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The purpose of this study is to discuss the concept of "verse" and "poetic rhythm". With this investigation, we try to understand the idea of "free verse", one of the main characteristics of the XIX's production of Portuguese poetic work. For this, we introduce considerations about the first two concepts, specially about these etymological origins, with the purpose to figure how "free verse" deals with the traditional idea of rhythm in poetry, which is no longer submitted to the versification's theories. [ABSTRACT FROM AUTHOR]

The objective of the work is the analysis of Study Op. 6, n.8, by Fernando Sor through the concepts of Phrase Rhythm and expressiveness. The main methodology used was theoretical and experimental analysis divided into two fronts: the first part of the work deals with the rhythmic-phraseological analytical theories contained in the treatises of Lussy (1874, 1883) and Riemann (1884, 1903). And in the second part, there was a juxtaposition between the rhythmic-phraseological theories and the guitaristic expressiveness. In order to achieve these objectives, expert performance recordings were analyzed using techniques for extracting data from dynamic and agogic parameters. The results demonstrate that the Phrase Rhythm can be an effective way for the concatenation between analysis and performance. [ABSTRACT FROM AUTHOR]

This article seeks to describe phenomenologically the experience of listening to music through portable devices, having as a frame of reference especially the research of Michel Chion and the philosophical concepts of Gilles Deleuze. The capacity of these devices to provide for listening in movement makes them potential sources of a cinematographic effect of suspension or fabulation, in which reality itself becomes the panoramic screen of a procedural and assubjective work. The body gains functions of mediation and the mode of aurality of these portable listening devices, completely autonomous, inserts into the visual perception the sonic effluvium, which, annexed to the rhythm of the imagetic movement, elevates it to the position of cinematic movement, that is, of a reality that endures in duration, of a reality that is more-than-itself. [ABSTRACT FROM AUTHOR]

Using experimental means called «meta position», I managed to notice that the actualisation process reflection favours the conceptualisation in the after stage of rhythm variations and the emergence of meta-cognitive auto-referenciation operations. The latter are accompanied with a rich internal language which inflexions are of an empathical nature. Also, the "meta position" seems to reproduce the conditions and the relational texture of the therapistclient relationship, leaning heavily on the body referent. Finally, it contributes to the conceptualisation of stages that temporalize the actualising tendency. [ABSTRACT FROM AUTHOR]