Ted Anderson
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780195304114
- eISBN:
- 9780199790012
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195304114.001.0001
- Subject:
- Biology, Ornithology
After the chicken, the House Sparrow is the most widely distributed bird species in the world, occurring on all continents except Antarctica and on most human-inhabited islands. Although its Latin ...
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After the chicken, the House Sparrow is the most widely distributed bird species in the world, occurring on all continents except Antarctica and on most human-inhabited islands. Although its Latin name is Passer domesticus, it is certainly not domesticated. In fact, it is widely regarded as a pest species and is consequently not protected in most of its extensive range. This combination of ubiquity and minimal legal protection has contributed to its wide use in studies by avian biologists throughout the world. This book reviews and summarizes the results of these global studies on House Sparrows, and provides a springboard for future studies on the species. House Sparrows have been used to study natural selection in introduced species, circadian rhythms, and the neuroendocrine control of the avian annual cycle. One current question of considerable interest concerns the catastrophic House Sparrow population decline in several urban centers in Europe. Is the House Sparrow a contemporary canary in the mine? Other topics of broad interest include the reproductive and flock-foraging strategies of sparrows, and sexual selection and the function of the male badge in the species. The book also explores the role of the House Sparrow in disease transmission to humans and their domesticated animals.Less
After the chicken, the House Sparrow is the most widely distributed bird species in the world, occurring on all continents except Antarctica and on most human-inhabited islands. Although its Latin name is Passer domesticus, it is certainly not domesticated. In fact, it is widely regarded as a pest species and is consequently not protected in most of its extensive range. This combination of ubiquity and minimal legal protection has contributed to its wide use in studies by avian biologists throughout the world. This book reviews and summarizes the results of these global studies on House Sparrows, and provides a springboard for future studies on the species. House Sparrows have been used to study natural selection in introduced species, circadian rhythms, and the neuroendocrine control of the avian annual cycle. One current question of considerable interest concerns the catastrophic House Sparrow population decline in several urban centers in Europe. Is the House Sparrow a contemporary canary in the mine? Other topics of broad interest include the reproductive and flock-foraging strategies of sparrows, and sexual selection and the function of the male badge in the species. The book also explores the role of the House Sparrow in disease transmission to humans and their domesticated animals.
Jeffrey A. Gray and Neil McNaughton
- Published in print:
- 2003
- Published Online:
- January 2008
- ISBN:
- 9780198522713
- eISBN:
- 9780191712517
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198522713.001.0001
- Subject:
- Psychology, Neuropsychology
This book provides an updated theory of the nature of anxiety and the brain systems controlling anxiety, combined with a theory of hippocampal function, which was first proposed thirty years ago. ...
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This book provides an updated theory of the nature of anxiety and the brain systems controlling anxiety, combined with a theory of hippocampal function, which was first proposed thirty years ago. While remaining controversial, the core of this theory, of a ‘Behavioural Inhibition System’, has stood the test of time, with its main predictions repeatedly confirmed. Novel anti-anxiety drugs share none of the side effects or primary pharmacological actions of the classical anti-anxiety drugs on the actions of which the theory was based; but they have both the behavioural and hippocampal actions predicted by the theory. This text is the second edition of the book and it departs significantly from the first. It provides, for the first time, a single construct — goal conflict — that underlies all the known inputs to the system; and it includes current data on the amygdala. Its reviews include the ethology of defence, learning theory, the psychopharmacology of anti-anxiety drugs, anxiety disorders, and the clinical and laboratory analysis of amnesia. The cognitive and behavioural functions in anxiety of the septo-hippocampal system and the amygdala are also analysed, as are their separate roles in memory and fear. Their functions are related to a hierarchy of additional structures — from the prefrontal cortex to the periaqueductal gray — that control the various forms of defensive behaviour and to detailed analysis of the monoamine systems that modulate this control. The resultant neurology is linked to the typology, symptoms, pre-disposing personality and therapy of anxiety and phobic disorders, and to the symptoms of amnesia.Less
This book provides an updated theory of the nature of anxiety and the brain systems controlling anxiety, combined with a theory of hippocampal function, which was first proposed thirty years ago. While remaining controversial, the core of this theory, of a ‘Behavioural Inhibition System’, has stood the test of time, with its main predictions repeatedly confirmed. Novel anti-anxiety drugs share none of the side effects or primary pharmacological actions of the classical anti-anxiety drugs on the actions of which the theory was based; but they have both the behavioural and hippocampal actions predicted by the theory. This text is the second edition of the book and it departs significantly from the first. It provides, for the first time, a single construct — goal conflict — that underlies all the known inputs to the system; and it includes current data on the amygdala. Its reviews include the ethology of defence, learning theory, the psychopharmacology of anti-anxiety drugs, anxiety disorders, and the clinical and laboratory analysis of amnesia. The cognitive and behavioural functions in anxiety of the septo-hippocampal system and the amygdala are also analysed, as are their separate roles in memory and fear. Their functions are related to a hierarchy of additional structures — from the prefrontal cortex to the periaqueductal gray — that control the various forms of defensive behaviour and to detailed analysis of the monoamine systems that modulate this control. The resultant neurology is linked to the typology, symptoms, pre-disposing personality and therapy of anxiety and phobic disorders, and to the symptoms of amnesia.
