Meter and Rhythm

Since the religious sources of the Ahl al-Haqq express themselves in cryptic a language, the date of their origin is shrouded in a veil of ambiguity. By deciphering the texts of the Ahl al-Haqq, we find that the Yarsanis have traced its emergence and manifestation to the era of Imam Ali (AS). The cradle of the emergence of the Ahl al-Haqq was in Kermanshah and Lorestan in the second century of the lunar calendar. With the advent of Sultan Ishaq Barzanji in the seventh and eighth centuries, the Ayinyari (Ahl al-Haqq) organization was formed in the Oramanas of Kermanshah. The present article answers the question of what were the results of the formation of the Ahl al-Haqq religious organization in the “Pardivar”? The research findings show that the Divan Yari was organized with the presence of the Kakeis of Barzanjeh from the Sulaymaniyah province of Iraq, the Yarsanis of western Iran, and people who had come to Pardivar from different countries. During this period, its ritual laws and rules were stated by Sultan Ishaq and some of his companions, which led to a new chapter in the social, cultural, and ritual life of this tribe, and the biogeography of the Ahl al-Haqq expanded beyond Iran and Iraq.
This article, with a descriptive-analytical approach, based on the main ritual texts and utilizing the works of the scholars of this tribe, has explained and examined the quality of the formation of the organization (Divan) of the Yarsan religion in Pardivar. The development and codification of this religion in the era of Sultan Ishaq is another aim of this article.

This paper proposes, starting from a detailed analysis of the mythological contents exposed in the tenth chapter of the so-called Fragmentum Censorini (= Nikokrates, FGrHist and BNJ2 376 F 4), a new contextualisation of the excerpt within Pseudo Censorinus' musical and metrical doctrine.

This paper explores metrical practice in John Skelton’s late dream vision 'A Garlande or Chapelet of Laurell' (1523) in depth for the first time. Hypermetricity in densely alliterative passages is read as a deliberate arousal of the cadences of non-Chaucerian Middle English accentual verse traditions elided in Skelton’s aureate canon in relation to accounts of the “death” of the alliterative tradition. Such metrical ambiguity is shown to be consonant with the poem’s allegoresis of both canonicity and English verse composition. The poem’s alliterative-syllabic synthesis, it argues, places Skelton within a tradition of experimental late medieval metrical interpolation extending from early Chaucer manuscripts through to sixteenth-century blank verse composition, in which several varieties of Middle English verse art remained a through-line rather than a lost technique.

This article presents a comparative rhythmic analysis of two types of Russian three-ictus dolnik: a heterosyllabic variant used as an equivalent of the German three-stress meter and an isosyllabic variant (7M/8F/9D) used as an equivalent of the Spanish octosyllabic meter. The corpus under examination is divided into two subcorpora. Subcorpus A consists of translations of Heinrich Heine's poems, comprising 732 lines from 51 translations by twelve Russian translators, published between 1911 and 2003. Subcorpus B consists of translations of Federico García Lorca's and Spanish folk romances, comprising 1,006 lines from 17 translations by six Russian translators, published between 1940 and 1991. The main questions addressed are: 1) How do the rhythmic characteristics of three-ictus dolnik differ in translations from German and Spanish? 2) Is the translated dolnik rhythmically different from the original Russian dolnik? 3) If so, can these differences be attributed to the influence of foreign verse? 4) How did the canonization of dolnik in mid-twentieth-century Russian poetry influence its use in translations? 5) How do isotonic and isosyllabic factors interact within the dolnik rhythm? To answer these questions, the article outlines the structure of dolnik and its role in Russian versification. It provides a historical overview of how different variants of the meter have been used in translations and then proceeds to a detailed rhythmic analysis (including stressing, length of inter-ictic intervals, syllabic length, and the proportion of different line types) of the variants in question. The results of the rhythmic analysis demonstrate how translators' strategies differ and evolve over time, revealing the specific properties of each subcorpus, their differences from each other, and their divergences from the original twentieth-century Russian dolnik. The findings underscore the flexibility of metrical forms and their broad potential for rhythmic imitation of foreign verse. The article also shows that the canonization of experimental meters in the original poetic tradition facilitates the canonization of these meters in translated poetry, which gradually diverges from foreign prototypes.

