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Auditory perception of time is superior to visual perception, both for simple intervals and beat-based musical rhythms. To what extent does this auditory advantage characterize perception of different hierarchical levels of musical meter, and how is it related to lifelong experience with music? We paired musical excerpts with auditory and visual metronomes that matched or mismatched the musical meter at the beat level (faster) and measure level (slower) and obtained fit ratings from adults and children (5-10 years). Adults exhibited an auditory advantage in this task for the beat level, but not for the measure level. Children also displayed an auditory advantage that increased with age for the beat level. In both modalities, their overall sensitivity to beat increased with age, but they were not sensitive to measure-level matching at any age. More musical training was related to enhanced sensitivity in both auditory and visual modalities for measure-level matching in adults and beat-level matching in children. These findings provide evidence for auditory superiority of beat perception across development, and they suggest that beat and meter perception develop quite gradually and rely on lifelong acquisition of musical knowledge. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Dans cette contribution, Lindsay Lachance s’entretient avec Tara Beagan, lauréate du prix Siminovitch en 2020, au sujet des personnages féminins de sa pièce Honour Beat. Au fil de la conversation, nous apprenons comment la famille de Beagan et leurs expériences intergénérationnelles figurent dans l’univers de sa pièce. La dramaturge interroge les notions de jeunesse, de joie et de souvenirs incarnés en demandant que la plus jeune des comédiennes interprète le rôle du personnage le plus âgé. Honour Beat est un univers dans lequel la mère sert de communauté et de chez soi, et elle nous invite tous à prendre le thé chez elle.

Enhancing synchronization among people when synchronization is lacking is believed to improve their social skills, learning processes, and proficiency in musical rhythmic development. Greater synchronization among people can be induced to improve the rhythmic interaction of a system with multiple dancing robots that dance to a drum beat. A series of experiments were conducted to examine the human–human synchrony between persons that participated in musical sessions with robots. In this study, we evaluated: (a) the effect of the number of robots on a subject’s ability to synchronize with an experimenter; (b) the effect of the type of robot synchrony, namely, whether the robots did or did not represent the subject’s rhythm; (c) the effect of an in-sync and out-of-sync robot on a subject’s behavior. We found that: (a) three robots increased the level of synchronization between the subject and experimenter and their enjoyment level; (b) robots may induce greater synchronization between the subject and experimenter by reproducing the rhythms of not only the experimenter but also of the subject compared to when only the experimenter’s rhythms had been reproduced; (c) the robots in-sync had greater influence on the natural rhythm of the subject.

Background Rhythmic Auditory Stimulation (RAS) involves synchronizing footsteps to music or a metronome to improve gait speed and stability in patients with neurological disorders, such as Parkinson’s disease. However, responses to RAS vary across individuals, perhaps because of differences in enjoyment of the music or in musical abilities. Research question Intuitively, musical enjoyment may influence gait responses to RAS, but enjoyment has not been systematically manipulated nor the effects empirically assessed. In addition, differences in beat perception ability are likely to influence gait responses to music, particularly when synchronizing to the beat. Therefore, we asked: how does music enjoyment alter gait, and do gait parameters differ between individuals with good versus poor beat perception ability, specifically when instructed to ‘walk freely’ versus ‘synchronize to the beat’? Method Young adults and older adults walked on a pressure sensor walkway in silence and to music that they had rated as either high or low in enjoyment, as well as a metronome. All stimuli were presented at 15 % faster than baseline cadence. Participants either walked freely to the music or synchronized to the beat. Results Music enjoyment had no significant effects on gait in either younger or older adults. Compared to baseline, younger adults walked faster (by taking longer strides) to music than the metronome, whereas older adults walked faster (by taking more steps per minute) to the metronome than music. When instructed to synchronize vs. walk freely, young adults walked faster, but older adults walked slower. Finally, regardless of instruction type, young adults with poor beat perception took shorter and slower strides to the music, whereas older adults with poor beat perception took slower strides to the music. Significance Beat perception ability, instruction type, and age affect gait more than music enjoyment does, and thus should be considered when optimizing RAS outcomes.

The purpose of this study was to examine the relationships among beat perception, error detection, and musical experience. We presented monophonic rhythms using a piano timbre along with two measures of beat perception (Harvard Beat Finding and Interval Test [BFIT] and Goldsmiths Beat Alignment Test) and a measure of melodic error detection. College musicians’ ( N = 43) ability to detect rhythm errors was not significantly correlated to their ability to perceive beat alignment (Goldsmiths test) or tempo change (BFIT). Age was related to performance on only one of the measures, the BFIT test. A regression model yielded pitch error detection as the only significant predictor of rhythmic error detection. We suggest that college musicians already possess a requisite ability for beat processing that allows them to perform error detection. The lack of relationship between beat perception and rhythmic error detection is explained by this requisite ability in the population, and we promote future research for pitch and rhythm processing as it relates to rhythm perception or performance.