A. P. David
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199292400
- eISBN:
- 9780191711855
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199292400.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by ...
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This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.Less
This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.
W. Otto Friesen and Jonathon A. Friesen
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195371833
- eISBN:
- 9780199865178
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195371833.003.0022
- Subject:
- Psychology, Cognitive Neuroscience
The Circuit model simulates synaptic interactions among large numbers of neurons and includes many currents and derived values. This chapter gives the equations for the membrane potentials in ...
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The Circuit model simulates synaptic interactions among large numbers of neurons and includes many currents and derived values. This chapter gives the equations for the membrane potentials in circuits of three-compartment invertebrate neurons with a passive soma, a neurite, where all synaptic interactions take place, and the axon, which is the only compartment that can generate an action potential.Less
The Circuit model simulates synaptic interactions among large numbers of neurons and includes many currents and derived values. This chapter gives the equations for the membrane potentials in circuits of three-compartment invertebrate neurons with a passive soma, a neurite, where all synaptic interactions take place, and the axon, which is the only compartment that can generate an action potential.
Roger Traub, MD and Miles Whittington, PhD
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195342796
- eISBN:
- 9780199776276
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342796.001.0001
- Subject:
- Neuroscience, Molecular and Cellular Systems, Development
This book reviews a number of clinical neuropsychiatric conditions in which brain oscillations play an essential role. It discusses how the intrinsic properties of neurons, and the interactions ...
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This book reviews a number of clinical neuropsychiatric conditions in which brain oscillations play an essential role. It discusses how the intrinsic properties of neurons, and the interactions between neurons – mediated by both chemical synapses and by gap junctions – can lead to oscillations in populations of cells. The discussion is based largely on data derived from in vitro systems (hippocampus, cerebral and cerebellar cortex) and from network modeling. Finally, the book considers how brain oscillations can provide insight into normal brain function as well as pathophysiology.Less
This book reviews a number of clinical neuropsychiatric conditions in which brain oscillations play an essential role. It discusses how the intrinsic properties of neurons, and the interactions between neurons – mediated by both chemical synapses and by gap junctions – can lead to oscillations in populations of cells. The discussion is based largely on data derived from in vitro systems (hippocampus, cerebral and cerebellar cortex) and from network modeling. Finally, the book considers how brain oscillations can provide insight into normal brain function as well as pathophysiology.
Clive Scott
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780198158820
- eISBN:
- 9780191673382
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158820.001.0001
- Subject:
- Literature, European Literature, Poetry
We are still a long way from knowing how to read the rhythms of free verse, a poetry which has been largely neglected by metrical theory. This study indicates the strategies of reading needed if ...
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We are still a long way from knowing how to read the rhythms of free verse, a poetry which has been largely neglected by metrical theory. This study indicates the strategies of reading needed if justice is to be done to free verse's rhythmic versatility. The core of the book is an analysis of key French 20th-century poets and poems, including Perse's Éloges, Cendrars's Prose du Transsibérien, Dix-neuf poèmes élastiques, and Documentaires; Apollinaire's Calligrammes; Supervielle's Gravitations; and Reverdy's Sources de vent. Contemporary trends in the visual arts — Cubism, Futurism, Orphism, photography — are called upon as perceptual models to illuminate free verse, and a further perspective is added by the theme of travel and movement. In addition to the examination of the rhythms of free verse, and of its implications for our reading of regular verse, the book provides a study of modernist poetics.Less
We are still a long way from knowing how to read the rhythms of free verse, a poetry which has been largely neglected by metrical theory. This study indicates the strategies of reading needed if justice is to be done to free verse's rhythmic versatility. The core of the book is an analysis of key French 20th-century poets and poems, including Perse's Éloges, Cendrars's Prose du Transsibérien, Dix-neuf poèmes élastiques, and Documentaires; Apollinaire's Calligrammes; Supervielle's Gravitations; and Reverdy's Sources de vent. Contemporary trends in the visual arts — Cubism, Futurism, Orphism, photography — are called upon as perceptual models to illuminate free verse, and a further perspective is added by the theme of travel and movement. In addition to the examination of the rhythms of free verse, and of its implications for our reading of regular verse, the book provides a study of modernist poetics.