Dança, memória e história Resumo: Embora mais associado a uma dramaturgia verbal, Sófocles inscreve-se duplamente na História da Dança como multiartista que se apropriou e transformou práticas corais arcaicas. Nesta comunicação são analisados e comentados documentos doxográficos antigos que atestam as relações entre Sófocles e coralidades antigas. Destacam-se informações sobre sua participação como dançarino em performances rituais e artísticas em eventos que combinam atuação, dança e música. Com isso, evidencia-se a alta produtividade de práticas corais na Antiguidade, demonstrando a ampla e generalizada presença de grupos multissensoriais em suas interações e trocas.

NVGAE CATVLLIANAE, I Observations sur l'établissement et l'exégèse du texte des poèmes 1-60 de Catulle Les remarques critiques et exégétiques que nous présentons sont des « Lesefrüchte » issus de la lecture de Catulle dans l'édition critique électronique (< catullusonline.org >) qu'a confectionnée, à partir de 2009, Dániel Kiss, bienfaiteur des études catulliennes 1 . En présentant soigneusement les leçons de la tradition manuscrite connues de lui et une grande partie des efforts ininterrompus de la critique conjecturale, Kiss facilite beaucoup la tâche des critiques d'aujourd'hui, compliquée par l'abondance des travaux de leurs prédécesseurs 2 et la difficulté qu'il y a encore à accéder à certains d'entre eux. Nous imaginons volontiers qu'un jour on rendra aussi facilement disponibles les efforts rassemblés de l'exégèse catullienne depuis l'Antiquité jusqu'à la date la plus récente, en passant par la Renaissance italienne et l'humanisme, mais, les commentaires qui comptent 3 étant facilement accessibles aujourd'hui, ce sera 1. Voir aussi Kiss, « Editions and Commentaries », dans I. Du Quesnay et T. Woodman (dir.),

And, according to Schenker, the genius cannot be black insofar as blacks represented an 'inferior race' to Germans, who were uniquely qualified, with their superior 'Menschenhumus,' to produce works of genius. Finally, like me, New Yorker critic Alex Ross agrees that 'genius' is problematic from a critical-race perspective: The danger of the word 'genius' is that it implies an almost biological category-an innately superior being, a superhero. It is probably no accident that the category of 'genius,' an obsession of the nineteenth century, coincided with the emergence of the pseudoscience of race, which held that certain peoples were genetically fitter than others. Comments: Emphasis mine. Quotation 2: Michael Dummett, Frege: Philosophy of Language (Cambridge, MA: Harvard University Press, 1973), 453. "Learning to use a statement of a given form involves learning two things: The conditions under which one is justified in making the statement; and what constitutes acceptance of it, i.e., the consequences of accepting it. Here 'consequences' must be taken to include both the inferential powers of the statement and anything that counts as acting on the truth of the statement." Comments: Dummett's acceptance-vs.-consequences distinction will come back when we talk about thick evaluative concepts Quotation 3: Charles L. Stevenson, "Persuasive Definitions," Mind Vol. 47 No. 187 (1938), 331. "A persuasive definition is one which gives new conceptual meaning to a familiar word without substantially changing its emotive meaning, and which is used with the conscious or unconscious purpose of changing, by this means, the direction of people's interests." Comments: "Interests" means (as the rest of Stevenson's article makes clear) "attitudes." Quotation 4: Charles L. Stevenson, "The Emotive Meaning of Ethical Terms," Mind Vol. 46 No. 181 (1937), 23. "The emotive meaning of a word is a tendency of a word, arising through the history of its usage, to produce (result from) affective responses in people. It is the immediate aura of

