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A thorough understanding of how music and movement synthesize is vital for deeper exploration of multimedia artworks. In this article, I demonstrate a choreomusical analytic technique that links detailed analyses of both music and choreography from the ballet Fancy Free, a work that was the product of a close collaboration between Leonard Bernstein and Jerome Robbins. Specifically, I explore the three sailors' solo variations, noting placement and repetition of rhythmic and choreographic phrases, elisions and metric changes, and reinterpretation of rhythmic patterns. I observe differences in grouping and accents to reveal how the changing relationships between dance and music create unique characterizations for each of the sailors. My integrated reading of music and original choreography explores the relationship between music and movement, offering a way to understand how they intertwine. [ABSTRACT FROM AUTHOR]

"Muleskinner Blues," the signature song of bluegrass patriarch Bill Monroe, is at once central to the bluegrass canon and yet metrically enigmatic, featuring a flexible timing structure that fluctuated wildly between performances. This article engages in a longitudinal study of 165 performances of "Muleskinner Blues" across Bill Monroe's career to explore how the musicians that rotated through his band, the Blue Grass Boys, cognitively grappled with the song's flexible structure. Through a series of analytical vignettes, I will detail the distributed cognitive system that drives performances of "Muleskinner Blues," giving special attention to musical cues as tools for calling collective attention to structurally important moments of action. Additionally, I show how the song's flexible meter was weaponized by Monroe in acts of musical hazing, antagonizing his musicians in the high-stakes environment of a live performance. Through these analyses, I show how the song's peculiar meter centered Monroe musically, structurally, and socially, transforming "Muleskinner Blues" into a potent vehicle for the masculine ideology of the father of bluegrass music. [ABSTRACT FROM AUTHOR]

The history of medieval Georgian poetry is long and complicated. Placed between Persian and Byzantine commonwealths, the unification of the Georgian kingdom under the Bagratids in the eleventh century brought about a dramatic cultural revival. The formation and development of what is known as secular poetry was a reaction to the simultaneous adoption and adaptation of Persian and Byzantine elements by Georgian culture. As a result, over time, a distinct literary genre was shaped, with its own linguistic, graphic, and poetic registers – emerged, which was often contrasted with ecclesiastic writing alongside a a rigid differentiation between secular and religious writing generally and poetry specifically. The present paper identifies the origins and reasons for such a differentiation in early modern and modern political and literary discourses. While it mentions many poems from the twelfth to the seventeenth century, two relatively early theories of poetry are discussed in detail: Ephrem Mc'ire's (twelfth-century) reference to the "form and substance" dichotomy in poetry and Shota Rust'aveli's (twelfth- or thirteenth-century) vision of what does and what does not constitute proper poetry. In subsequent centuries, these discussion about the limits of poetry were integrated into identity discourses, as illustrated by the numerous sequels to and emulations of Rust'aveli, and fed into a certain anxiety over Georgian culture within the context of total Persian dominance [ABSTRACT FROM AUTHOR]

This article re-evaluates the merits of Shakespeare's Sonnet 145 and explores its critical legacy over the past half-century. While the sonnet has typically been seen as inferior due to its use of tetrameter rather than pentameter, one article from 1971 made a case for it being the first poem Shakespeare ever wrote. Rather than prompt critical debate, the theory presented in the article gained nearly universal acceptance and has been amplified ever since. The problem I identify is that the theory itself has been adopted without due scrutiny, and that when we approach Sonnet 145 from the standpoint that it is neither inferior nor juvenilia, we can then see how the supposed aberrations are potentially deliberate choices made by Shakespeare to underscore the poem's content. [ABSTRACT FROM AUTHOR]

This paper contextualizes Okudzhava's song "And We to the Doorman" (AWD), initially marginal in the Soviet poetic mainstream. It explores its shifts in tone, irregular rhythms, colloquial language, and semi-criminal undertones. AWD's structure, with uneven stanzas and no clear refrain, reveals underlying symmetry and recurring themes. The meter is predominantly iambic but varies. Unconventional verse endings and various rhyme schemes, including distant chains, characterize its prosody. The narrative touches on social cohesion and class conflict. The style reflects a challenging attitude toward privilege, employing rhetorical devices and indirect threats. The melody aligns with thematic elements, featuring repetitive patterns and a spoken quality. Semantically, AWD presents an ambiguous message on class struggle and moral issues. In sum, this analysis uncovers Okudzhava's song's formal complexities, thematic nuances, and stylistic innovations. [ABSTRACT FROM AUTHOR]