Binaural beats have been used as a way of modifying cognition via auditory stimulation. A recent meta-analysis suggests that binaural beat stimulation can have a positive effect on attention (Garcia-Argibay et al., Psychologische Forschung 83:1124-1136, 2019a, Psychological Research Psychologische Forschung 83:357-372, 2019b), with the sample-weighted average effect size being about .58. This is an intriguing and potentially useful finding, both theoretically and practically. In this study, we focus on sustained attention. We delivered beta-frequency (16 Hz) binaural beat stimulation during a sustained attention task. In "Experiment 1", reaction times were faster under beat stimulation than control stimulation in a between-subjects design. However, the effect was modest in magnitude, and model comparisons using Bayes Factors were indiscriminate between including and excluding the effect from the model. We followed this initial experiment with two concurrently administered follow-up experiments. In "Experiment 2", we added thought probes to measure any changes in task engagement associated with binaural beat stimulation. "Experiment 2" revealed a different effect from "Experiment 1": participants in the binaural beat condition exhibited a shallower vigilance decrement. However, the beat stimulation did not affect the thought probes responses. Combining data across the two experiments indicated rather strong evidence against the hypothesis that beta-frequency binaural beats can augment sustained attention, either via a general speeding of responding or a mitigation of the vigilance decrement. Finally, in "Experiment 3", we investigated whether pupillary measures of arousal and/or task engagement would be affected by binaural beat stimulation. There was no evidence for such effects. Overall, we did not observe any consistent evidence that binaural beat stimulation can augment sustained attention or its subjective and physiological correlates.

In this paper, we focus on the consequences of cost-cutting strategies for the division of labor in newsrooms both in terms of differences between generalist profiles and beat reporters, and in terms of differences between permanent staff and freelancers. A large-scale representative survey of Belgian journalists in 2013 and 2018 shows that the number of beat reporters has remained stable although these journalists are expected to cover a higher number of beats. We also noticed a sharp increase of selfemployed journalists. The prestigious political beat seems to benefit from a protected position in the newsroom and is mostly staffed by payroll journalists. Other beats are under pressure, most importantly the regional beat (that has decreased over the course of 5 years) and the lifestyle beat. The latter group of journalists are predominantly freelancers and report low levels of perceived autonomy from commercial and non-commercial pressure. The findings raise concerns about negative side-effects of cost-cutting strategies including a tendency towards more homogeneous news production and increasing influence of PR on journalism.

Humans can mentally represent auditory information without an external stimulus, but the specificity of these internal representations remains unclear. Here, we asked how similar the temporally unfolding neural representations of imagined music are compared to those during the original perceived experience. We also tested whether rhythmic motion can influence the neural representation of music during imagery as during perception. Participants first memorized six 1-min-long instrumental musical pieces with high accuracy. Functional MRI data were collected during: 1) silent imagery of melodies to the beat of a visual metronome; 2) same but while tapping to the beat; and 3) passive listening. During imagery, inter-subject correlation analysis showed that melody-specific temporal response patterns were reinstated in right associative auditory cortices. When tapping accompanied imagery, the melody-specific neural patterns were reinstated in more extensive temporal-lobe regions bilaterally. These results indicate that the specific contents of conscious experience are encoded similarly during imagery and perception in the dynamic activity of auditory cortices. Furthermore, rhythmic motion can enhance the reinstatement of neural patterns associated with the experience of complex sounds, in keeping with models of motor to sensory influences in auditory processing.

Most music is temporally organized within a metrical hierarchy, having nested periodic patterns that give rise to the experience of stronger (downbeat) and weaker (upbeat) events. Musical meter presumably makes it possible to dance, sing, and play instruments in synchrony with others. It is nevertheless unclear whether or not listeners perceive multiple levels of periodicity simultaneously, and if they do, when and how they learn to do this. We tested children, adolescents, and musically trained and untrained adults with a new meter perception task. We presented excerpts of human-performed music paired with metronomes that matched or mismatched the metrical structure of the music at 2 hierarchical levels (beat and measure), and asked listeners to provide a rating of fit of metronome and music. Fit ratings suggested that adults with and without musical training were sensitive to both levels of meter simultaneously, but ratings were more strongly influenced by beat-level than by measure-level synchrony. Sensitivity to two simultaneous levels of meter was not evident in children or adolescents. Sensitivity to the beat alone was apparent in the youngest children and increased with age, whereas sensitivity to the measure alone was not present in younger children (5- to 8-year-olds). These findings suggest a prolonged period of development and refinement of hierarchical beat perception and surprisingly weak overall ability to attend to 2 beat levels at the same time across all ages. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Framed through ecological and LatCrit theories, this article offers critical perspectives on the academic achievement of two Latin@ students. Findings suggested participants obtained critical suppo...