This essay claims that shiʿr al-tafʿīla, modern poetry which adheres to one or more of the traditional prosodic feet, witnessed a second ideological turn in the moment leading up to the 1967 defeat. Around 1967, the mixing of meters asserts itself in attempt to grapple with the epistemic rupture in Arabist ideology as keyed to the tafʿīla form. Hybrids emerge in Syria of the mid- to late-1960s, where modernistic nathr was cordoned off from poetic practice at the same time as social and political developments dictated a complex representation of interior struggles, paradoxes, and agonistic uncertainties. The readiness to experiment with metrical hybrids retrospectively highlights the silenced presence of metrical hybridity in Shiʿr magazine (1956–1964), the carrier of the Arabic
modernist project. The poets of Shiʿr programmatically elided metrical thinking out of ideological considerations, and this paper wishes to rehabilitate prosody in the Arabic modernist legacy.

Interpretive and analytic readings of Thomas Adès's _Living Toys_ (1993) and _America: a prophecy_ (1999), with brief comment on _Chamber Symphony_ (1990). Discussion of gesture, and in the two-panel scheme of _America_, of resonances between motives and rhythms and the calendrical logic of Mayan culture.

Music is a sophisticated medium through which man's devotion, pleasure and emotional expression are expressed. Music means a combination of singing and playing, and music is a diverse art, as seen in The New Britannica. By the Medieval Period, music had developed to some extent into a fine art, even among the common people of Sri Lanka. It was revealed by musical institutions like Saraswati Mandapam, Shrungara Mandapam and Kavikara Mandapam and it was clear that the art of music was well known as per the information contained in the records of the present day. The purpose of this study was to examine the musical art depicted in medieval literature and the musical art from medieval classical literature. What information about the art of music is conveyed from the literature of the Medieval Period? In this study, which was conducted depending on the research problem, data was collected through library references and the Internet. Data analysis was carried out using the qualitative data analysis method. In this study, literary works from the Medieval Period were used as the main source. By considering the primary and secondary data balanced, logical conclusions were drawn and a detailed interpretation was made. There it was known from literary works that the development of musical art was limited only to the Medieval Period. There, it was known through literary works that the development of musical art was limited to the medieval period only. The source of medieval Sinhala literature presented numerous musical instruments that are unknown from the social and cultural background of the ongoing period and the history of multiple arts in this historical literature. The musical art of that era exists because of this great achievement. Accordingly, it can be concluded that the ancient people's close correlation with the art of music, aesthetics, intelligence, and spirituality is superior.

The rituals used in Sinhalese culture namely bali, thovil, and madu can be characterized by three Sri Lankan regional dance traditions, Upcountry, Low country, and Sabaragamuwa. The aim of this research is to explore and comparatively analyze the influence of the Indian classic Natyashastra of Bharatmuni on the Pahan Madu ritual practiced in the cities of Kalawana, Ratnapura, Balangoda, and Badulla of Sri Lanka. Ethnographic research using pictures, audio-video recordings, interviews, observations, and field notes for collecting data has been used. Elements of a comparative case study were used for data analysis. This study identified that the Sri Lankan Sabaragamu Pahan Madu curative ritual has several similar characteristics to Nruththa, Nruthya, and Naatya of Natyashastra written by the Indian theatrologist and musicologist Bharatamuni during the first century. The preparations of Pahan Madu performance arena apply similar prerequisites to the theatre mentioned by Bharatamuni in the Natyashastra. The four main parts of abhinaya presented in Natyashastra are also depicted by the actors performing in the Pahan Madu ritual. Even Hough the Pahan Madu ritual demonstrates the influences of Bharatamuni’s Natyashastra, some of its characteristics have been replaced because of the influence of the Buddhist culture.