The women who performed Plautus' Rudens at Washington University in 1884, though they eliminated much misogyny from the play, left in a verse in which a character argues that good women should be silent. The women would have been aware that the line is deeply ironic, as the play offers one of Roman comedy's most rewarding presentations of women's voices, which are essential for the successful resolution of the plot. The verse reflects not a belief that women should be silent, but rather an awareness of the necessity for women to use their voices strategically in a patriarchal society. [ABSTRACT FROM AUTHOR]

In ancient times, authors such as Plutarch and Proclus questioned Parmenides’ abilities as a poet considering his Poem to be ‘prose in disguise’. Harsh judgments concerning Parmenides’ style are pervasive even in modern scholarship (Diels 1897, Wilamowitz 1912, Tarán 1977, Kirk & Raven 1977). This paper focuses on specific metrical and rhythmic devices used consistently in the composition of the Poem, that I will refer to, collectively, as ‘poetic dislocation’. This term encompasses the blurring and cancellation of the central caesura, the tendency to break Hermann’s bridge with varying degrees of intensity, the accumulation of enjambment in groups of verses, the use of non-traditional lexicon of the epic genre and the placement of Homeric lexicon in non-Homeric hexameter collocations. My attempt is to prove that these procedures are an integral part of Parmenides’ poetic style. I will also present an analysis of Parmenides’ versification focusing on the rhythmic patterns and the organization of caesura, especially in fr. B8.

When asking survey participants about past events, respondents might not properly recall the requested information. Surveying participants right when an event of interest occurs should reduce these recall errors. Such "in-the-moment surveys" are used nowadays but only in very specific occasions. Online panels that ask their members to share their online behaviors (metered panels) offer a new opportunity to use in-the-moment surveys whenever an online event of interest is detected. Previous research shows that the willingness to participate in in-the-moment surveys is notably high in metered panels, but even panellists willing to participate may fail to do so if they do not see the invitation in time. Very little is known about how participants perceive the different invitation methods available. A survey of members of a metered panel in Spain reveals that invitation methods deployed on smartphones get higher levels of acceptance and coverage, and are perceived as fastest. Moreover, offering several invitation methods on different devices would maximize the opportunities to participate in time, making them more feasible. [ABSTRACT FROM AUTHOR]

A new concept of constructing an electric field strength meter is considered. The concept lies in the fact that along with the measurement of the modulus of the electric field strength vector, the error of the measurement result and the distance to the field source are subject to simultaneous instrumental determination. The field meter is based on a new dual sensor and a method for measuring the electric field strength. The ability of the measurement method to determine the error and the distance to the field source is provided by a dual electroinduction spherical sensor. A feature of a dual sensor is the ability to simultaneously output two field strength values measured at one point, obtained with errors of different signs. This feature made it possible to obtain the measurement result as an average value and two measured values, and thereby reduce the measurement error. The presence of two simultaneously measured values of the field strength also made it possible to obtain an empirical formula for determining the relative distance to the source at each measurement point. The obtained values of the relative distances made it possible to determine the error of the measurement result and the distance from the center of the sensor to the field source using known formulas. The possibility of a field meter to simultaneously instrumentally determine the error of the measurement result and the distance to the field source is considered for the first time.

Significant amounts of data are collected in buildings. While these data have great potential for maximizing the energy efficiency of buildings in general, only a small portion of the data are accessible to researchers, government, and industry for analyses. Concerns about privacy are one of the major barriers prohibiting access to these data. Privacy preservation techniques are generally applied to this problem not only to preserve underlying privacy but also to improve the usefulness of data. Among various privacy preserving techniques, differential privacy has become one of the more popular solutions since its introduction in 2006. Differential privacy is a mathematical measure for protecting privacy so that one's privacy cannot be incurred by participating in a database. Although significant research improvements have been made for more than a decade, applying differential privacy to data collected in buildings is still an immature field of study. Because implementing differential privacy on a certain use case is not straightforward and can be achieved with various configurations, it is important to understand variation of configurations with different use cases around data collected from buildings. This literature review aims to introduce what has been done to implement differential privacy in data collected in buildings, and to discuss associated challenges and potential future research opportunities.