Before I can stop myself, I am dancing to the hypnotic beat flooding the gallery, and a nearly forgotten (Thanks, 2020) feeling fills my body: joy. The music is by Joshua Sigman, made to accompany ...

Inspired by jazz’s epistemologies and structures, this article was written as a Black liberatory jazz album on Black Boy Joy. Threaded through musical tracks, Black Boy Joy is conceptualized as a B...

This paper categorizes investors into five groups. They are: efficient markets, risk premium, genius superior traders, rejectors of efficient market theory and those who use research to make superior risk adjusted returns. Successful investment involves estimation and optimization and these are discussed.

In 1986, Janet Jackson forever changed the direction of pop music and its music videos with the release of her third and breakthrough album, Control. Working with producers Jimmy Jam and Terry Lewis, choreographer Paula Abdul, and director Mary Lambert, Jackson created songs and videos that conveyed a new kind of feminist affect that intertwined individual stories of endurance, the forcefulness of relatively new digital music technology, and Black and female collectivity. In this article, I chart how Jackson transmitted this feminist affect through what I call hyperaurality, or sounds and vibrations that work in excess of the limitations of visual representation. Through tracing the affective excesses of Jackson’s visuals, sounds, and movements, I unpack how hyperaurality both intensifies and reintegrates the senses of sight, hearing, and feeling. In the process, I posit that vibration, or sound’s materially felt oscillations, works as a point of connection across these three aspects of hyperaurality. By demonstrating its connective power, I assert that vibration is a source of affective politics within popular music, one with the power of repurposing capitalism's excesses.

Background and Study Aim. During exercise, the effects of music on the performance have been previously evaluated. However, the superiority of the type of music and during recovery is not yet clear. Therefore the aim of this study was to determine the impact of music with a spicy and light beat on changes in lactate levels, blood pressure, heart rate, and appetite during the recovery period after the endurance swimming. Material and Methods. Thirteen healthy young girls participate in three control and experimental sessions. The participants performed a swimming. Immediately after swimming, they listened to music. Also, evaluations before and after (several times) swimming were performed.Results. Five minutes after swimming there was also a significant difference between the non-sound group with the music groups (p

Finger-tapping tasks have been widely adopted to investigate auditory-motor synchronization, i.e., the coupling of movement with an external auditory rhythm. However, the discrete nature of these movements usually limits their application to the study of beat perception in the context of isochronous rhythms. The purpose of the present pilot study was to test an innovative task that allows investigating bodily responses to complex, non-isochronous rhythms. A conductor’s baton was provided to 16 healthy subjects, divided into 2 different groups depending on the years of musical training they had received (musicians or non-musicians). Ad hoc-created melodies, including notes of different durations, were played to the subjects. Each subject was asked to move the baton up and down according to the changes in pitch contour. Software for video analysis and modelling (Tracker®) was used to track the movement of the baton tip. The main parameters used for the analysis were the velocity peaks in the vertical axis. In the musician group, the number of velocity peaks exactly matched the number of notes, while in the non-musician group, the number of velocity peaks exceeded the number of notes. An exploratory data analysis using Poincare plots suggested a greater degree of coupling between hand–arm movements and melody in musicians both with isochronous and non-isochronous rhythms. The calculated root mean square error (RMSE) between the note onset times and the velocity peaks, and the analysis of the distribution of velocity peaks in relationship to note onset times confirmed the effect of musical training. Notwithstanding the small number of participants, these results suggest that this novel behavioural task could be used to investigate auditory-motor coupling in the context of music in an ecologically valid setting. Furthermore, the task may be used for rhythm training and rehabilitation in neurological patients with movement disorders.

