021 ◽  
Vol 10 ◽  
pp. 311-322
Author(s):  
Rodica Frențiu ◽  
Florina Ilis
Keyword(s):  
Theoretical Analysis ◽  
Linguistic Expression ◽  
Abstract Form ◽  
Work Of Art ◽  
Verbal Art ◽  
Aesthetic Quality ◽  
Ideal Object ◽  
The Aesthetic ◽  
Original Approach ◽  
Form Of Expression

The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.

MARS — Its Tenth Anniversary of Operation and its Future

1980 ◽  
Vol 19 (03) ◽  
pp. 125-132
Author(s):  
G. S. Lodwick ◽  
C. R. Wickizer ◽  
E. Dickhaus
Keyword(s):  
Conceptual Development ◽  
Administrative Support ◽  
Final Section ◽  
Economic Benefits ◽  
Hospital Environment ◽  
Computer Scientist ◽  
University Of Missouri ◽  
Complete Bibliography ◽  
The University ◽  
Economic Considerations

The Missouri Automated Radiology System recently passed its tenth year of clinical operation at the University of Missouri. This article presents the views of a radiologist who has been instrumental in the conceptual development and administrative support of MARS for most of this period, an economist who evaluated MARS from 1972 to 1974 as part of her doctoral dissertation, and a computer scientist who has worked for two years in the development of a Standard MUMPS version of MARS. The first section provides a historical perspective. The second deals with economic considerations of the present MARS system, and suggests those improvements which offer the greatest economic benefits. The final section discusses the new approaches employed in the latest version of MARS, as well as areas for further application in the overall radiology and hospital environment. A complete bibliography on MARS is provided for further reading.

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