Justin London
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195160819
- eISBN:
- 9780199786763
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195160819.001.0001
- Subject:
- Psychology, Cognitive Psychology
This book develops a theory of musical meter based on psychological research in temporal perception, cognition, and motor behavior. Meter is regarded as a kind of entrainment, a synchronization of ...
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This book develops a theory of musical meter based on psychological research in temporal perception, cognition, and motor behavior. Meter is regarded as a kind of entrainment, a synchronization of attention and actions to the rhythms of the environment. Drawing on research on the ability to make durational discriminations and categorizations at various tempos, the “speed limits” for meter are given: the inter-onset interval for metric elements must be greater than 100ms (10 per second) and less than 1.5-2.00 seconds. Care is taken to distinguish rhythms or patterns of duration from meters, the listener/performer's complex patterns of expectation and attention. It is thus shown that metric behaviors are highly tempo-dependent. Ambiguities may arise when a rhythmic pattern may be regarded under more than one meter, and conflicts may arise when a pattern of durations contradicts the ongoing meter. The theoretical core of the book is its development of a set of metric well-formedness constraints, which limit the temporal range and organization of patterns of metric entrainment. A consideration of the rhythmic practices of various non-western cultures, including some African and Indian music, leads to an additional well-formedness constraint, that of maximal evenness. This allows for meters that involve uneven (i.e., non-isochronous) beats. The book concludes with the many meters hypothesis, which proposes that a large number of expressively timed temporal templates are acquired, which are readily used when listening in familiar musical contexts.Less
This book develops a theory of musical meter based on psychological research in temporal perception, cognition, and motor behavior. Meter is regarded as a kind of entrainment, a synchronization of attention and actions to the rhythms of the environment. Drawing on research on the ability to make durational discriminations and categorizations at various tempos, the “speed limits” for meter are given: the inter-onset interval for metric elements must be greater than 100ms (10 per second) and less than 1.5-2.00 seconds. Care is taken to distinguish rhythms or patterns of duration from meters, the listener/performer's complex patterns of expectation and attention. It is thus shown that metric behaviors are highly tempo-dependent. Ambiguities may arise when a rhythmic pattern may be regarded under more than one meter, and conflicts may arise when a pattern of durations contradicts the ongoing meter. The theoretical core of the book is its development of a set of metric well-formedness constraints, which limit the temporal range and organization of patterns of metric entrainment. A consideration of the rhythmic practices of various non-western cultures, including some African and Indian music, leads to an additional well-formedness constraint, that of maximal evenness. This allows for meters that involve uneven (i.e., non-isochronous) beats. The book concludes with the many meters hypothesis, which proposes that a large number of expressively timed temporal templates are acquired, which are readily used when listening in familiar musical contexts.
Caroline Levine
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160627
- eISBN:
- 9781400852604
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160627.001.0001
- Subject:
- Literature, Criticism/Theory
This book offers a powerful new answer to one of the most pressing problems facing literary, critical, and cultural studies today—how to connect form to political, social, and historical context. The ...
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This book offers a powerful new answer to one of the most pressing problems facing literary, critical, and cultural studies today—how to connect form to political, social, and historical context. The book argues that forms organize not only works of art but also political life—and our attempts to know both art and politics. Inescapable and frequently troubling, forms shape every aspect of our experience. Yet, forms don't impose their order in any simple way. Multiple shapes, patterns, and arrangements, overlapping and colliding, generate complex and unpredictable social landscapes that challenge and unsettle conventional analytic models in literary and cultural studies. Borrowing the concept of “affordances” from design theory, this book investigates the specific ways that four major forms—wholes, rhythms, hierarchies, and networks—have structured culture, politics, and scholarly knowledge across periods, and it proposes exciting new ways of linking formalism to historicism and literature to politics. The book rereads both formalist and antiformalist theorists, including Cleanth Brooks, Michel Foucault, Jacques Rancière, Mary Poovey, and Judith Butler, and offers engaging accounts of a wide range of objects, from medieval convents and modern theme parks to Sophocles's Antigone and the television series The Wire. The result is a radically new way of thinking about form for the next generation and essential reading for scholars and students across the humanities who must wrestle with the problem of form and context.Less
This book offers a powerful new answer to one of the most pressing problems facing literary, critical, and cultural studies today—how to connect form to political, social, and historical context. The book argues that forms organize not only works of art but also political life—and our attempts to know both art and politics. Inescapable and frequently troubling, forms shape every aspect of our experience. Yet, forms don't impose their order in any simple way. Multiple shapes, patterns, and arrangements, overlapping and colliding, generate complex and unpredictable social landscapes that challenge and unsettle conventional analytic models in literary and cultural studies. Borrowing the concept of “affordances” from design theory, this book investigates the specific ways that four major forms—wholes, rhythms, hierarchies, and networks—have structured culture, politics, and scholarly knowledge across periods, and it proposes exciting new ways of linking formalism to historicism and literature to politics. The book rereads both formalist and antiformalist theorists, including Cleanth Brooks, Michel Foucault, Jacques Rancière, Mary Poovey, and Judith Butler, and offers engaging accounts of a wide range of objects, from medieval convents and modern theme parks to Sophocles's Antigone and the television series The Wire. The result is a radically new way of thinking about form for the next generation and essential reading for scholars and students across the humanities who must wrestle with the problem of form and context.