В статье представлен краткий вводный обзор до сих пор не изданного на русском языке крупного труда блж. Августина Гиппонского «Толкование на Евангелие от Иоанна» («In Ioannis Euangelium Tractatus CXXIV»), обстоятельств его написания и отражения в нём личности Августина как экзегета и проповедника. Автор напоминает читателю известное различие между так называемыми синоптическими Евангелиями и Евангелием от Иоанна и указывает на численное превосходство древнецерковных толкований на Евангелие от Матфея по сравнению с таковыми на Евангелие от Иоанна, а также, вероятно, первый образец толкования данного Евангелия в латинской традиции. Специфика Августиновского толкования на Евангелие от Иоанна определяется тем, что это скорее не научно-экзегетический трактат в собственном смысле слова, но собрание проповедейдля широкой, хотя и взыскательной аудитории. По мнению ряда зарубежных исследователей, «Толкование на Евангелие от Иоанна» было написано и произнесено в 406-418 гг.в Гиппонский епископский период жизни и деятельности Августина. Статья затрагиваетобщее отношение Августина к Священному Писанию и его в определённой степени вариативный символический подход к библейской экзегезе. Статья основывается на изучении текста блж. Августина и сопутствующей вторичной литературы по теме. The report provides a brief introductory overview of St. Augustine's of Hippo large work «The Interpretation on the Gospel of John» (In Ioannis Euangelium Tractatus CXXIV ) which has not been published in Russian, the circumstances of its writing and reflection the personality of Augustine as an exegete and preacher in it. The author reminds the reader of the well-known difference between the so-called synoptic Gospels and the Gospel of John and points to the numerical superiority of the Old Church interpretations on the Gospel of Matthew compared to those on the Gospel of John, and also probably the first example of the interpretation on this Gospel in the Latin tradition. The specificity of Augustine's interpretation on John is determined by the fact that it is rather not a scientific-exegetical treatise proper, but a collection of sermons for a wide, though demanding audience. According to a number of foreign researchers the «The Interpretation on the Gospel of John» was written and pronounced in 406-418 in the Hippo episcopal period of Augustine's life and work. The report touches upon Augustine's general attitude to Holy Scripture and his variable symbolic approach to biblical exegesis in some ways. The article is based on the study of the text of the St. Augustine and related secondary literature on the subject.

Review essay of the four books listed above, each of which offers a revisionist account of the Beat Generation. The full details of the books are as follows: The Spiritual Imagination of the Beats. By Calonne, David Stephen. New York: Cambridge Univ. Press. 2017. viii, 236 pp. Cloth, $105.00; e-book, $84.00. Women Writers of the Beat Era: Autobiography and Intertextuality. By Carden, Mary Paniccia. Charlottesville: Univ. of Virginia Press. 2018. xvi, 227 pp. Cloth, $75.00; paper, $29.50; e-book, $75.00. World Beats: Beat Generation Writing and the Worlding of U.S. Literature. By Fazzino, Jimmy. Hanover, NH: Dartmouth College Press. 2016. 258 pp. Paper, $40.00. Kerouac: Language, Poetics, and Territory. By Melehy, Hassan. New York: Bloomsbury. 2016. xiii, 255 pp. Cloth, $94.50; paper, $27.96; e-book, $19.77.

By closely studying three key musicians—Keith Richards, Joan Jett, and Nile Rodgers—I argue that rhythm guitar playing, while maintaining some of rock music’s appropriation of blackness and coding ...

There is no question but that Kenneth Burke transformed twentieth century scholarship in rhetorical studies—although too often scholars’ emphasis on identification has led them to neglect other portions of the Burkean canon with important implications for the theory and criticism of rhetorical discourse. In this essay, therefore, I draw upon Burke’s (ultimately unsuccessful) efforts to craft a follow-up to his groundbreaking volume A Rhetoric of Motives, and do so in order to focus specifically on his writings on catharsis. However, I do so not in order to provide a definitive account of this stage of Burke’s career, nor of his unfinished project on poetics (whatever that might be), but to instead engage a difficult question raised by these writings: are the rhetorical dimensions of catharsis necessarily restricted to the transformation of strictly civic motives? Might, in other words, catharsis act instead upon the troubling byproducts of our existence as “bodies that learn language”—the byproducts that drive our (human) rhetorical existence? In the conclusion of the essay, I flesh out this question through the creation of a “perspective by incongruity”— a juxtaposition between Burke’s writings on catharsis and Anne Carson’s innovative volume of Greek tragedy combining works by Aeschylus, Sophocles, and Euripides, An Oresteia. Ultimately, I argue, this planned incongruity might help us complete Burke’s account of catharsis, and to thereby outline a kind of pollution and cleansing of vital importance to the study of human social life, in all its vital manifestations.