Syncopation - the occurrence of a musical event on a metrically weak position preceding a rest on a metrically strong position - represents an important challenge in the study of the mapping between rhythm and meter. In this contribution, we present the hypothesis that syncopation is an effective strategy to elicit the bootstrapping of a multi-layered, hierarchically organized metric structure from a linear rhythmic surface. The hypothesis is inspired by a parallel with the problem of linearization in natural language syntax, which is the problem of how hierarchically organized phrase-structure markers are mapped onto linear sequences of words. The hypothesis has important consequences for the role of meter in music perception and cognition and, more particularly, for its role in the relationship between rhythm and bodily entrainment. [ABSTRACT FROM AUTHOR]

Sayyid Abdullah Belbari, a contemporary Iranian Kurdish poet, author, and mystic, has produced diverse works spanning jurisprudence, mysticism, and Arabic sciences in Persian, Arabic, and Kurdish languages. Among his notable works is Najm al-Qawa'ed, an instructional Arabic poem comprising 545 verses designed to teach the Arabic language to his disciples, including his son Najm al-Din Muhammad. Structured in the form of instructional Rajaz poems, each line features rhymed hemistiches. An intriguing aspect of Najm al-Qawa'ed is its departure from conventional prosodic norms, as the poet intentionally incorporates verses that defy traditional prosodic rules and conventions. This article aims to identify and elucidate these prosodic deviations by analyzing a selection of verses in a descriptive-analytical manner. The findings reveal that, in addition to employing various Rajaz meters, Sayyid Abdullah deviates from prosodic norms by integrating elements of Kurdish syllabic prosody. Specifically, he challenges prosodic rules such as the "Zahaf of Kaf" avoidance, omits case endings within verses, and alters morphology rules by converting conjunctive Hamzah to non-conjunctive forms and vice versa, as well as transforming Zamma and Kasra vowels to Sokoon in certain instances. [ABSTRACT FROM AUTHOR]

This study aims to clarify the rhythmic values of Arabic poetry's ancient and modern meters as an essential tool in Arabic language teaching/learning. It seeks to enable the students to compare and contrast the Arabic rhythm in terms of 'Tafi'ila.' It is based on pursuing the facts of the connection and the separation between the deliberative prosodic studies' description of the nature of the rhythm that governs what is called the term 'Al- Tafi'ila poetry.' In addition, the path of verifying this rhythm in modern Arabic poetry is done through the systematic investment in Al-Khalil's theory to examine the rhythmic basis of Al-Tafi'ila poetry. It is found that this examination of the theory of traditional prosody allows us to remove the ambiguity about the claims of the radical modernization brought about by the "Al-Tafi'ila" system in the contemporary Arabic poem. It will also establish a comprehensive conception of the reliability of the term "Al-Tafi'ila poetry" in representing the rhythmic nature of the poems that belong to it. [ABSTRACT FROM AUTHOR]