Justin London
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199744374
- eISBN:
- 9780199949632
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199744374.001.0001
- Subject:
- Music, Psychology of Music, Theory, Analysis, Composition
This book develops a theory of musical meter based on psychological research in temporal perception, cognition, and motor behavior. Meter is regarded as a kind of entrainment, a synchronization of ...
More
This book develops a theory of musical meter based on psychological research in temporal perception, cognition, and motor behavior. Meter is regarded as a kind of entrainment, a synchronization of attention and actions to the rhythms of the environment. Drawing on research on the ability to make durational discriminations and categorizations at various tempos, as well as evidence from neurobiology, the “speed limits” for meter are given: the inter-onset interval for metric elements must be greater than 100ms (10 per second) and less than 1.5-2.00 seconds. Care is taken to distinguish rhythms or patterns of duration from meters, the listener/performer's complex patterns of expectation and attention. It is thus shown that metric behaviors are highly tempo-dependent. Ambiguities may arise when a rhythmic pattern may be regarded under more than one meter, and conflicts may arise when a pattern of durations contradicts the ongoing meter. The music-theoretical core of the book is its development of a set of metric well-formedness constraints, which limit the temporal range and organization of patterns of metric entrainment. A consideration of the rhythmic practices of various non-western cultures, including some African and Indian music, leads to an additional well-formedness constraint, that of maximal evenness. This allows for meters that involve uneven (i.e., non-isochronous) beats or beat subdivisions. The book concludes with the many meters hypothesis, which proposes that a large number of expressively timed temporal templates are acquired that are readily used when listening in familiar musical contexts.Less
This book develops a theory of musical meter based on psychological research in temporal perception, cognition, and motor behavior. Meter is regarded as a kind of entrainment, a synchronization of attention and actions to the rhythms of the environment. Drawing on research on the ability to make durational discriminations and categorizations at various tempos, as well as evidence from neurobiology, the “speed limits” for meter are given: the inter-onset interval for metric elements must be greater than 100ms (10 per second) and less than 1.5-2.00 seconds. Care is taken to distinguish rhythms or patterns of duration from meters, the listener/performer's complex patterns of expectation and attention. It is thus shown that metric behaviors are highly tempo-dependent. Ambiguities may arise when a rhythmic pattern may be regarded under more than one meter, and conflicts may arise when a pattern of durations contradicts the ongoing meter. The music-theoretical core of the book is its development of a set of metric well-formedness constraints, which limit the temporal range and organization of patterns of metric entrainment. A consideration of the rhythmic practices of various non-western cultures, including some African and Indian music, leads to an additional well-formedness constraint, that of maximal evenness. This allows for meters that involve uneven (i.e., non-isochronous) beats or beat subdivisions. The book concludes with the many meters hypothesis, which proposes that a large number of expressively timed temporal templates are acquired that are readily used when listening in familiar musical contexts.
François Noudelmann
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780197266670
- eISBN:
- 9780191905391
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266670.003.0012
- Subject:
- Literature, Film, Media, and Cultural Studies
Barthes kept music separate from semiology, refusing to regard sounds as signs. By analysing music from the perspective of his body, he made audible its discreet phenomenologies. Many experiences, ...