KEYWORDS: Bharatamuni, Rituals, Sabaragamu Pahan Madu, Sri Lanka.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

MUSICAL PAUSE AS A FACTOR IN PERFORMING INFLEXION
(for example, the fifth play “Sunt lacrymae rerum, en mode hongrois”
from the third “Year of Pilgrimage” by F. Liszt)
Musical pause is considered in terms of the communicative process. The rhetorical nature of piano statements
of Liszt – composer, interpreted as a graphic imprint of performing intoning, is revealed. The definition of the term
was given by V. Vakhromeev and H. Riemann. It is noted, that the main impact of the pause is associated with the physiology
of breath and that this sign has the capacity of emotional impact on the listener. The functions of pause developed
by musicologists O. Taganova and T. Barsukova are enumerated. The phenomenon of pause is referred to the historical
perspectives: understanding the pause in the Baroque rhetoric (figures of pauses associated with the various dramaturgical
situations), perception of it in pieces of Romantic composers R. Wagner and A. Bruckner ("pause of the silence"), its
interpretation by the composers of the XX century by V. Silvestrov in particular ("pause is the sound"). There is considerable
functional role of pauses in piano works of F. Liszt, which associates with the rhetorical musical thinking of this
Hungarian romantic composer. This confirms the possibility of interpretation of the pause in his pieces in the context of a
rhetorical language as an important element of a verbal appeal to the audience. The multifunctionality of pauses is indicated
in the analysis of the piece “Sunt lacrymae rerum, en mode hongrois” by Liszt from the third "volume" of his
"Years of Pilgrimage", where comprehension of the pause by the composer-pianist is similar to the masters of elocution.
In addition to the syntactic and forming functions, pauses have important emotional and semantic meaning. Pause covers
all levels of musical text: compositional, thematic, syntactical, articulatory, spatiotemporal, semantic, and finally it determines
the nature of emotional and energy impact on the listener.

The author of the article suggests an approach to the performing interpretation in the context of the music time flow and its implementation by the outstanding pianist of the XX century, G. Cziffra. Purpose of the article is to reveal the individual performing strategies of music time inherent to G. Cziffra (on the example of the third volume of F. Liszt‘s ―Years of Pilgrimage‖). Methodology. To achieve this goal, the author uses the methods of comparative, contextual, composition-dramatic and intonational analysis, which are aimed at determining the musician-performer role in understanding (in comprehension of) the author's text through the music material. The scientific novelty of the research is that for the first time in the national musicology, the performing strategy in the music time or-ganization based on a specific example becomes the subject of the scientific research, which makes it possible to identify one of the mastery key parameters in interpreting a composer's music piece. Conclusions. The way the pianist perceives the music time evidently tells us about the indomitable drive towards a goal, the perpetual work of a vibrant consciousness, the continuity of an event-based process formation. G. Cziffra's proclivity for improvisation determines his natural desire to revitalize the performing process, emphasiz-ing its inconstancy, variability. The artist is no longer bound to strictly adhere to the ―instructions‖, that is, the necessity to build a ration-ally-prudent system of performance. The pianist's audacious collaboration, his self-assurance and the undeniability of his intentions, even if his interpretation is mismatched

The paper considers the poetry of four Czech authors-František Gellner, Viktor Dyk, Karel Toman, and Fráňa Šrámek-in their Russian-language translations. Based on known published translations made by 17 Russian translators throughout the 20th century, it describes their metrical and stanzaic forms in comparison with the original Czech poems. The description and comparative analysis serve to consider a number of questions, including which of the Czech forms appear most attractive to Russian translators, which formal elements are typically preserved and which are significantly altered in the translations, and how Russian readers' overall perception of the four Czech poets and their oeuvres is shaped through the choices made by translators, in terms of versification.

Este artigo apresenta a aplicação de parte da proposta de análise desenvolvida em minha pesquisa de doutorado. Com foco na instrumentação da base, procurando elucidar os processos de organização dos elementos texturais constituintes do plano do acompanhamento e a interação com o plano da melodia no combo de jazz. Foi usada, aqui, a composição Nica's Dream, de Horace Silver, na gravação do grupo The Jazz Messengers, como estudo de caso.

