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95-476: Rhythmic may refer to: Related to rhythm Rhythmic contemporary , a radio format Rhythmic adult contemporary , a radio format Rhythmic gymnastics , a form of gymnastics Rhythmic (chart) , Billboard music chart See also [ edit ] All pages with titles beginning with rhythmic Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with

190-533: A subconscious and instinctive level. Social perception is the part of perception that allows people to understand the individuals and groups of their social world. Thus, it is an element of social cognition . Speech perception is the process by which spoken language is heard, interpreted and understood. Research in this field seeks to understand how human listeners recognize the sound of speech (or phonetics ) and use such information to understand spoken language. Listeners manage to perceive words across

285-438: A "pulse-group" that corresponds to the poetic foot . Normally such pulse-groups are defined by taking the most accented beat as the first and counting the pulses until the next accent. Scholes 1977b A rhythm that accents another beat and de-emphasises the downbeat as established or assumed from the melody or from a preceding rhythm is called syncopated rhythm. Normally, even the most complex of meters may be broken down into

380-437: A basic pulse but a freer rhythm, like the rhythm of prose compared to that of verse. See Free time (music) . Finally some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi , may be considered ametric . Senza misura is an Italian musical term for "without meter", meaning to play without a beat, using time to measure how long it will take to play

475-430: A chain of duple and triple pulses either by addition or division . According to Pierre Boulez , beat structures beyond four, in western music, are "simply not natural". The tempo of the piece is the speed or frequency of the tactus , a measure of how quickly the beat flows. This is often measured in 'beats per minute' ( bpm ): 60 bpm means a speed of one beat per second, a frequency of 1 Hz. A rhythmic unit

570-413: A change in rhythm, which implies an inadequate perception of musical meaning. The study of rhythm, stress, and pitch in speech is called prosody (see also: prosody (music) ): it is a topic in linguistics and poetics , where it means the number of lines in a verse , the number of syllables in each line and the arrangement of those syllables as long or short, accented or unaccented. Music inherited

665-523: A characteristic tempo and measure. The Imperial Society of Teachers of Dancing defines the tango , for example, as to be danced in 4 time at approximately 66 beats per minute. The basic slow step forwards or backwards, lasting for one beat, is called a "slow", so that a full "right–left" step is equal to one 4 measure. ( See Rhythm and dance .) The general classifications of metrical rhythm , measured rhythm , and free rhythm may be distinguished. Metrical or divisive rhythm, by far

760-463: A double tempo (denoted as R012 = repeat from 0, one time, twice faster): However, the motive with this rhythm in the Moussorgsky's piece is rather perceived as a repeat This context-dependent perception of rhythm is explained by the principle of correlative perception, according to which data are perceived in the simplest way. From the viewpoint of Kolmogorov 's complexity theory, this means such

855-492: A pattern that is short enough to memorize. The alternation of the strong and weak beat is fundamental to the ancient language of poetry, dance and music. The common poetic term "foot" refers, as in dance, to the lifting and tapping of the foot in time. In a similar way musicians speak of an upbeat and a downbeat and of the "on" and "off" beat . These contrasts naturally facilitate a dual hierarchy of rhythm and depend on repeating patterns of duration, accent and rest forming

950-466: A percept and rarely does a single stimulus translate into a percept. An ambiguous stimulus may sometimes be transduced into one or more percepts, experienced randomly, one at a time, in a process termed multistable perception . The same stimuli, or absence of them, may result in different percepts depending on subject's culture and previous experiences. Ambiguous figures demonstrate that a single stimulus can result in more than one percept. For example,

1045-454: A person's concepts and expectations (or knowledge ) with restorative and selective mechanisms, such as attention , that influence perception. Perception depends on complex functions of the nervous system , but subjectively seems mostly effortless because this processing happens outside conscious awareness . Since the rise of experimental psychology in the 19th century, psychology's understanding of perception has progressed by combining

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1140-410: A physical standpoint. Smell is also a very interactive sense as scientists have begun to observe that olfaction comes into contact with the other sense in unexpected ways. It is also the most primal of the senses, as it is known to be the first indicator of safety or danger, therefore being the sense that drives the most basic of human survival skills. As such, it can be a catalyst for human behavior on

1235-553: A piano-roll recording contains tempo deviations within [REDACTED] . = 19/119, a span of 5.5 times. Such tempo deviations are strictly prohibited, for example, in Bulgarian or Turkish music based on so-called additive rhythms with complex duration ratios, which can also be explained by the principle of correlativity of perception. If a rhythm is not structurally redundant, then even minor tempo deviations are not perceived as accelerando or ritardando but rather given an impression of