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Barthes kept music separate from semiology, refusing to regard sounds as signs. By analysing music from the perspective of his body, he made audible its discreet phenomenologies. Many experiences, mental, psychic, and corporal, are at stake in performing and listening to music, and they played a subtle role in Barthes's thought. His listening and his musical practice led him to favour a relationship to his piano that permitted an imaginary appropriation and erotic play. Musical pulsation develops an intimate resistance to the law, one that combines repetition and perversion. Barthes highlights obsessive rhythms such as accents, syncopations, and off-beat rhythms. His writings on music, alluding to the language of the solitary body, emphasise erections and back-and-forth movements. He frequently over-interprets the performative indications on musical scores, such as the rubato or fingering, choosing to hear in them the sexual power of desire which leads the pianist towards a disseminated jouissance. By recording himself playing the piano, he extends this pleasure to enjoyment of his own rhythm as in an onanistic practice. From a theoretical perspective, musical practice allowed Barthes to bid his farewell to semiology and to maintain a subjective resistance, both philosophical and psychological, to social language.Less
Barthes kept music separate from semiology, refusing to regard sounds as signs. By analysing music from the perspective of his body, he made audible its discreet phenomenologies. Many experiences, mental, psychic, and corporal, are at stake in performing and listening to music, and they played a subtle role in Barthes's thought. His listening and his musical practice led him to favour a relationship to his piano that permitted an imaginary appropriation and erotic play. Musical pulsation develops an intimate resistance to the law, one that combines repetition and perversion. Barthes highlights obsessive rhythms such as accents, syncopations, and off-beat rhythms. His writings on music, alluding to the language of the solitary body, emphasise erections and back-and-forth movements. He frequently over-interprets the performative indications on musical scores, such as the rubato or fingering, choosing to hear in them the sexual power of desire which leads the pianist towards a disseminated jouissance. By recording himself playing the piano, he extends this pleasure to enjoyment of his own rhythm as in an onanistic practice. From a theoretical perspective, musical practice allowed Barthes to bid his farewell to semiology and to maintain a subjective resistance, both philosophical and psychological, to social language.
Roger D. Roger and Miles A. Whittington
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195342796
- eISBN:
- 9780199776276
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195342796.003.0003
- Subject:
- Neuroscience, Molecular and Cellular Systems, Development
brain oscillations occur spontaneously, for example during sleep; as part of evoked responses following specific sensory stimulations; and as a correlate of cognitive and motor processes. In the ...
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brain oscillations occur spontaneously, for example during sleep; as part of evoked responses following specific sensory stimulations; and as a correlate of cognitive and motor processes. In the latter cases, there is evidence that the oscillations are an essential part of the brain computations being performed, motivating study of the basic cellular mechanisms. Cognitively relevant oscillations are often quite fast, above 20 Hz, and even up to several hundred Hz.Less
brain oscillations occur spontaneously, for example during sleep; as part of evoked responses following specific sensory stimulations; and as a correlate of cognitive and motor processes. In the latter cases, there is evidence that the oscillations are an essential part of the brain computations being performed, motivating study of the basic cellular mechanisms. Cognitively relevant oscillations are often quite fast, above 20 Hz, and even up to several hundred Hz.
Yonatan Malin
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195340051
- eISBN:
- 9780199863785
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340051.003.0002
- Subject:
- Music, Theory, Analysis, Composition
This is the second of two introductory chapters, focusing on recent theories of musical rhythm and meter and their application to the Lied. Rhythm and meter are discussed from the complementary ...
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This is the second of two introductory chapters, focusing on recent theories of musical rhythm and meter and their application to the Lied. Rhythm and meter are discussed from the complementary perspectives of notation, perception, and performance. Topics include metric hierarchies, entrainment, hypermeter, phrase rhythm, metric “dissonance” (including syncopation and hemiola), and qualities of motion and energy. Notes on Schubert's “Der Lindenbaum” and Brahms's “Das Mädchen spricht” illustrate the analytic methodologies, which are adapted in part from work by Harald Krebs. Richard Cohn's metric graphs provide a further perspective on metric states. Rhythmic layers in the piano are discussed together with those of the poetry and vocal lines, and all three are considered in relation to poetic and musical meaning.Less
This is the second of two introductory chapters, focusing on recent theories of musical rhythm and meter and their application to the Lied. Rhythm and meter are discussed from the complementary perspectives of notation, perception, and performance. Topics include metric hierarchies, entrainment, hypermeter, phrase rhythm, metric “dissonance” (including syncopation and hemiola), and qualities of motion and energy. Notes on Schubert's “Der Lindenbaum” and Brahms's “Das Mädchen spricht” illustrate the analytic methodologies, which are adapted in part from work by Harald Krebs. Richard Cohn's metric graphs provide a further perspective on metric states. Rhythmic layers in the piano are discussed together with those of the poetry and vocal lines, and all three are considered in relation to poetic and musical meaning.
Yonatan Malin
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195340051
- eISBN:
- 9780199863785
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340051.003.0004
- Subject:
- Music, Theory, Analysis, Composition
This chapter explores effects of repetition and motion in Schubert's songs, together with moments of rhythmic irregularity. Analyses focus on three songs from Winterreise (poems by Müller) and three ...