Copyright of Musica Theorica is the property of Musica Theorica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Masnavi format is usually used in composing long narrative poems and extensive topics due to the freedom in rhyme and line and the unlimited number of verses, and traditional rhetorical scholars have always referred to the length of Masnavi format poems. Nevertheless, there are very short Masnavi in Persian literature; the number of verses does not even reach ten verses. The purpose of this article is to study the course and content of this type of poem, its rhetorical aspects, and the reasons for the poet's tendency to compose them. The writing of these poems began in the sixth century, and until the eighth century, nearly a hundred short Masnavi have been written on topics such as praise, short and request letters, recording the poet's experiences, and appropriate poems. Educational needs, the desire of poets to find common meanings in non-stereotyped forms, diminishing the importance of eloquent language in poems, the needs and desires of audiences, increasing the intimacy of tone and popularity, and the Masnavi format have played an effective role in poets' tendency to compose short Masnavi.Keywords: Masnavi, Lyrical Literature, Short Masnavi, Meter.IntroductionMasnavi, as they have said, is used for long stories and anecdotes (Qeis Razi, 1314). Although this style existed in Arab literature before Persian (Dahrami, 2018), its evolution and excellence took place in Persian literature, and Persian poets were able to use its features to write long epic, lyrical, and didactic stories. In contrast to this feature, short Masnavis with limited verses can be seen in the poets' Divan (book of poems). Short Masnavis in this research mean Masnavis whose number of verses is usually less than one hundred verses (and rarely more than that), and in addition, it is considered that they do not have preface elements (such as Tahmidiyah and Naat-e Rasool (PBUH) and the like). It is not considered an independent poem that the poet has published as an independent book; therefore, these poems, like a Ghazal or an ode, a quatrain, etc., have a place in the heart of the poet’s Divan. This article seeks to show what topics short Masnavis were written on. From what century did it start, and even though other styles are more suited to non-extensive and broad topics, what were the reasons for the poets' tendency towards short Masnavis? Literature ReviewIt seems that the first person to write an independent work in the field of Masnavi was Ali Ebrahim Khalil Khan Banarasi, who dedicated his summary of words to the lives of approximately seventy-seven poets of Masnavi and a summary of 188 Masnavis. Another piece of research was carried out by Molavi Agha Ahmad Ali Ahmad, the owner of Haft Aseman Tazkirah, who brought the lives and works of more than ninety Masnavi authors into his work. In recent decades, this important poetic form has been examined many times. Mohammad Ali Tarbiat conducted the first research of this century and published the result in a series of articles (eight articles) titled "Iranian Masnavi and Masnavigouyan" in Mehr magazine. Unfortunately, in this research, no attention has been paid to shortened Masnavis, and as far as the author knows, no research has been done in this field.3.MethodologyThis research has been carried out using the descriptive-analytical method and is based on data extracted from library studies. 101 short Masnavis were collected and analyzed by referring to Divan and the complete works of different poets up to the 8th century.A look at the history of Persian literature shows that many Masnavis are short and sometimes have less than ten verses. According to what is available, short Masnavis started in the sixth century, and up to the eighth century, a total of 101 short Masnavis by different poets remained. The longest Masnavi has 125 verses and is by Kamaluddin Ismail, and the smallest has 2 verses, and the number of them is 27 and is by poets such as Hassan Dehlavi and Saadi. One of the oldest short Masnavis was written by the author of Chahar Maqaleh (four articles written in 550/551). and he included two of his verses in Chahar Maqaleh:بسا جایی که محمودش بنا کردنبینی زآن همه یک خشت بر پای که از رفعت همی با مه مرا کردثناء عنصری مانده ست بر جای(نظامی عروضی، 1327: 46)One of the effective motivations for the tendency of poets towards short Masnavis is the emergence of successful examples of long Persian works in the form of Masnavis in various literary genres, to such an extent that poets who have not sought to compose long Masnavis. Due to the existence of popular and successful works in the form of Masnavi, they have also turned to it for composing short poems.The characteristics of the Masnavi format have also been effective in the spread of short Masnavis. The most suitable format for anecdote poems is Masnavi, and many of the most famous Persian poems also contain anecdotes. From this point of view, when a poet does not want to write a long verse containing various anecdotes if he intends to compose a short anecdote, he uses this form again under the influence of those verses. Another reason for this tendency is the poet's short experiences. Sometimes the poet's experience is not short enough to be included in the form of quatrains, two verses, and one verse, nor is it wide enough to be expressed in an ode. This issue has caused the poet to be inclined towards the form of Masnavi, which has no limit in terms of quantity.In terms of content, short Masnavis include various topics such as educational, praise, anecdotes and short stories, letter writing, and describing the current situation and experiences of the poet. Some of the poems are in the form of poems and short letters with different topics. One of the oldest examples of it is a Masnavi by Zaheer Faryabi in seventeen verses addressed to Ghazal Arsalan. Another type of short Masnavis is the description of the speaker's personal emotions and feelings and his approach to his own or others' experiences, which is usually written in a short and non-narrative manner. Madh (praise) is one of the other topics of short Masnavis, which entered this type of Masnavis from the 7th century, as Hassan Dehlavi dedicated several Masnavis to praise. A significant part of the short Masnavis consists of special poems. These occasions include things like marriage, birth, the construction of places and mansions, etc. Hassan Dehlavi is one of the poets who paid much attention to these topics in his Masnavis. Some poets have recorded moral issues or educational topics in short Masnavis without writing independent verses with educational goals. Among these poets is Ibn Yamin, who chose the Masnavi as the form of the stanza to express his teachings and sermons and wrote several short moral Masnavis. ConclusionAlthough the form of Masnavi is mostly used for writing long narrative poems and extensive topics, there are many examples in the Divan (book of poems) of some poets that are short and have few verses. The tendency of poets toward this type of poetry has various reasons. The provision of more freedom in this format, educational and teaching needs, expressing meanings in new structures and formats, diminishing the importance of fancy language in poems, adding the intimacy of the tone, the needs and desires of the audience, and the prevalence and popularity of the form of Masnavi are among these reasons. The beginning of the short Masnavis is from the 6th century, and it has reached the audience in the form of poetic letters. After that, various subjects have been used by poets in composing Masnavis. Recording of the poet's experiences, the order of short and independent stories, praise, poetic letters, advice and sermons, and educational topics are among other topics of short Masnavis.