Russian verse is regarded usually as a product of large evolutionary trends or tendencies tracing through the vast corpus including great number of poems of diff erent epochs. Owing to that, Russian method was going on well when the researcher was interested in the most popular forms of the verse although less frequent cases or defl ections in the main trend were almost always left aside. That method is relevant for the 19th-century’s
verse but it reveals its inefficiency for that of the 20th century. In the fi rst decade of the century, a number of poets with unique metrical manners make their début: they invent specific meters and forms and employ them actively. In the post-WWII epoch, the situation becomes largely common for the underground poetry: its leading figures develop their unique and specifi c metrical manners which can be poorly accounted for through the
prism of generalizing logic of Russian quantitative metrics.

This article examines definitions of verse and descriptions of the relationships between meter and rhythm as proposed by scholars of Russian poetry. Building on their observations, the author devises a constructive definition of "meter" as a system of permissions and prohibitions governing the distribution of word stresses and word boundaries in a verse line. Additionally, the article proposes constructive definitions for the versification systems employed in Russian poetry.

In this article, I find a meaningful new way to address decolonisation debates in music. Born and schooled in India, and now based in Ireland, I first reflect on recent tensions around music theory’s white racial frame as argued by Philip A. Ewell in his 2020 article 'Music Theory and the White Racial Frame', for Music Theory Online. I ask what this means for a minority scholar whose non-luxury training in Western art music (henceforth WAM) and its theory has – curiously – placed me on the fringes of music academe. A close reading of Kandisa is presented next, as an engagement with musical minutiae via a language that I argue is far more accessible and meaningful (to me, my fellow Indian friends and colleagues, and the band members themselves) than any ‘Indian’ music terminology. Recognising the potential for this viewpoint to cause a stir amongst ethnomusicologists who have had the double good fortune to train in WAM as well as its Indian counterparts, I recontextualise Kandisa through the lens of decolonisation literature which includes Audra Lorde, Tuck and Yang, and Sunaina Kale, to name just a few.

In music history during the period encompassing the years beginning from the late 15-th to the middle of the 18-th centuries a fundamental significance in music theory and practice had been designated to the definition of Tact and Tactus. Such a broad historical scope of our paper inevitably involves the inclusion of much material, and the authors were forced to concentrate mainly on materials of the 17-th and beginning of the 18-th centuries. In the discussion of the meaning of the terms Tact, Tactus and also the verb tangere we applyed not only to treatises on music, as compared with other scholars, but to different kind of language dictionaries of that

RESUMO: Nesta resenha apresento uma apreciação crítica da tradução de Rodrigo Tadeu Gonçalves do poema épico-didático latino Metamorfoses, composto pelo poeta Públio Ovídio Nasão (43 AEC -18 EC)  por volta do ano 8 CE. Os principais pontos sob consideração foram formato e preço do livro; introdução à obra; projeto tradutório; linguagem e estilo da tradução. Também procurei avaliar onde o tradutor se aproxima ou se distancia mais do texto latino bem como fornecer algumas sugestões e correções para uma eventual segunda edição da tradução.

PALAVRAS-CHAVE: literatura comparada; tradução; Metamorfoses; Ovídio; Rodrigo Tadeu Gonçalves.

OVID, Metamorphoses. Translation from the Latin, introduction, notes and glossary by Rodrigo Tadeu Gonçalves. São Paulo: Penguin-Companhia das Letras, 2023. 464 pp. (Penguin Clássicos). ISBN: 9788582851784. R$ 79,90.

ABSTRACT: In this review I present a critical appraisal of Rodrigo Tadeu Gonçalves' translation of the Latin epic-didactic poem Metamorphoses, composed by the poet Publius Ovidius Naso (43 BCE -18 CE) around 8 CE. The main points under consideration were the format and price of the book; the introduction to the poem; the translation project; the language and style of the translation. I also tried to assess where the translator comes closest or furthest from the Latin text, as well as providing some suggestions and corrections for a possible second edition of the translation.