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This chapter explores effects of repetition and motion in Schubert's songs, together with moments of rhythmic irregularity. Analyses focus on three songs from Winterreise (poems by Müller) and three early Goethe settings. The chapter's themes are introduced with notes on “Auf dem Flusse,” Winterreise No. 7. An unusual declamatory schema is then shown to contribute to the frenzied flight in “Rückblick,” Winterreise No. 8. Three songs—“Wandrers Nachtlied I,” D. 224, “Die Nebensonnen,” Winterreise No. 23, and “Schäfers Klagelied,” D. 121—illustrate moments of rhythmic irregularity, speech rhythm, and the emergence of a reflective, deeply feeling self. The chapter concludes with an extended analysis of “Gretchen am Spinnrade,” D. 118. Gretchen's shifting psychological states are shown to leave their trace in the flow and articulation of her poetic syntax and in the phrase rhythm and hypermeter of Schubert's remarkable setting.Less
This chapter explores effects of repetition and motion in Schubert's songs, together with moments of rhythmic irregularity. Analyses focus on three songs from Winterreise (poems by Müller) and three early Goethe settings. The chapter's themes are introduced with notes on “Auf dem Flusse,” Winterreise No. 7. An unusual declamatory schema is then shown to contribute to the frenzied flight in “Rückblick,” Winterreise No. 8. Three songs—“Wandrers Nachtlied I,” D. 224, “Die Nebensonnen,” Winterreise No. 23, and “Schäfers Klagelied,” D. 121—illustrate moments of rhythmic irregularity, speech rhythm, and the emergence of a reflective, deeply feeling self. The chapter concludes with an extended analysis of “Gretchen am Spinnrade,” D. 118. Gretchen's shifting psychological states are shown to leave their trace in the flow and articulation of her poetic syntax and in the phrase rhythm and hypermeter of Schubert's remarkable setting.
Caroline Levine
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160627
- eISBN:
- 9781400852604
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160627.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter makes a threefold argument for paying a richer and more detailed attention to rhythms, both social and aesthetic. It starts with the importance of attending to the temporal forms that ...
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This chapter makes a threefold argument for paying a richer and more detailed attention to rhythms, both social and aesthetic. It starts with the importance of attending to the temporal forms that structure historicist literary and cultural studies scholarship. It argues that the heterogeneity and endurance of social rhythms invites a new kind of sociocultural analysis, asking us to reimagine the social landscape as characterized by contending rhythms that extend forward and backward in time. The second part of the chapter asks how we might put this kind of analysis to use. It focuses on one example from the late 1920s, when avant-garde artists managed to alter US law by cannily recognizing the work of multiple social rhythms. It makes the case that despite their power to coerce and organize, rhythms, like bounded wholes, can be put to strategic ends and have the potential to work with and against other forms to surprisingly transformative political effect. Finally, the chapter asks how a new approach to rhythm might help us to rethink the relations between literary forms and social arrangements.Less
This chapter makes a threefold argument for paying a richer and more detailed attention to rhythms, both social and aesthetic. It starts with the importance of attending to the temporal forms that structure historicist literary and cultural studies scholarship. It argues that the heterogeneity and endurance of social rhythms invites a new kind of sociocultural analysis, asking us to reimagine the social landscape as characterized by contending rhythms that extend forward and backward in time. The second part of the chapter asks how we might put this kind of analysis to use. It focuses on one example from the late 1920s, when avant-garde artists managed to alter US law by cannily recognizing the work of multiple social rhythms. It makes the case that despite their power to coerce and organize, rhythms, like bounded wholes, can be put to strategic ends and have the potential to work with and against other forms to surprisingly transformative political effect. Finally, the chapter asks how a new approach to rhythm might help us to rethink the relations between literary forms and social arrangements.
Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins, and Ian Cross
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199553426
- eISBN:
- 9780191731020
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199553426.003.0008
- Subject:
- Psychology, Music Psychology, Cognitive Psychology
This chapter is an introduction to Section 2 (Evolution), covering Chapters 9–14. The first chapter, which is the target article, is followed by commentaries. The target article adopts an innovative ...
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This chapter is an introduction to Section 2 (Evolution), covering Chapters 9–14. The first chapter, which is the target article, is followed by commentaries. The target article adopts an innovative perspective, focusing on the domain of rhythm as foregrounded in music and as an integral component of language. Rhythm is an apparently simple feature of music, so simple that it has remained under the radar of most contributors to debates on the evolution of music and language. Fitch shows it to be anything but simple, drawing on psychological, neuroscientific, and ethological evidence to reveal it as complex, multi-componential, and — as manifested not only in language but also in music — quite probably unique to modern humans.Less
This chapter is an introduction to Section 2 (Evolution), covering Chapters 9–14. The first chapter, which is the target article, is followed by commentaries. The target article adopts an innovative perspective, focusing on the domain of rhythm as foregrounded in music and as an integral component of language. Rhythm is an apparently simple feature of music, so simple that it has remained under the radar of most contributors to debates on the evolution of music and language. Fitch shows it to be anything but simple, drawing on psychological, neuroscientific, and ethological evidence to reveal it as complex, multi-componential, and — as manifested not only in language but also in music — quite probably unique to modern humans.