Syncopation – the occurrence of a musical event on a metrically weak position preceding a rest on a metrically strong position – represents an important challenge in the study of the mapping between rhythm and meter. In this contribution, we present the hypothesis that syncopation is an effective strategy to elicit the bootstrapping of a multi-layered, hierarchically organized metric structure from a linear rhythmic surface. The hypothesis is inspired by a parallel with the problem of linearization in natural language syntax, which is the problem of how hierarchically organized phrase-structure markers are mapped onto linear sequences of words. The hypothesis has important consequences for the role of meter in music perception and cognition and, more particularly, for its role in the relationship between rhythm and bodily entrainment.

The Old Hall Manuscript (OH, c. 1413-1419) is the largest and most complete surviving witness to English music of the early fifteenth century. The extraordinary notational complexity encountered in OH has led to doubt being cast on the performability of some of the repertory copied within this manuscript (Bent 1969, 172). Adopting an approach that places historical theory (Dygon [1510s-1530s] 2006; Willelmus [14th century] 1966) in dialogue with modern theories of musical meter (Cohn 2001; Krebs 1999) reveals that complex proportional changes (anything more complex than a 4:3 or 3:4 proportion) in OH are always introduced incrementally in a process that I term "proportional preparation." From the perspective of performers and scribes who read their own parts sequentially directly from the manuscript, some of the most "virtuosic" (Bent 2022a) notational devices of OH can be seen as serving to make hard proportions easier to sing. The presence of proportional preparations in OH invites further consideration not only of this phenomenon in contemporaneous repertory, but also of the relationships between mensuration, meter, rhythm, notation, and counterpoint. Additionally, it opens a path to further interrogate whether historical composers and theorists possessed an innate or intuitive awareness for the kinds of cognitive constraints that are placed upon musicians during the performance of repertory that is technically demanding from the perspective of rhythm. [ABSTRACT FROM AUTHOR]

Seeking to elucidate aspects of harmonic practice that originated in contrapuntal patterns, this article traces a specific set of voice-leading configurations in which the generative roles of dissonance, counterpoint, and harmonic progression are blurred. These configurations, originating in early eighteenth-century practice, feature upper-voice suspensions, which are notable for their interlocking qualities and for their compatibility with an extended range of thoroughbass patterns and bass motions (Harrison 2003). Segments of such patterns were partially assimilated into later compositional practice and appeared in treatises on fundamental-bass and scale-step systems of harmony, but these configurations revealed a degree of friction between counterpoint-based idioms and the emerging harmonic theories attempting to explain them according to singular principles. The continued appearance of these configurations in subsequent compositional practice raises the question of what aspects of dissonance and counterpoint have been both embedded in harmonic practice and increasingly subordinated to chord structure in the harmonic theories that stretch from Rameau to Schenker. This dialectical engagement between historical theory and compositional practice offers a critique of our inherited harmonic theories, exposing competing conceptions of dissonance and discrepancies over its autonomy relative to harmonic principles. Tracing this history also reveals that the essential connections among rhythm/meter, dissonance treatment, and harmonic progression that are clearly present in eighteenth-century practice--Kirnberger's "rhythmic harmony" (Aldrich 1970)--become increasingly subordinated to harmonic principles in nineteenth-century theory. The historical path of embedded dissonance appears to exemplify Adorno's notion of sedimentation, which offers several interesting disciplinary and aesthetic conclusions about harmonic theory. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is a theoretical contribution to HCI that considers the more-than-human (MTH) as an intrinsic part of human–computer interaction design. In particular, it focuses on MTH as central to responses to the climate crisis as manifested in energy-demand reduction and smart meters. This is explored by expanding on the notion of the ‘design event’, defined aesthetically as the patterns or conformation of unfolding and becoming of heterogenous human and non-human elements. It is with this version of the design event that the MTH can be more directly and effectively engaged. We do this with reference to environmental problems as signaled by Haraway’s speculative future ‘the Chthulucene’ – a worlding for liveable futures. The paper views design briefs in HCI, and design more broadly, as problematics for exploring and determining aesthetic-possible pathways for invention, which necessarily involves MTH elements. Three interrelated design briefs are presented that propose how practitioners might go about addressing energy-demand reduction and metering and provide a set of guidelines on how to devise and write speculative more-than-human briefs. This, the paper argues, involves becoming sensitive to speculative MTH compositions where novel forms of ‘sense making’ orient alternative possibilistic – idiotic – relations to energy. [ABSTRACT FROM AUTHOR]