Mass indoor gatherings were banned in early 2020 to prevent the spread of SARS-CoV-2. We aimed to assess, under controlled conditions, whether infection rates among attendees at a large, indoor gathering event would be similar to those in non-attendees, given implementation of a comprehensive prevention strategy including antigen-screening within 3 days, medical mask wearing, and optimised ventilation.The non-inferiority, prospective, open-label, randomised, controlled SPRING trial was done on attendees at a live indoor concert held in the Accor Arena on May 29, 2021 in Paris, France. Participants, aged 18-45 years, recruited via a dedicated website, had no comorbidities, COVID-19 symptoms, or recent case contact, and had had a negative rapid antigen diagnostic test within 3 days before the concert. Participants were randomly allocated in a 2:1 ratio to the experimental group (attendees) or to the control group (non-attendees). The allocation sequence was computer-generated by means of permuted blocks of sizes three, six, or nine, with no stratification. The primary outcome measure was the number of patients who were SARS-CoV-2-positive by RT-PCR test on self-collected saliva 7 days post-gathering in the per-protocol population (non-inferiority margin0·35%). This trial is registered with ClinicalTrials.gov, NCT04872075.Between May 11 and 25, 2021, 18 845 individuals registered on the dedicated website, and 10 953 were randomly selected for a pre-enrolment on-site visit. Among 6968 who kept the appointment and were screened, 6678 participants were randomly assigned (4451 were assigned to be attendees and 2227 to be non-attendees; median age 28 years; 59% women); 88% (3917) of attendees and 87% (1947) of non-attendees complied with follow-up requirements. The day 7 RT-PCR was positive for eight of the 3917 attendees (observed incidence, 0·20%; 95% CI 0·09-0·40) and three of the 1947 non-attendees (0·15%; 0·03-0·45; absolute difference, 95% CI -0·26% to 0·28%), findings that met the non-inferiority criterion for the primary endpoint.Participation in a large, indoor, live gathering without physical distancing was not associated with increased SARS-CoV-2-transmission risk, provided a comprehensive preventive intervention was implemented.French Ministry of Health.For the French translation of the abstract see Supplementary Materials section.

Neural activity in the auditory system synchronizes to sound rhythms, and brain-environment synchronization is thought to be fundamental to successful auditory perception. Sound rhythms are often operationalized in terms of the sound's amplitude envelope. We hypothesized that - especially for music - the envelope might not best capture the complex spectro-temporal fluctuations that give rise to beat perception and synchronized neural activity. This study investigated (1) neural synchronization to different musical features, (2) tempo-dependence of neural synchronization, and (3) dependence of synchronization on familiarity, enjoyment, and ease of beat perception. In this electroencephalography study, 37 human participants listened to tempo-modulated music (1-4 Hz). Independent of whether the analysis approach was based on temporal response functions (TRFs) or reliable components analysis (RCA), the spectral flux of music - as opposed to the amplitude envelope - evoked strongest neural synchronization. Moreover, music with slower beat rates, high familiarity, and easy-to-perceive beats elicited the strongest neural response. Our results demonstrate the importance of spectro-temporal fluctuations in music for driving neural synchronization, and highlight its sensitivity to musical tempo, familiarity, and beat salience.When we listen to a melody, the activity of our neurons synchronizes to the music: in fact, it is likely that the closer the match, the better we can perceive the piece. However, it remains unclear exactly which musical features our brain cells synchronize to. Previous studies, which have often used ‘simplified’ music, have highlighted that the amplitude envelope (how the intensity of the sounds changes over time) could be involved in this phenomenon, alongside factors such as musical training, attention, familiarity with the piece or even enjoyment. Whether differences in neural synchronization could explain why musical tastes vary between people is also still a matter of debate. In their study, Weineck et al. aim to better understand what drives neuronal synchronization to music. A technique known as electroencephalography was used to record brain activity in 37 volunteers listening to instrumental music whose tempo ranged from 60 to 240 beats per minute. The tunes varied across an array of features such as familiarity, enjoyment and how easy the beat was to perceive. Two different approaches were then used to calculate neural synchronization, which yielded converging results. The analyses revealed that three types of factors were associated with a strong neural synchronization. First, amongst the various cadences, a tempo of 60-120 beats per minute elicited the strongest match with neuronal activity. Interestingly, this beat is commonly found in Western pop music, is usually preferred by listeners, and often matches spontaneous body rhythms such as walking pace. Second, synchronization was linked to variations in pitch and sound quality (known as ‘spectral flux’) rather than in the amplitude envelope. And finally, familiarity and perceived beat saliency – but not enjoyment or musical expertise – were connected to stronger synchronization. These findings help to better understand how our brains allow us to perceive and connect with music. The work conducted by Weineck et al. should help other researchers to investigate this field; in particular, it shows how important it is to consider spectral flux rather than amplitude envelope in experiments that use actual music.