1330-425: A representation of the data that minimizes the amount of memory. The example considered suggests two alternative representations of the same rhythm: as it is, and as the rhythm-tempo interaction – a two-level representation in terms of a generative rhythmic pattern and a "tempo curve". Table 1 displays these possibilities both with and without pitch, assuming that one duration requires one byte of information, one byte

1425-419: A series of beats that we abstract from the rhythm surface of the music as it unfolds in time". The "perception" and "abstraction" of rhythmic measure is the foundation of human instinctive musical participation, as when we divide a series of identical clock-ticks into "tick-tock-tick-tock". Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by

1520-517: A shape and structure of their own, also function as integral parts of a larger ["architectonic"] rhythmic organization. Most music, dance and oral poetry establishes and maintains an underlying "metric level", a basic unit of time that may be audible or implied, the pulse or tactus of the mensural level , or beat level , sometimes simply called the beat . This consists of a (repeating) series of identical yet distinct periodic short-duration stimuli perceived as points in time. The "beat" pulse

1615-410: A single, accented (strong) beat and either one or two unaccented (weak) beats. In the performance arts , rhythm is the timing of events on a human scale; of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language and poetry. In some performing arts, such as hip hop music , the rhythmic delivery of the lyrics is one of the most important elements of

1710-414: A strong pulse are strong , on a weak pulse, weak and those that end on a strong or weak upbeat are upbeat . Rhythm is marked by the regulated succession of opposite elements: the dynamics of the strong and weak beat, the played beat and the inaudible but implied rest beat , or the long and short note. As well as perceiving rhythm humans must be able to anticipate it. This depends on repetition of

1805-556: A telephone" is the percept. The different kinds of sensation (such as warmth, sound, and taste) are called sensory modalities or stimulus modalities . Psychologist Jerome Bruner developed a model of perception, in which people put "together the information contained in" a target and a situation to form "perceptions of ourselves and others based on social categories." This model is composed of three states: According to Alan Saks and Gary Johns, there are three components to perception: Stimuli are not necessarily translated into

1900-487: A variety of techniques. Psychophysics quantitatively describes the relationships between the physical qualities of the sensory input and perception. Sensory neuroscience studies the neural mechanisms underlying perception. Perceptual systems can also be studied computationally , in terms of the information they process. Perceptual issues in philosophy include the extent to which sensory qualities such as sound , smell or color exist in objective reality rather than in

1995-494: A wide range of conditions, as the sound of a word can vary widely according to words that surround it and the tempo of the speech, as well as the physical characteristics, accent , tone , and mood of the speaker. Reverberation , signifying the persistence of sound after the sound is produced, can also have a considerable impact on perception. Experiments have shown that people automatically compensate for this effect when hearing speech. The process of perceiving speech begins at

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2090-428: A word with a cough-like sound. His subjects restored the missing speech sound perceptually without any difficulty. Moreover, they were not able to accurately identify which phoneme had even been disturbed. Facial perception refers to cognitive processes specialized in handling human faces (including perceiving the identity of an individual) and facial expressions (such as emotional cues.) The somatosensory cortex

2185-453: Is active exploration . The concept of haptic perception is related to the concept of extended physiological proprioception according to which, when using a tool such as a stick, perceptual experience is transparently transferred to the end of the tool. Taste (formally known as gustation ) is the ability to perceive the flavor of substances, including, but not limited to, food . Humans receive tastes through sensory organs concentrated on

2280-405: Is a durational pattern that has a period equivalent to a pulse or several pulses. The duration of any such unit is inversely related to its tempo. Musical sound may be analyzed on five different time scales, which Moravscik has arranged in order of increasing duration. Curtis Roads takes a wider view by distinguishing nine-time scales, this time in order of decreasing duration. The first two,

2375-452: Is a measurable difference between the making of a decision and the feeling of agency. Through methods such as the Libet experiment , a gap of half a second or more can be detected from the time when there are detectable neurological signs of a decision having been made to the time when the subject actually becomes conscious of the decision. There are also experiments in which an illusion of agency

2470-458: Is a part of the brain that receives and encodes sensory information from receptors of the entire body. Affective touch is a type of sensory information that elicits an emotional reaction and is usually social in nature. Such information is actually coded differently than other sensory information. Though the intensity of affective touch is still encoded in the primary somatosensory cortex, the feeling of pleasantness associated with affective touch