Prior investigations of simple rhythms in familiar time signatures have shown the importance of several mechanisms; notably, those related to metricization and grouping. But there has been limited study of complex rhythms, including those in unfamiliar time signatures, such as are found outside mainstream Western music. Here, we investigate how the structures of 91 rhythms with nonisochronous onsets (mostly complex, several in unfamiliar time signatures) influence the accuracy, velocity, and timing of taps made by participants attempting to synchronize with these onsets. The onsets were piano-tone cues sounded at a well-formed subset of isochronous cymbal pulses; the latter occurring every 234 ms. We modelled tapping at both the rhythm level and the pulse level; the latter provides insight into how rhythmic structure makes some cues easier to tap and why incorrect (uncued) taps may occur. In our models, we use a wide variety of quantifications of rhythmic features, several of which are novel and many of which are indicative of underlying mechanisms, strategies, or heuristics. The results show that, for these tricky rhythms, taps are disrupted by unfamiliar period lengths and are guided by crude encodings of each rhythm: the density of rhythmic cues, their circular mean and variance, and recognizing common small patterns and the approximate positions of groups of cues. These lossy encodings are often counterproductive for discriminating between cued and uncued pulses and are quite different to mechanisms—such as metricization and emphasizing group boundaries—thought to guide tapping behaviours in learned and familiar rhythms. [ABSTRACT FROM AUTHOR]

Listeners' use of contour information as a basis for memory of rhythmic patterns was explored in two experiments. Both studies employed a short-term memory paradigm in which listeners heard a standard rhythm, followed by a comparison rhythm, and judged whether the comparison was the same as the standard. Comparison rhythms included exact repetitions of the standard, same contour rhythms in which the relative interval durations of successive notes (but not the absolute durations of the notes themselves) were the same as the standard, and different contour rhythms in which the relative duration intervals of successive notes differed from the standard. Experiment 1 employed metric rhythms, whereas Experiment 2 employed ametric rhythms. D-prime analyses revealed that, in both experiments, listeners showed better discrimination for different contour rhythms relative to same contour rhythms. Paralleling classic work on melodic contour, these findings indicate that the concept of contour is both relevant to one's characterization of the rhythm of musical patterns and influences short-term memory for such patterns. [ABSTRACT FROM AUTHOR]

This paper contextualizes Okudzhava’s song “And We to the Doorman” (AWD), initially marginal in the Soviet poetic mainstream. It explores its shifts in tone, irregular rhythms, colloquial language, and semi-criminal undertones. AWD’s structure, with uneven stanzas and no clear refrain, reveals underlying symmetry and recurring themes. The meter is predominantly iambic but varies. Unconventional verse endings and various rhyme schemes, including distant chains, characterize its prosody. The narrative touches on social cohesion and class conflict. The style reflects a challenging attitude toward privilege, employing rhetorical devices and indirect threats. The melody aligns with thematic elements, featuring repetitive patterns and a spoken quality. Semantically, AWD presents an ambiguous message on class struggle and moral issues. In sum, this analysis uncovers Okudzhava’s song’s formal complexities, thematic nuances, and stylistic innovations.

The Meter2800 dataset is an important contribution to Music Information Retrieval (MIR) research, as it is the first dataset to include audio files specifically designed for time signature detection. By combining audio files from three renowned datasets and including additional tracks, we have created a comprehensive and diverse collection of 2800 audio tracks that overcomes the limitations of existing audio datasets. The dataset includes 2.26GB of high-quality audio, which has been annotated with metadata, pre-computed features, tempo and time signature. In addition, we propose a train/test split and provide baseline results for time signature detection. The dataset is freely available for the research community and is available online for download. We believe that Meter2800 will contribute to the advancement of Music Information Retrieval research, particularly in the area of time signature detection. In technical validation, four classification experiments were conducted using four types of machine learning algorithms: SVM, KNN, Naive Bayes, and Random Forest.

This paper reinterprets my 1992 analysis of the scherzo of Ludwig van Beethoven's Ninth Symphony using more recently introduced modes of representation: ski-hill graphs, ski-path networks, and metric cubes. It provides a tutorial on the three metric modes of representation, while using those modes to reveal different aspects of the scherzo's metric form. It presents evidence in support of the proposition that slow pulses and deep hypermeter can "exist," be aesthetically relevant, and have analytical value. [ABSTRACT FROM AUTHOR]

This essay researches how Robert Frost's poems "are made." It offers new methodologies of analyzing stressing, the main constituent of poetic rhythm. Frost's iambic tetrameter is the material of analysis. The formula of entropy is used to measure the rhythmical diversity of texts. The essay also follows the distribution of word boundaries and syntactic breaks in poetic texts. Word boundaries and syntactic breaks are two more constituents of poetic rhythm. The conclusions are: (1) Frost's late poems are rhythmically more diverse than his early poems, and (2) the rhythmical structure of lines also depends on the narrative and thematic features of the poems. Similar features had been discovered in Russian poetry. Further research might show if these are poetic universals. [ABSTRACT FROM AUTHOR]