Edward Dorn is a Black Mountain poet closely aligned with the Beat Generation, and his comic-epic Gunslinger can be read as equally attuned to the humor and popular-culture allusions found in Beat writing as it is with Black Mountain poetics. The Gunslinger character in Dorn's poem is a simulacrum of Herbert Hoover’s rugged individualism—-an ideological simulacrum—-a simulation without any history to precede any notion of an authentic original conception, and this protagonist is paradoxically tied to his antagonist—-a simulacrum of ruthless capitalism, and another form of American rugged individualism, embodied in the poem by the character Howard Hughes. The Gunslinger is part of the American imagination's ability to conceive of a solitary figure of righteousness who will stand against unfavorable odds in the name of justice. Yet the source of this conception can also lead to the cutthroat entrepreneur. In Gunslinger, Dorn is trying to make his readers cognizant that the image of the Gunslinger as American rugged individualism is a simulacrum, that this image remains potent, and that this image is tied to the ruthlessness of capitalist society.

The open form poetics of the New American Poetry rejected traditional poetic and social forms in favor of spontaneity and improvisation. Through their use of the typewriter, Beat and Black Mountain writers practice an embodied poetics that recovers the experience of space-time from the time crisis of modernity, one example of the social conformity rejected by the avant garde. In Olson’s theory of Projective Verse, the typewriter produces a visual form on the page that is intended to be heard. This chapter argues that Beat-Black Mountain writers such as Jack Kerouac and Larry Eigner use the typewriter, in Olson’s “projective” or “percussive” sense, to produce irreducibly graphic texts that refuse the binary distinctions between writing and speaking, seeing and hearing, space and time.

Perception of a regular beat is essential to our ability to synchronize movements to music in an anticipatory fashion. Beat perception requires multiple, distinct neural functions, corresponding to the perceptual stages that occur over time, including 1) detection that regularity is present (beat finding), 2) prediction of future regular events to enable anticipation (beat continuation), and 3) dynamic adjustment of predictions as the rhythmic stimulus changes (beat adjustment). The striatum has been shown to be crucial for beat perception generally, although it is unclear how, or whether, distinct regions of the striatum contribute to these different stages of beat perception. Here, we used fMRI to investigate the activity of striatal subregions during the different stages of beat perception. Participants listened to pairs of rhythms (polyrhythms) whose temporal structure induced distinct perceptual stages—finding, continuation, and adjustment of the beat. Dorsal putamen was preferentially active during beat finding, whereas the ventral putamen was preferentially active during beat adjustment. We also observed that anterior insula activity was sensitive to metrical structure (greater when polyrhythms were metrically incongruent than when they were congruent). These data implicate the dorsal putamen in the detection of regularity, possibly by detection of coincidences between cortical oscillations, and the ventral putamen in the adjustment of regularity perception, possibly by integration of prediction errors in ongoing beat predictions. Additionally, activity in the supramarginal and superior temporal gyri correlated with beat tapping performance, and activity in the superior temporal gyrus correlated with beat perception (performance on the Beat Alignment Test).

Synchronization of movement to music is a seemingly universal human capacity that depends on sustained beat perception. Previous research has suggested that listener's conscious perception of the musical structure (e.g., beat and meter) might be reflected in neural responses that follow the frequency of the beat. However, the extent to which these neural responses directly reflect concurrent, listener-reported perception of musical beat versus stimulus-driven activity is understudied. We investigated whether steady state-evoked potentials (SSEPs), measured using electroencephalography (EEG), reflect conscious perception of beat by holding the stimulus constant while contextually manipulating listeners' perception and measuring perceptual responses on every trial. Listeners with minimal music training heard a musical excerpt that strongly supported one of two beat patterns (context phase), followed by a rhythm consistent with either beat pattern (ambiguous phase). During the final phase, listeners indicated whether or not a superimposed drum matched the perceived beat (probe phase). Participants were more likely to indicate that the probe matched the music when that probe matched the original context, suggesting an ability to maintain the beat percept through the ambiguous phase. Likewise, we observed that the spectral amplitude during the ambiguous phase was higher at frequencies that matched the beat of the preceding context. Exploratory analyses investigated whether EEG amplitude at the beat-related SSEPs (steady state-evoked potentials) predicted performance on the beat induction task on a single-trial basis, but were inconclusive. Our findings substantiate the claim that auditory SSEPs reflect conscious perception of musical beat and not just stimulus features.

