Lyrikline

Artikelbeginn:[English title and abstract below] Der Rhythmus wählt mich und erstrahlt in mirIch bin der Geige Klang, nicht ihr SpielerMahmud Darwish Als literarischer Veranstalter mit Schwerpunkt Poesie hatte die Literaturwerkstatt Berlin, Initiatorin von Lyrikline und 2016 in Haus für Poesie umbenannt, vor 1998 bereits viele überzeugende Erfahrungen mit den ≫Berliner Sommernächten der Lyrik≪ gemacht, sodass von Anfang an klar war, dass Stimme und Vortrag bei unserem Vorhaben eine zentrale Rolle spielen müssen. Als wir anfingen, wollten wir mit Lyrikline eine Anlaufstelle im Internet schaffen, die jedem die Möglichkeit bietet, einfach und unaufwendig mit zeitgenössischer Poesie in Kontakt zu kommen, dieser vermeintlich schwierigen, von vielen respektvoll ignorierten und im Buchladen mit schwindend knappem Platz abgespeisten und zu oft bleischweren Materie. LyriklinePoets on the Internet in Their Own Voices This article is an overview of Lyrikline, a website that presents contemporary German and international poetry in text and sound. Users can hear the poems recited in the poet‘s own voice and can read the poem in the original language and in various translations. About 1,500 poets can be currently heard on the website, all with their individual poetic and poetological characteristics. Those interested in children’s and young adult poetry will find contemporary poems in the category ≫Poetry for Children≪ (under Genres & Aspects). Above all, Lyrikline offers the voice, sound, and performance of the poet and the poem. Aside from this fascinating authenticity, the listener gets to hear beyond the individual voice and timbre of the poet, as the tonal aspects of a poem, the phonetic references and the rhythmic structures become audible. Rhymes, assonances, and alliterations unfold to their full effect, stricter stanza forms reveal their structure audibly, and mood, intensity, and even pathos, may manifest itself. Lyrikline demonstrates why poetry must be heard to be fully appreciated.

Exploring Ethiopian Instrumental Music and Musicians

In many Ethiopian traditional cultures, vocal music dominates the musical repertoire. It is only in a handful of traditional contexts, where solely instrumental music becomes part of the repertoire. Contrary to this, however, the modern music domain in Ethiopia offers a wide range of instrumental music. The root of instrumental music in Ethiopia is, most probably, connected with the emergence of independent/private bands in the early 1960s. These modern bands with highly trained Ethiopian musicians, among others, offered ‘light-music’ in hotels and restaurants. In the initial periods, their repertoire mainly entailed re-arranged international melodies. The advancement of the modern music paved a way to increasing musical creativity over the decades to follow. My presentation will attempt to look at instrumentals performed with western music instruments, of which the large part derives from already existing traditional and modern songs. Representative musical pieces will be given special focus in terms of their instrumentation, rearrangement, melodic and metro-rhythmic structures, form and style along with their function, meaning and understanding.

Macro-semantic rhythmic structures in popular author songs

Certain author song of the 1950s – 1980s are characterized with such structural peculiarity as semantic rhythms. This pattern manifests itself in two forms: dialectical juxtaposition of the particular and the general (PG-rhythm); as well as the conflict of non-entropic and entropic processes, order and chaos (OC-rhythm). For broader understanding of this phenomenon, it is necessary to determine its place within the framework of the author song as a large-scale cultural phenomenon. The author mass processing of popular compositions using the method of almost full enumeration. The research material includes all 5 thematic national collections that feature 487 songs. The analysis of the lyrics reveals the total number of works with the initial semantic rhythmics: 43% with the PG-structure and 23% with the OC-structure. The application of various strategies of analysis indicates that the sampling of no less than 70-80 compositions should be used for achieving accurate results in partial studies (for example, by authors) . In the course of research, the author determines new versions of manifestation of the semantic structures: PG-structure of fable-type, as well as variability of Brodsky's saw in songs with entropic rhythmics. There are also songs with intersection of both types of semantic rhythms. Correlation is established between the social processes of cultural environment associated with the author song and the dynamics of semantic rhythms in popular compositions. In the early 1970s, a bifurcation point is noticed in the moods of the corresponding social community.

Auditory perception of 6- and 7-year-old children from Poland and Czech Republic – comparative analysis

The article presents the results of an auditory perception study carried out with the use of Mira Stambak’s Reproduction of Rhythmic Structures, aimed at assessing the development of auditory perception. The study consisted in reproducing rhythmic structures with different levels of difficulty. The aim of the study was to assess the level of auditory perception in 6- and 7-year-old children from Poland and Czech Republic. For the purposes of the analysis, the respondents were divided into four groups, taking into account their age and place of residence. The article presents the results of the analysis of the assessment of the general correctness of the performance of tasks in each group due to the varying level of difficulty. As a result of the conducted research, it was found that the age and place of residence of the examined children determine the correctness of the performance of tasks of varying levels of difficulty assessing the level of auditory perception. The results regarding the correctness of simple tasks were not varied depending on the respondents’ age group and place of residence. In the case of tasks with an average level of difficulty, the results were comparable in both examined age and territorial differentiated groups. As regards the performance of the most difficult tasks, there were statistically significant differences between the compared groups with the highest results among 6- and 7-year-olds from Poland. Also, with regard to the total number of correctly performed tasks, there were statistically significant differences between the compared groups.

Wirkung phonetischer Parameter des Deutschen auf nichtdeutsche Muttersprachler*innen

This paper tries to answer the question which phonetic parameters are particularly responsible for the sound of German. In particular, the accent-rhythmic structures are discussed. In doing so, we reflect on which factors also shape attitudes and perception of German.

Rhythm (Exercises 41–60)

Rhythm in this chapter is conceived as the pace at which music unfolds in time. Note values, rests, and other sources of rhythmic notation are a way to control the temporal evolution of a new composition. Exercise 41 proposes a series of simple mathematical transformations to given rhythmic structures; 42 and 43 use segments of equal and unequal length. Numbers 44 and 45 incorporate the concept of non-retrogradable rhythmic structures, the goal of 46 is to extract the rhythm of a given text using its syllables and accents, 47 uses groupings to generate meter, and 48 uses a Morse code translator to extract the durations from a given text. Exercise 49 brings back the concept of rhythmic ostinato; 50 and 51 employ hemiolas. Number 52 is based on the use of several time signatures simultaneously (polymeter), 53 incorporates metric modulations, and 54 uses rhythmic motifs as building blocks. Number 55 continues with the use of motifs, shifting them in time. The concepts of talea and color from isorhythmic motets are included in exercise 56. Looping and composing using repeat signs are included in number 57; 58 is about indeterminate pauses and fermatas. Rhythmic transformations using eliminations are at the core of 59; exercise 60 proposes an experimentation with the perception of pulse.

Stress, Meter, and Text-Setting

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.

Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)

Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (1982), Miniatury polskie (1982), Kółko graniaste (1987), Karnawał lalek for four hands (1990) and Zaczarowane zabawki (1996). The pieces have didactic qualities and play the two roles: they gradually introduce a pupil into the world of music and they help to master the piano technique. They develop, in particular, fingers’ dexterity, chordal and arpeggio technique, precision while realization various rhythmic structures, mastery of large leaps on the keyboard. Performing Magin’s music sensitizes to the timbre of pitches in different registers, to changeable dynamics, original harmony, bitonality, phrasing, articulation, agogic and proper interpretation. His compositions develop children’s imagination and familiarize them with diverse timbres of the piano. They are little masterpieces, put into a terse form of a miniature.