The specific goal of the article is to investigate the principles governing the perception of rhythmic structure in dance and music—taken separately and together—on the basis of a case study. I take as a starting point Lerdahl and Jackendoff's (A generative theory of tonal music. MIT Press, 1983) conception of musical rhythm as the interaction between grouping and meter, and I examine to what extent it can apply to dance. Then, I explore how the rhythmical structures of music and dance interact in a single event. I conclude that dance and music perception largely share the same abstract system, and the differences in the properties of their structure derives from the different (visual vs. auditory) modalities in which they are perceived; their modality difference also affects the perceived structure resulting from their combination in dance-music events. The exploration is guided by a detailed examination of the opening of Stravinsky's Augurs of Spring (1913) as choreographed by Nijinsky (1913), Béjart (1970) and Bausch (1975). By comparing these minimal pairs of dance-music events, I adapt the formal methodology of linguistics to other cognitive systems. The general goal of the article is to shed further light on the organizational principles of mental representations by comparing several cognitive systems in order to distinguish between general cognitive properties and modality-specific or domain-specific properties. [ABSTRACT FROM AUTHOR]

What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previous listening experiences in the lab, suggesting reactivation of those experiences. Previous studies suggested that timbre and brief rhythmic patterns may influence metrical restoration. However, variations in the magnitude of effects in different experiments suggest that other factors are at work. Experiments reported here explore variation in metrical restoration as a function of: melodic diversity in timbre and tempo, associations of rhythmic patterns with particular melodies and meters, and associations of meter with overall melodic form. Rhythmic patterns and overall melodic form, but not timbre, had strong influences. Results are discussed with respect to style-specific or culture-specific musical processing, and everyday listening experiences. Implications for models of musical memory are also addressed.

Copyright of Monumenta Serica: Journal of Oriental Studies is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During jazz improvisation, performers employ short recurrent musical motifs called licks. Past research has focused on the pitch, intervallic, and rhythmic characteristics of licks, but less attention has been paid to whether they tend to start in the same place within the measure (metrical dependence). Licks might be metrically dependent, and where a given lick starts in a measure (metrical position) may thus be part of the performer's mental representation of that lick. Here we report the use of a corpus study to investigate whether licks are metrically dependent. We analyzed a subset of solos, all those in 4/4 time (n = 435), from the Weimar Jazz Database (WJD; Pfleiderer et al., 2017). Using a sliding window technique, we identified melodic sequences (interval n-grams) between 3 and 10 intervals in length. We counted the number of times each interval n-gram occurred, and noted the metrical position of the initial note of each occurrence, using different levels of quantization (8th and 16th note). We compared the entropy of the distribution of metrical positions for each n-gram--with lower values indicating a stronger metrical dependence--against simulated counterparts that assumed no relationship between an n-gram and its metrical position (no metrical dependence). Overall, we found that shorter n-grams were metrically dependent, with varying results for longer n-grams. We suggest two possible explanations: either mental representations of licks may encode their metrical features or the metrical position may make certain licks more accessible to the performer. On the basis of our findings we discuss future studies that could employ our methods. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

That Old English meter evolved directly into Middle English alliterative meter is a newly won consensus position among metrical specialists. Exactly how it did so remains elusive. The changes, at the level of metrical patterning, are few yet far-reaching, transforming a meter in mirrored half-lines of four metrical positions apiece into a long-line meter with asymmetry between its halves. This essay fills in further details, taking up the challenge to infer from surviving texts how one state of a metrical system slowly became another. Specifically, it is argued that four difficult elements in Old English meter guided metrical evolution. Metrical resolution, the conflicted treatment of verbal prefixes, rare verses of five metrical positions, and a special extended metrical style known as hypermeter pulled against the four-position framework of Old English meter and accelerated and directed metrical change. [ABSTRACT FROM AUTHOR]

Recent scholarship on the meter of fourteenth-century English alliterative verse demonstrates that lines end with a trochaic constituent. Piers Plowman is a recognized anomaly, yet there is disagreement about the extent of the differences. In this article, I examine long final dips, the vocalic quality of syllables in the final dip, and the placement of word divisions. Throughout, my focus is on the B version of the poem. I make a survey of lines with a word division after the final lift and of lines ending in -ly adverbs, compounds in -man, compounds in -nesse, nouns in -(i)oun, and gerunds. I compare the frequency of each sequence at the close of the a-verse and b-verse, observing that many individual items skew towards the norms of usage observed in other alliterative poems. Yet, more than other alliterative poets, Langland allows semantic and expository priorities to override prosodic form. [ABSTRACT FROM AUTHOR]