This chapter examines William Carlos Williams’s influence on several of the younger American poets included in the “Beat” issue of the Black Mountain Review. It focuses specific attention on Williams’s personal connections to Allen Ginsberg, Robert Creeley, Gary Snyder, and Denise Levertov. By examining their correspondence, this chapter documents the significant ways that Williams encouraged and influenced their different poetic pursuits. It also considers the ways that Creeley’s selections for this final BMR issue reflect Williams’s vital role in a “revival,” as Ginsberg called it, occurring on the West Coast during the 1950s.

The human capacity to synchronize movements to an auditory beat is central to musical behaviour and to debates over the evolution of human musicality. Have humans evolved any neural specializations for music processing, or does music rely entirely on brain circuits that evolved for other reasons? The vocal learning and rhythmic synchronization hypothesis proposes that our ability to move in time with an auditory beat in a precise, predictive and tempo-flexible manner originated in the neural circuitry for complex vocal learning. In the 15 years since the hypothesis was proposed a variety of studies have supported it. However, one study has provided a significant challenge to the hypothesis. Furthermore, it is increasingly clear that vocal learning is not a binary trait animals have or lack, but varies more continuously across species. In the light of these developments and of recent progress in the neurobiology of beat processing and of vocal learning, the current paper revises the vocal learning hypothesis. It argues that an advanced form of vocal learning acts as a preadaptation for sporadic beat perception and synchronization (BPS), providing intrinsic rewards for predicting the temporal structure of complex acoustic sequences. It further proposes that in humans, mechanisms of gene-culture coevolution transformed this preadaptation into a genuine neural adaptation for sustained BPS. The larger significance of this proposal is that it outlines a hypothesis of cognitive gene-culture coevolution which makes testable predictions for neuroscience, cross-species studies and genetics.This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

Precise temporal synchronisation between action and perception is crucial in daily life. Interestingly, synchronised tapping for every other tone or more (1:n tapping) is more precise than that for each tone (1:1 tapping), and this phenomenon is called 'subdivision benefit'. One hypothesis to explain this phenomenon is that there is a tendency to underestimate an empty interval, but the subdivision is used as an additional temporal reference and causes an illusionary longer intertap interval (ITI). The other hypothesis is based on strong/weak beats in a tone sequence made by subdivision. Because the strong beat improves the sensitivity of duration perception, synchronisation with strong beats should be better compared with other beats. Instead, the first hypothesis suggests that the subdivision benefit occurs irrespective of beat strength. The present study aimed to clarify this discrepancy using a 1:3 tapping task for a sequence of three-tone patterns and a 1:1 tapping task for a sequence of a single tone repetition. A further aim was to clarify the effect of musical experience. When the ITI was 900 ms or more, the variability of tapping showed the subdivision benefit, irrespective of beat strength. This result supports the first hypothesis, and musicians obtained more benefits than non-musicians. Instead, the timing of tap did not shorten by subdivision, except for the ITI of 900 ms. The findings implicate that the subdivision benefit is due to the additional temporal reference by the subdivided tones, and the benefit is dependent on the ITI length.

Text-setting patterns in music have served as a key data source in the development of theories of prosody and rhythm in stress-based languages, but have been explored less from a rhythmic perspective in the realm of tone languages. African tone languages have been especially under-studied in terms of rhythmic patterns in text-setting, likely in large part due to the ill-understood status of metrical structure and prosodic prominence asymmetries in many of these languages. Here, we explore how language is mapped to rhythmic structure in traditional folksongs sung in Medʉmba, a Grassfields Bantu language spoken in Cameroon. We show that, despite complex and varying rhythmic structures within and across songs, correspondences emerge between musical rhythm and linguistic structure at the level of stem position, tone, and prosodic structure. Our results reinforce the notion that metrical prominence asymmetries are present in African tone languages, and that they play an important coordinative role in music and movement.

Having first raised questions of musical evaluation, and introduced my analytical approach, I proceed to an empirical, in the sense of more-or-less objective, analysis of the metric and melodic aspects of the songs on those five LPs that constitute Joni Mitchell's early style: Song to a Seagull (1968), Clouds (1969), Ladies of the Canyon (1970), Blue (1971) and For the Roses (1972). The results of this style analysis are then summarised. Next I proceed to a more phenomenologically inclined examination of ethereal, since evanescent or ‘ghostly’, ‘haunting’ characteristics of musical fluidity and expansion in Mitchell's music. Such passages of ‘stretched’ musical time arise from several properties: regulated yet ambiguous metric irregularity, swinging around the beat and melodic flow. The essay concludes with close examinations of the longest and most fluid musical properties of ‘Willy’ (Ladies of the Canyon) and ‘Case of You’ (Blue).