2565-570: Is a subject of particular interest to outsiders while African scholars from Kyagambiddwa to Kongo have, for the most part, accepted the conventions and limitations of staff notation, and produced transcriptions to inform and enable discussion and debate. John Miller has argued that West African music is based on the tension between rhythms, polyrhythms created by the simultaneous sounding of two or more different rhythms, generally one dominant rhythm interacting with one or more independent competing rhythms. These often oppose or complement each other and

2660-439: Is activated more in the anterior cingulate cortex . Increased blood oxygen level-dependent (BOLD) contrast imaging, identified during functional magnetic resonance imaging (fMRI), shows that signals in the anterior cingulate cortex, as well as the prefrontal cortex , are highly correlated with pleasantness scores of affective touch. Inhibitory transcranial magnetic stimulation (TMS) of the primary somatosensory cortex inhibits

2755-448: Is any durational pattern that, in contrast to the rhythmic unit, does not occupy a period of time equivalent to a pulse or pulses on an underlying metric level. It may be described according to its beginning and ending or by the rhythmic units it contains. Rhythms that begin on a strong pulse are thetic , those beginning on a weak pulse are anacrustic and those beginning after a rest or tied-over note are called initial rest . Endings on

2850-434: Is exploited in human technologies such as camouflage and biological mimicry . For example, the wings of European peacock butterflies bear eyespots that birds respond to as though they were the eyes of a dangerous predator. There is also evidence that the brain in some ways operates on a slight "delay" in order to allow nerve impulses from distant parts of the body to be integrated into simultaneous signals. Perception

2945-535: Is fundamental, so that a person's sense of rhythm cannot be lost (e.g. by stroke). "There is not a single report of an animal being trained to tap, peck, or move in synchrony with an auditory beat", Sacks write, "No doubt many pet lovers will dispute this notion, and indeed many animals, from the Lipizzaner horses of the Spanish Riding School of Vienna to performing circus animals appear to 'dance' to music. It

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3040-505: Is induced in psychologically normal subjects. In 1999, psychologists Wegner and Wheatley gave subjects instructions to move a mouse around a scene and point to an image about once every thirty seconds. However, a second person—acting as a test subject but actually a confederate—had their hand on the mouse at the same time, and controlled some of the movement. Experimenters were able to arrange for subjects to perceive certain "forced stops" as if they were their own choice. Recognition memory

3135-402: Is needed for the pitch of one tone, and invoking the repeat algorithm with its parameters R012 takes four bytes. As shown in the bottom row of the table, the rhythm without pitch requires fewer bytes if it is "perceived" as it is, without repetitions and tempo leaps. On the contrary, its melodic version requires fewer bytes if the rhythm is "perceived" as being repeated at a double tempo. Thus,

3230-501: Is needed to associate the feeling with a specific source. Sexual stimulation is any stimulus (including bodily contact) that leads to, enhances, and maintains sexual arousal , possibly even leading to orgasm . Distinct from the general sense of touch , sexual stimulation is strongly tied to hormonal activity and chemical triggers in the body. Although sexual arousal may arise without physical stimulation , achieving orgasm usually requires physical sexual stimulation (stimulation of

3325-507: Is not a common word or phrase in the English Language, appearing approximately 0.01 times per million words in modern written English. Counter Rhythm has been on a steady decrease in usage since its conception, with the exception of a spike in usage in the 1970s. Previous definitions that have been phased out include, "The musical counter-rhythms which Marlowe introduced" and "Splashes of counter-rhythms, flashing tremolos" (OED ).   In

3420-434: Is not clear whether they are doing so or are responding to subtle visual or tactile cues from the humans around them." Human rhythmic arts are possibly to some extent rooted in courtship ritual. The establishment of a basic beat requires the perception of a regular sequence of distinct short-duration pulses and, as a subjective perception of loudness is relative to background noise levels, a pulse must decay to silence before

3515-468: Is not necessarily the fastest or the slowest component of the rhythm but the one that is perceived as fundamental: it has a tempo to which listeners entrain as they tap their foot or dance to a piece of music. It is currently most often designated as a crotchet or quarter note in western notation (see time signature ). Faster levels are division levels , and slower levels are multiple levels . Maury Yeston clarified "Rhythms of recurrence" arise from

3610-450: Is not necessarily uni-directional. Higher-level language processes connected with morphology , syntax , and/or semantics may also interact with basic speech perception processes to aid in recognition of speech sounds. It may be the case that it is not necessary (maybe not even possible) for a listener to recognize phonemes before recognizing higher units, such as words. In an experiment, professor Richard M. Warren replaced one phoneme of