KEYWORDS: comparative literature; translation; Metamorphosis; Ovidius; Rodrigo Tadeu Gonçalves.

Apresentamos aqui uma traducao comentada do conto sem titulo que a abre a coletânea Maridos, da escritora mexicana Angeles Mastretta, enfocando alguns questionamentos sobre as escolhas realizadas durante o processo tradutorio e tambem apontamos alguns elementos que caracterizam os textos de Mastretta como e o caso do protagonismo e a enfase nos problemas do cotidiano feminino.

Este trabalho apresenta os aspectos principais de um projeto recentemente aprovado no PPGMUS-UDESC. Busca-se, com esta pesquisa, compreender o sistema de organização temporal da música clássica indiana e as transformações técnico-estéticas que as tradições musicais hindustani e/ou carnática exerceram nas composições de Don Ellis, partindo de evidências existentes em seus próprios escritos. São propostas análises musicais de caráter comparativista, baseadas principalmente na percepção auditiva, apoiando-se em trabalhos de autores como

Ambakka Dewalaya, located in the central province of Sri Lanka, is a historic site known for its exceptional wood carvings and religious importance. This research paper explores the temple's history, architectural features, religious significance, and cultural impact. Through an analysis of the artistic craftsmanship and the symbolism embedded in its woodwork, this paper highlights the importance of preserving such heritage sites. It also examines the challenges faced in conservation and the ongoing efforts to maintain this ancient monument.

Attraverso l'esempio della traduzione del "Llanto por Ignacio Sánchez Mejías", poema elegiaco di Federico García Lorca, realizzata da Oreste Macrì, e con l'intento di smentire il luogo comune della rapida obsolescenza delle traduzioni dei testi letterari, il presente articolo mira a dimostrare come il traduttore italiano (noto critico letterario e uno dei fondatori dell'Ispanistica italiana) ha saputo conservare intatta la pregnanza dell'originale. Mediante l'analisi di ciascuna delle quattro parti che compongono il poema e un mediante un breve e non sistematico raffronto tra l'ultima versione del "Llanto" con quelle realizzate da altro famosi autori italiani, quali Carlo Bo, Elio Vittorini, Giorgio Caproni e Leonardo Sciascia, l'articolo mira a dar conto di come Macrì restituisca magistralmente il raro equilibrio tra senso e suono mediante una fedele resa dell'assetto metrico-prosodico, nonché ritmico, e quindi della "signifiance" del testo lorchiano.

The process of retrieving meaningful information from rhythmic responses to music imposes several methodological challenges. For one side, the indivisible connection between body actions and the musical action confines the musical phenomenon in a closed cycle of action and perception. For another side, attempts to examine internalized rhythm descriptions always require body movements, which are the natural medium for musical actions. In this study, we propose strategies that are capable of retrieving emergent rhythmic and metrical structures encoded in free movements, which are less constrained by experimental designs and less dependent on previous assumptions. The first technique processes zero-crossing events across velocity patterns in order to estimate the changes of directions across metric levels. The second technique uses local accumulation of instantaneous velocity in order to describe the profiles of metric engagement abstracted from the morphology of the movement trajector...

Problem statement: Researchers describe periodic musical structures as square antecedent-consequent, which forms a large part of musical works. In such structures, longer pauses exist at the end of the antecedent and consequent. Shorter pauses also exist in the middle of the antecedent and consequent. The formal attitude of binary, ternary, and periods from Kuregian’s perspective (metric sequence) and other sound group research all illustrate the metric’s encirclement in melodic structures. The poetic structures also follow the principles of musical metric progression.
Research objectives: This essay aims to find a mechanism to describe the rhythmic circular structure of children’s poems and then test the theory obtained in a statistical community. In previous studies, researchers have examined the rhythm and prosody of children’s poetry as external musical factors, and there are also models for folk poetry and prosody. However, applying the metric function to folk poems, primarily based on listening aesthetics, has yet to be done.
Research method: This research method is quantitative-qualitative. The first step uses a qualitative method based on library sources to describe fundamental theories. In the second quantitative phase step, 20 participants participated in a listening test.
Conclusion: Children’s poem structure can be defined based on the principles of metric progression. The results for 90% of the audience illuminate that listeners prefer square division patterns and find them more natural. For this reason, most folk poems follow antecedent and consequent periodic types.