The structure of the a-verse in Middle English alliterative meter remains unclear. One of the most controversial issues concerns the maximum length of a dip. Judith Jefferson and Ad Putter have argued that an a-verse can have an "extra-long" dip that consists of four or more unstressed syllables, while Noriko Inoue and Myra Stokes have advanced evidence to suggest that a four-syllable limit on dip length may normally be operative in the a-verse. This article examines a-verses in Sir Gawain and the Green Knight and show that all the possible instances of a five- or six-syllable dip can be reinterpreted as having two, three, or four syllables, and that in these instances the extra-long dip can be broken up by a beat in the middle. The article concludes that dips that can be considered extra-long are in fact rare in the Gawain poet's poems. [ABSTRACT FROM AUTHOR]

When Geoffrey Chaucer died in 1400, the decasyllable he invented in the late 1370s and raised to prominence in the 1380s and 1390s lay precariously in the hands of scribes and rivals. Of the poets to reform Chaucer's meter in the first decade of the fifteenth century, John Walton devised the subtlest and most successful alternative to the inherited decasyllable, capitalizing on the full range of formal and grammatical ambiguities in Chaucer's line and turning them from bugs into features, in an expanding program of new candidate meters. His revision of the decasyllable in De Consolatione Philosophiae (ca. 1410), a verse translation of Boethius and veiled satire on Chaucer's Boece, uses the decasyllabic resource to fill several vacancies in the scramble for authority following Chaucer's death. [ABSTRACT FROM AUTHOR]

Surveys are a fundamental tool of empirical research, but they suffer from errors: in particular, respondents can have difficulties recalling information of interest to researchers. Recent technological developments offer new opportunities to collect data passively (i.e., without participant's intervention), avoiding recall errors. One of these opportunities is registering online behaviors (e.g., visited URLs) through tracking software ("meter") voluntarily installed by a sample of individuals on their browsing devices. Nevertheless, metered data are also affected by errors and only cover part of the objective information, while subjective information is not directly observable. Asking participants about such missing information by means of web surveys conducted in the moment an event of interest is detected by the meter has the potential to fill the gap. However, this method requires participants to be willing to participate. This paper explores the willingness to participate in in-the-moment web surveys triggered by online activities recorded by a participant-installed meter. A conjoint experiment implemented in an opt-in metered panel in Spain reveals overall high levels of willingness to participate among panelists already sharing metered data, ranging from 69% to 95%. The main aspects affecting this willingness are related to the incentive levels offered. Limited differences across participants are observed, except for household size and education. Answers to open questions also confirm that the incentive is the key driver of the decision to participate, whereas other potential problematic aspects such as the limited time to participate, privacy concerns, and discomfort caused by being interrupted play a limited role. [ABSTRACT FROM AUTHOR]

The article is devoted to the modulated dimensional-geometric peculiarities of the Stonehenge megalith and continues the theme of our previous publications devoted to such megalithic objects as the “stone ship” Ales Stenar, small circle in Nabta Playa, and the outer “circle of stones” in Clava. By “modulation” we mean the use of a large module in the size of historical structures, quantitatively equal to the simple number of known historical linear measures (the simple number 37 is most often identified). A more detailed justification of the method is given in “Hypothesis of the dimensional-geometric scheme of the Nabta-Playa megalith landscape monument” including connections with the dimensional-geometric features of ancient Egyptian architecture are also shown there.

This article centers on vṛtta (syllable-counting) and jāti (mora-counting) meters in the eleventh-century classical Telugu text Mahābhāratamu by Nannaya Bhaṭṭa. In particular, we focus on Nannaya's use of sīsamu , a lengthier jāti meter that is emblematic of classical Telugu poetry beginning with Mahābhāratamu. We analyze Nannaya's use of sīsamu in various sections in the text and suggest that Nannaya employs the lengthy sīsamu for its flexibility, either to advance the plot of his epic retelling or to provide a lengthy description of a particular figure or an object seen by a character in their surrounding landscape. Through his reliance on Telugu meters such as sīsamu , as well as the mora-counting meter kandamu and prose (vacanamu), Nannaya's Mahābhāratamu advances a vernacular aesthetics, one that exists within and outside the boundaries of Sanskrit metrical frameworks. [ABSTRACT FROM AUTHOR]