3705-429: Is one of the oldest fields in psychology. The oldest quantitative laws in psychology are Weber's law , which states that the smallest noticeable difference in stimulus intensity is proportional to the intensity of the reference; and Fechner's law , which quantifies the relationship between the intensity of the physical stimulus and its perceptual counterpart (e.g., testing how much darker a computer screen can get before

3800-494: Is one of the three aspects of prosody , along with stress and intonation . Languages can be categorized according to whether they are syllable-timed, mora-timed, or stress-timed. Speakers of syllable-timed languages such as Spanish and Cantonese put roughly equal time on each syllable; in contrast, speakers of stressed-timed languages such as English and Mandarin Chinese put roughly equal time lags between stressed syllables, with

3895-471: Is related to the effectiveness of their upholding community values. Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them. Sheila Chandra , an English pop singer of Indian descent, made performances based on her singing these patterns. In Indian classical music , the Tala of a composition is the rhythmic pattern over which

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3990-444: Is rich enough to make this process unnecessary. The perceptual systems of the brain enable individuals to see the world around them as stable, even though the sensory information is typically incomplete and rapidly varying. Human and other animal brains are structured in a modular way , with different areas processing different kinds of sensory information. Some of these modules take the form of sensory maps , mapping some aspect of

4085-403: Is sometimes divided into two functions by neuroscientists: familiarity and recollection . A strong sense of familiarity can occur without any recollection, for example in cases of deja vu . The temporal lobe (specifically the perirhinal cortex ) responds differently to stimuli that feel novel compared to stimuli that feel familiar. Firing rates in the perirhinal cortex are connected with

4180-400: Is the dependence of its perception on tempo, and, conversely, the dependence of tempo perception on rhythm. Furthermore, the rhythm–tempo interaction is context dependent, as explained by Andranik Tangian using an example of the leading rhythm of "Promenade" from Moussorgsky 's Pictures at an Exhibition :( This rhythm is perceived as it is rather than as the first three events repeated at

4275-401: Is the process of absorbing molecules through olfactory organs , which are absorbed by humans through the nose . These molecules diffuse through a thick layer of mucus ; come into contact with one of thousands of cilia that are projected from sensory neurons; and are then absorbed into a receptor (one of 347 or so). It is this process that causes humans to understand the concept of smell from

4370-468: The Griot tradition of Africa everything related to music has been passed on orally. Babatunde Olatunji (1927–2003) developed a simple series of spoken sounds for teaching the rhythms of the hand-drum, using six vocal sounds, "Goon, Doon, Go, Do, Pa, Ta", for three basic sounds on the drum, each played with either the left or the right hand. The debate about the appropriateness of staff notation for African music

4465-460: The Rubin vase can be interpreted either as a vase or as two faces. The percept can bind sensations from multiple senses into a whole. A picture of a talking person on a television screen, for example, is bound to the sound of speech from speakers to form a percept of a talking person. In many ways, vision is the primary human sense. Light is taken in through each eye and focused in a way which sorts it on

4560-693: The gamelan . For information on rhythm in Indian music see Tala (music) . For other Asian approaches to rhythm see Rhythm in Persian music , Rhythm in Arabic music and Usul —Rhythm in Turkish music and Dumbek rhythms . As a piece of music unfolds, its rhythmic structure is perceived not as a series of discrete independent units strung together in a mechanical, additive, way like beads [or "pulses"], but as an organic process in which smaller rhythmic motives, whole possessing

4655-567: The infinite and the supra musical, encompass natural periodicities of months, years, decades, centuries, and greater, while the last three, the sample and subsample, which take account of digital and electronic rates "too brief to be properly recorded or perceived", measured in millionths of seconds ( microseconds ), and finally the infinitesimal or infinitely brief, are again in the extra-musical domain. Roads' Macro level, encompassing "overall musical architecture or form " roughly corresponds to Moravcsik's "very long" division while his Meso level,

4750-508: The sensory system . Vision involves light striking the retina of the eye ; smell is mediated by odor molecules ; and hearing involves pressure waves . Perception is not only the passive receipt of these signals , but it is also shaped by the recipient's learning , memory , expectation , and attention . Sensory input is a process that transforms this low-level information to higher-level information (e.g., extracts shapes for object recognition ). The following process connects

4845-433: The throat and lungs . In the case of visual perception, some people can see the percept shift in their mind's eye . Others, who are not picture thinkers , may not necessarily perceive the 'shape-shifting' as their world changes. This esemplastic nature has been demonstrated by an experiment that showed that ambiguous images have multiple interpretations on the perceptual level. The confusing ambiguity of perception