O consumo da música na internet cresceu exponencialmente
durante a pandemia de Covid-19 e as plataformas de streaming e as redes sociais se tornaram espaços para escuta de música, apresentações improvisadas, shows, lives em que os lares dos músicos
se abriam através da janela virtual e nos permitiam entrar e
compartilhar não só seu fazer musical, mas aspectos de sua vida
para além dos produtos de sua criação. Desfrutamos da música
através dos meios digitais como nunca antes havíamos feito. Mas e os músicos? Aqueles que estavam criando todo esse “conteúdo” digital, o
que estavam fazendo para se manterem ativos em suas carreiras?
Que soluções encontraram para driblar os reveses do momento e
continuarem criando, ensinando, tocando e tentando levar suas
vidas de forma normal? Para tentar entender o outro lado, o lado de quem cria e produz a música que ouvimos nos mais diversos momentos de
nossas vidas e, principalmente, nos momentos mais difíceis da
pandemia, conversei com 14 músicos de Belo Horizonte. As entrevistas ocorreram no decorrer de 2021 e no início de 2022, e tiveram, como um de seus resultados, este texto. Nossas conversas foram gravadas e estão disponíveis como episódios do podcast Para Além das Lives: música e tecnologia pós-pandemia no Spotify: https://open.spotify.com/show/6cBNPzu4x8MvpW0fG6Kv1P
Também podem ser escutadas a partir de links disponíveis em nosso perfil no Instagram: @paraalemdaslives,  e no site https://paraalemdaslives.fredericopessoa.net.
A proposta deste texto é relatar alguns aspectos das experiências dos músicos com quem conversei e que poderão nos ajudar a entender melhor as questões que surgem quando músicos utilizam a internet como ambiente de trabalho full time, bem como compartilhar atitudes, práticas, ações e escolhas que os fizeram enfrentar e atravessar de maneira criativa a situação pandêmica e o universo das redes naquele momento. Ao final, encontram-se as transcrições das entrevistas realizadas.

This paper is the third in a three-part series that develops a model for the background of rhyme in Old Norse dróttkvætt poetry as a formalization of the same form of rhyme found across Old Germanic poetries. The first paper in this series outlined the argument and its background. The second paper explored rhyme in Old Germanic poetries outside of Old Norse. The present paper introduces rhyme in Old Norse eddic poetries in relation to what was found in other Old Germanic traditions. It then turns to dróttkvætt, discussed in relation to the broader poetic ecology in which it emerged and developed, and considers how dróttkvætt impacted that ecology and uses of rhyme in eddic poetry. Although the ultimate origin of dróttkvætt remains obscure, the discussion of rhyme in dróttkvætt requires a discussion of the history of the meter, here situated in relation to other developments in the poetic ecology that point to greater attention to cadence and rhyme under conditions conducive to formalizing a stanzaic structure. However, this exploration of the history of the poetic form highlights that rhyme may have been a secondary development of the basic meter, formalizing what began as an optional added feature that may have had only a marginal metrical role.

This paper describes an automatic system of music analysis based on the generative theory of tonal music (GTTM). The system works by acquiring the metrical structure of the music. The GTTM is considered one of the most promising theories of music in regard to computer implementation; however, no order is given for applying its rules and as a result, they frequently conflict with each other. To solve this problem, we introduced adjustable parameters, enabling us to assign priority to the rules. Our GTTM-based system makes it possible to construct hierarchical metrical structures in a top-down process using bottom-up detection of local metrical strength. Experimental results showed that after these parameters were tuned, our method outperformed the baseline performance.