Isabelle Peretz
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199553426
- eISBN:
- 9780191731020
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199553426.003.0032
- Subject:
- Psychology, Music Psychology, Cognitive Psychology
This chapter presents a response to the commentaries in Chapters 28–31. It addresses the four points raised by Besson and Schön on their comments questioning the usefulness of the modularity frame. ...
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This chapter presents a response to the commentaries in Chapters 28–31. It addresses the four points raised by Besson and Schön on their comments questioning the usefulness of the modularity frame. Skoe and Kraus provide a useful reminder and compelling case for considering that cortical modules do not function in isolation from subcortical neural systems. They remind us of the importance of top-down processing or corticofugal influences on the early tuning of brainstem responses to auditory input. Goswami draws attention to the role of prosody and rhythm in both music and speech from development and animal cognition. This chapter thanks Goswami for bringing to attention a study in which auditory chimera were created by interchanging sentences for melodies in using the envelope of one sentence or melody and the fine time structure of another.Less
This chapter presents a response to the commentaries in Chapters 28–31. It addresses the four points raised by Besson and Schön on their comments questioning the usefulness of the modularity frame. Skoe and Kraus provide a useful reminder and compelling case for considering that cortical modules do not function in isolation from subcortical neural systems. They remind us of the importance of top-down processing or corticofugal influences on the early tuning of brainstem responses to auditory input. Goswami draws attention to the role of prosody and rhythm in both music and speech from development and animal cognition. This chapter thanks Goswami for bringing to attention a study in which auditory chimera were created by interchanging sentences for melodies in using the envelope of one sentence or melody and the fine time structure of another.
David N. Thomas, G.E. (Tony) Fogg, Peter Convey, Christian H. Fritsen, Josep-Maria Gili, Rolf Gradinger, Johanna Laybourn-Parry, Keith Reid, and David W.H. Walton
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199298112
- eISBN:
- 9780191711640
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199298112.003.0002
- Subject:
- Biology, Ecology
This chapter deals with the effects of polar conditions on living systems in general, the ways in which microorganisms, plants, and animals are able to adapt to the stresses imposed, and how they ...
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This chapter deals with the effects of polar conditions on living systems in general, the ways in which microorganisms, plants, and animals are able to adapt to the stresses imposed, and how they come to be in these habitats. Topics covered include effects of low temperature on cell physiology, effects of freezing and freeze resistance, avoidance of chill and keeping warm, wind chill, desiccation, effects of radiation, and biological rhythms in the polar environment.Less
This chapter deals with the effects of polar conditions on living systems in general, the ways in which microorganisms, plants, and animals are able to adapt to the stresses imposed, and how they come to be in these habitats. Topics covered include effects of low temperature on cell physiology, effects of freezing and freeze resistance, avoidance of chill and keeping warm, wind chill, desiccation, effects of radiation, and biological rhythms in the polar environment.
Adam B. Seligman, Robert P. Weller, Michael J. Puett, and Bennett Simon
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195336009
- eISBN:
- 9780199868933
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336009.003.0006
- Subject:
- Religion, World Religions
This chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and ...
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This chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and sincerity in Shakespeare's Merchant of Venice. Second, it looks at the history of architectural ornament, which is ritual-like in its repetitions and rhythms and in its concern with boundaries and framing. Here the ritual/sincerity tension plays out typically as conflict between ornament and pedagogy. Iconoclasm is a core theme of this section. Finally, it compares the formal features of music to those of ritual. Like ritual, music is a way of establishing and crossing boundaries, and of ordering a messy world through techniques of intonation, rhythm, and ornament. The tension between ritual and sincerity culminates in 20th-century attempts to move beyond the conventions of tonality completely.Less
This chapter looks at different cultural examples of the tensions between ritual and sincerity over time. First, it discusses the interplay of law and love, Judaism and Christianity, and ritual and sincerity in Shakespeare's Merchant of Venice. Second, it looks at the history of architectural ornament, which is ritual-like in its repetitions and rhythms and in its concern with boundaries and framing. Here the ritual/sincerity tension plays out typically as conflict between ornament and pedagogy. Iconoclasm is a core theme of this section. Finally, it compares the formal features of music to those of ritual. Like ritual, music is a way of establishing and crossing boundaries, and of ordering a messy world through techniques of intonation, rhythm, and ornament. The tension between ritual and sincerity culminates in 20th-century attempts to move beyond the conventions of tonality completely.