The purpose of this study is to find out and analyze the influence of brand, quality,and price on consumer decisions in buying Honda Beat in North Surabaya. Thepopulation in this study were all Honda Beat buyers in North Surabaya. Samplingis done accidental sampling, with the number of sample members of 100respondents. The analytical method used in this study is the method of analysis ofMultiple Linear Regression. The results of the analysis show that the brand,quality, and price both simultaneously and partially have a significant effect onHonda Beat purchasing decisions. The price variable is the independent variablethat has the dominant influence on Honda Beat purchasing decisions.

The 2017 IEEE Signal Processing Cup required us to implement real-time beat tracking on an embedded system with a creative application. Our team built an electromechanical drum kit capable of accompanying live musicians. A major difficulty of real-time beat tracking is the tradeoff between adaptability and stability of the output. This can be a real hassle when trying to use the drum kit in a live performance. This project also went beyond the competition, with the implementation of a drum sequencer and an offline beat tracker/downbeat detector.

A challenge faced by many students is the loss of academic skills during the summer months. However, less attention is given to social and emotional needs during the summer. Thirty-five middle scho...

One of the most momentous periods that featured Moroccan-American cultural and artistic history was the Beat generation. Although the movement emerged in the United States as a prominent trend in t...

Tekst jest przedstawieniem Beat Generation jako ruchu społeczno-literackiego, elementu nowojorskiej bohemy lat 40. i 50. XX wieku. Analiza poglądów beatników na temat kolejnych sfer społecznych, wyrażanych w ich literaturze oraz stylu życia, odbywa się na podstawie ich twórczości i teorii z dziedziny socjologii miasta. Tekst ma na celu opracowanie planu Manhattanu tamtych lat jako przestrzeni działań beatników. Jest również opisem Manhattanu wykorzystującym podobieństwa i różnice pomiędzy jego elementami reprezentującymi różne dziedziny życia, różne pola aktywności lub obiekty krytyki beatników.

The music market of Hungary was manipulated by state authorities and the communist party from the 1960s until the 1980s. That distorted environment is the reason why the careers of two of the greatest Hungarian beat stars of the Sixties differed so much: Levente Sz?r?nyi and Zor?n Sztevanovity were both partially or fully of Serbian origin, both were lead singers of their bands, and both were (in the first phase of their career) very careful with politics; however, their Serbian heritage and their family experiences were totally different, which explains their different behaviour during and after the Beat Revolution in Hungary.

Humans can perceive a regular psychological pulse in music known as the beat. The evolutionary origins and neural mechanisms underlying this ability are hypothetically linked to imitative vocal learning, a rare trait found only in some species of mammals and birds. Beat perception has been demonstrated in vocal learning parrots but not in songbirds. We trained European starlings (Sturnus vulgaris) on two sound discriminations to investigate their perception of the beat and temporal structure in rhythmic patterns. First, we trained birds on a two-choice discrimination between rhythmic patterns of tones that contain or lack a regular beat. Despite receiving extensive feedback, the starlings were unable to distinguish the first two patterns. Next, we probed the temporal cues that starlings use for discriminating rhythms in general. We trained birds to discriminate a baseline set of isochronous and triplet tone sequences. On occasional probe trials, we presented transformations of the baseline patterns. The starlings' responses to the probes suggest they relied on absolute temporal features to sort the sounds into “fast” and “slow” and otherwise ignored patterns that were present. Our results support that starlings attend to local features in rhythms and are less sensitive to the global temporal organization.

The beat is a kind of behavioral communication in the action or reaction. The dramatic action and the reaction with dramatic conflict together construct a narrative beat, and the dramatic conflict is the basis for establishing the narrative beat. The narrative of movie scenes should revolve around the same drama task. The establishment of narrative beats within the scene makes the drama conflict of events progressive and escalating. The narrative beat is a strategy to grasp the narrative rhythm, a method to create suspense, and a way to lay out the structure of the story.

Keenaghan discusses how in his upper-level literature course he pairs Beat and Black Mountain writers, introducing students to the genesis of open form poetics. The essay features a brief history of mid-twentieth-century cultural politics and presents a close of reading Diane di Prima’s “The Practice of Magical Evocation” as open form poetics.