This essay explores the classification of musical structures and forms based on criteria such as recurrence, internal relative duration, and tradition, among others. Unlike traditional approaches that often use the terms “structure” and “form” interchangeably, we establish a clear distinction between these concepts. This study expands the traditional classification of musical structures and forms, offering a framework that can be applied to virtually any type of music. This approach may assist composers in reflecting on and enhancing their own structural and formal concepts.

Humans have the ability to flexibly synchronize motor output with sensory input, such as when dancing, performing, walking in step with a partner, or just tapping a foot along with music. The study of these behaviors, collectively called sensory-motor synchronization (SMS) offers an important window into human timing behavior and the neural mechanisms that support it. The study of SMS also provides insight into how the brain actively shapes our perception, general cognitive functions and our cultural social identity as humans. In this brief review, we will place SMS into such a larger conceptual framework and highlight a rapidly expanding body of recent research.

In his study of the Stamitz symphonies, Eugene K. Wolf devotes a chapter to the growth of the phrase in Stamitz's music and, more generally, to the evolution of eighteenthcentury phrase rhythm. 1 In the course of a long footnote that describes the changing significance of periodicity at mid-century, Wolf expresses a sentiment common among eighteenth-century scholars when he writes: "Contrary to what is often assumed, a significant proportion of Baroque dances are not fully hierarchical in the proportional sense, being highly irregular at levels down to and even including the beat-this despite the fact that articulations may occur regularly every four, eight, sixteen, and thirty-two bars." 2 What does Wolf mean when he says "irregular"? Is Baroque phrase rhythm really as unsystematic as the word "irregular" would seem to suggest? There are, of course, many Baroque pieces that seem to cultivate an unpredictable rhythmic design-one thinks of the bizarrie in the sinfonias of Stradella and the sonatas of Corelli, 3 for instance, or of Bach's and Handel's allemandes, courantes, and gigues. But these do not form a majority within the body of instrumental works composed during the early decades of the eighteenth century. What may strike us as deliberately whimsical, unplanned, or improvisatory in this repertoire most often presents us instead with a blend of the patterned and the unpatterned, of the structured and the unstructured. 4 1 Wolf 1981, chapter 8. 2 Ibid., p. 137, fn. 83. 3 Not to mention the Bizarrie per camera a tre by Giuseppe Valentini; see Barnett 1996. 4 Among those who have tried to capture the essence of this blend are Laurence Dreyfus (1990), Raymond Monelle (1998), and Susan McClary (2000).

Computational analysis of the rhythmic/metrical structure of music from recorded audio is a hot research topic in music information retrieval. Recent research has explored the explicit modeling of characteristic rhythmic patterns as a way to improve upon existing beat-tracking algorithms, which typically fail on dealing with syncopated or polyrhythmic music. This work takes the Uruguayan Candombe drumming (an afro-rooted rhythm from Latin America) as a case study. After analyzing the aspects that make this music genre troublesome for usual algorithmic approaches and describing its basic rhythmic patterns, the paper proposes a supervised scheme for rhythmic pattern tracking that aims at finding the metric structure from a Candombe recording, including beat and downbeat phases. Then it evaluates and compares the performance of the method with those of general-purpose beat-tracking algorithms through a set of experiments involving a database of annotated recordings totaling over two hours of audio. The results of this work reinforce the advantages of tracking rhythmic patterns (possibly learned from annotated music) when it comes to automatically following complex rhythms. A software implementation of the proposal as well as the annotated database utilized are available to the research community with the publication of this paper.

This paper describes and releases the Brazilian Rhythmic Instruments Dataset, assembled for research in Music Information Retrieval. It is comprised of 274 soloand 93 multiple-instrument recorded tracks of 10 different instrument classes with variations (e.g., material, size, stick) playing in 5 main rhythm classes (samba, partido alto, samba-enredo, capoeira, and marcha). We describe the dataset recording process and content, and a few examples of challenges it launches for computational rhythm analysis.