Yonatan Malin
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195340051
- eISBN:
- 9780199863785
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340051.001.0001
- Subject:
- Music, Theory, Analysis, Composition
This book explores rhythm and meter in the nineteenth‐century German Lied. It illustrates the transformation of poetic meter into musical rhythm and situates songs within larger aesthetic and ...
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This book explores rhythm and meter in the nineteenth‐century German Lied. It illustrates the transformation of poetic meter into musical rhythm and situates songs within larger aesthetic and historical narratives. The Lied, as a genre, is characterized especially by the fusion of poetry and music. Poetic meter itself has expressive qualities, and rhythmic variations contribute further to the modes of signification. These features often carry over into songs, even as they are set in the more strictly determined periodicities of musical meter. A new method of declamatory‐schema analysis is presented to illustrate common possibilities for setting trimeter, tetrameter, and pentameter lines. Degrees of rhythmic regularity and irregularity are also considered. Recent theories of musical meter are reviewed and applied in the analysis and interpretation of song. Topics include the nature of metric entrainment (drawing on music psychology), metric dissonance, hypermeter, and phrase rhythm. The book provides new methodologies for analysis and close readings of individual songs by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. Whereas songs by Hensel, Schubert, and Schumann may generally be described as musical settings of poetic texts, songs by both Brahms and Wolf function as musical performances of poetic readings. The frequently mentioned differences between Brahms and Wolf are clarified, along with deeper affinities.Less
This book explores rhythm and meter in the nineteenth‐century German Lied. It illustrates the transformation of poetic meter into musical rhythm and situates songs within larger aesthetic and historical narratives. The Lied, as a genre, is characterized especially by the fusion of poetry and music. Poetic meter itself has expressive qualities, and rhythmic variations contribute further to the modes of signification. These features often carry over into songs, even as they are set in the more strictly determined periodicities of musical meter. A new method of declamatory‐schema analysis is presented to illustrate common possibilities for setting trimeter, tetrameter, and pentameter lines. Degrees of rhythmic regularity and irregularity are also considered. Recent theories of musical meter are reviewed and applied in the analysis and interpretation of song. Topics include the nature of metric entrainment (drawing on music psychology), metric dissonance, hypermeter, and phrase rhythm. The book provides new methodologies for analysis and close readings of individual songs by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. Whereas songs by Hensel, Schubert, and Schumann may generally be described as musical settings of poetic texts, songs by both Brahms and Wolf function as musical performances of poetic readings. The frequently mentioned differences between Brahms and Wolf are clarified, along with deeper affinities.
Constance Valis Hill
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195390827
- eISBN:
- 9780199863563
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195390827.001.0001
- Subject:
- Music, History, American, Dance
This is the first comprehensive, fully documented, intercultural history of tap dance, a uniquely American art form, that explores all aspects of the intricate musical and social exchange that ...
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This is the first comprehensive, fully documented, intercultural history of tap dance, a uniquely American art form, that explores all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of contemporary tap luminaries. Tap dance evolved from the oral traditions and expressive cultures of the West Africans and the Irish that converged and collided in America, and was perpetuated by such key features as the tap challenge—any competition or showdown in which dancers compete against each other before an audience of spectators or judges. The book begins with an account of a buck dance challenge between Bill (“Bojangles”) Robinson and Harry Swinton at Brooklyn’s Bijou Theatre, in 1900, and proceeds decade by decade through the twentieth century. Vividly described are tap’s musical styles and steps—from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the 1920s, 1930s, and 1940s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s up to today. Tap dancing has long been considered “a man’s game,” and this book is the first history to highlight such outstanding female artists as Ada Overton Walker, Kitty O’Neill, and Alice Whitman, at the turn of the twentieth century, as well as the pioneering women composers of the tap renaissance, in the 1970s and 1980s, and the hard-hitting rhythm-tapping women of the millennium.Less
This is the first comprehensive, fully documented, intercultural history of tap dance, a uniquely American art form, that explores all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of contemporary tap luminaries. Tap dance evolved from the oral traditions and expressive cultures of the West Africans and the Irish that converged and collided in America, and was perpetuated by such key features as the tap challenge—any competition or showdown in which dancers compete against each other before an audience of spectators or judges. The book begins with an account of a buck dance challenge between Bill (“Bojangles”) Robinson and Harry Swinton at Brooklyn’s Bijou Theatre, in 1900, and proceeds decade by decade through the twentieth century. Vividly described are tap’s musical styles and steps—from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the 1920s, 1930s, and 1940s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s up to today. Tap dancing has long been considered “a man’s game,” and this book is the first history to highlight such outstanding female artists as Ada Overton Walker, Kitty O’Neill, and Alice Whitman, at the turn of the twentieth century, as well as the pioneering women composers of the tap renaissance, in the 1970s and 1980s, and the hard-hitting rhythm-tapping women of the millennium.
