Search

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]

The analysis of the "living space" and its peculiar morpho-architectural connotations in an uncertain and ever evolving reality implies the use of new paradigms linked to concepts such as temporariness, flexibility, disassembly, recyclability, adaptability and reversibility. Demographic transformations, in addition to ever-changing habits, rhythms and lifestyle, lead the present study to investigate time as a design paradigm of an evolutionary home, seeking a criterion and a methodological approach that is capable of thinking about modifiable spaces, which are not strictly predetermined but open to new ways of expressing the users' need for customisation. [ABSTRACT FROM AUTHOR]

Through this I intend to bring again to the attention of practitioners of stage, musical, choreographic and theatrical arts, Merce Cunningham's contribution to the development of modern choreography. The constant searches of yesterday, today and tomorrow's artists is and will be a priority for those who want to bring something new and revolutionize art. Today, we distinguish distinctly the phenomenon of transgression of borders between the stage genres, especially between theater, music and choreography. Choreography migrates towards theater and music and theater and music strongly infiltrate into choreography. This emulation intends to create a total show but can still give birth to some artistic experiments where the accent is placed on the very visual interpretation with an excess of body movement and with an acute absence of Thalia's simple and natural truths. Cunningham's proposal on the way of assuming the body, the space and the rhythm is another challenge for today's choreographers. The way of using these aspects and of acknowledging the strange infinity of its possibilities of transcending the communication barriers, reconfigures the body of the dancer as a linguistic entity with values still unexploited. Initiator of the choreographic modernism, Merce Cunningham is still nowadays an important reference for young choreographers. [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]

The article focuses on rhythm and its connection to the linguistic art. Rhythm involves the repeated movement of a body part. In a way, it becomes a language whenever it transmits information. The information may be concepts, ideas, or emotions in living creatures. It can help in the study of human movements. Aside from physical or external rhythms, there are also internal rhythms. Rhythms have an effect in functions of the muscular, skeletal, and nervous systems. Rhythm through sounds and nonverbal movements can also help in the teaching of sports.

Abstract: This article explores the history of the understanding of rhythm in contemporary Russian aesthetics. Against this background, it considers the formation and development of the concept of rhythm within Andrei Belyiʼs individual philosophical and aesthetic frame of reference from his early critical works and verse studies of the epoch of Symbolism to Istoriia stanovleniia samosoznaiushchei dushi (ISSD) and the later works. [Copyright &y& Elsevier]

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]