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4940-507: The Krause-Finger corpuscles found in erogenous zones of the body.) Other senses enable perception of body balance (vestibular sense ); acceleration , including gravity ; position of body parts (proprioception sense ). They can also enable perception of internal senses (interoception sense ), such as temperature, pain, suffocation , gag reflex , abdominal distension , fullness of rectum and urinary bladder , and sensations felt in

5035-407: The anomalous word, the human readers generated an event-related electrical potential alteration of their EEG at the left occipital-temporal channel, over the left occipital lobe and temporal lobe. Hearing (or audition ) is the ability to perceive sound by detecting vibrations (i.e., sonic detection). Frequencies capable of being heard by humans are called audio or audible frequencies ,

5130-423: The bar. A composite rhythm is the durations and patterns (rhythm) produced by amalgamating all sounding parts of a musical texture . In music of the common practice period , the composite rhythm usually confirms the meter , often in metric or even-note patterns identical to the pulse on a specific metric level. White defines composite rhythm as, "the resultant overall rhythmic articulation among all

5225-448: The brain proper via the optic nerve. The timing of perception of a visual event, at points along the visual circuit, have been measured. A sudden alteration of light at a spot in the environment first alters photoreceptor cells in the retina , which send a signal to the retina bipolar cell layer which, in turn, can activate a retinal ganglion neuron cell. A retinal ganglion cell is a bridging neuron that connects visual retinal input to

5320-441: The brain, the suprachiasmatic nucleus , is responsible for the circadian rhythm (commonly known as one's "internal clock"), while other cell clusters appear to be capable of shorter-range timekeeping, known as an ultradian rhythm . One or more dopaminergic pathways in the central nervous system appear to have a strong modulatory influence on mental chronometry , particularly interval timing. Sense of agency refers to

5415-539: The computationally complex task of separating out sources of interest, identifying them and often estimating their distance and direction. The process of recognizing objects through touch is known as haptic perception . It involves a combination of somatosensory perception of patterns on the skin surface (e.g., edges, curvature, and texture) and proprioception of hand position and conformation. People can rapidly and accurately identify three-dimensional objects by touch. This involves exploratory procedures, such as moving

5510-438: The concept of transformation . Perception Perception (from Latin perceptio  'gathering, receiving') is the organization, identification, and interpretation of sensory information in order to represent and understand the presented information or environment. All perception involves signals that go through the nervous system , which in turn result from physical or chemical stimulation of

5605-625: The development of the effective defense system of early hominids. Rhythmic war cry , rhythmic drumming by shamans , rhythmic drilling of the soldiers and contemporary professional combat forces listening to the heavy rhythmic rock music all use the ability of rhythm to unite human individuals into a shared collective identity where group members put the interests of the group above their individual interests and safety. Some types of parrots can know rhythm. Neurologist Oliver Sacks states that chimpanzees and other animals show no similar appreciation of rhythm yet posits that human affinity for rhythm

5700-428: The dominant rhythm. Moral values underpin a musical system based on repetition of relatively simple patterns that meet at distant cross-rhythmic intervals and on call-and-response form . Collective utterances such as proverbs or lineages appear either in phrases translated into "drum talk" or in the words of songs. People expect musicians to stimulate participation by reacting to people dancing. Appreciation of musicians

5795-404: The fingers over the outer surface of the object or holding the entire object in the hand. Haptic perception relies on the forces experienced during touch. Professor Gibson defined the haptic system as "the sensibility of the individual to the world adjacent to his body by use of his body." Gibson and others emphasized the close link between body movement and haptic perception, where the latter

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5890-405: The forces of natural selection . Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, but only humans have the ability to be engaged ( entrained ) in rhythmically coordinated vocalizations and other activities. According to Jordania, development of the sense of rhythm was central for the achievement of the specific neurological state of the battle trance, crucial for

5985-425: The input energy into neural activity—a process called transduction . This raw pattern of neural activity is called the proximal stimulus . These neural signals are then transmitted to the brain and processed. The resulting mental re-creation of the distal stimulus is the percept . To explain the process of perception, an example could be an ordinary shoe. The shoe itself is the distal stimulus. When light from

6080-454: The interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. "Once a metric hierarchy has been established, we, as listeners, will maintain that organization as long as minimal evidence is present". A durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit . These may be classified as: A rhythmic gesture

6175-581: The level of "divisions of form" including movements , sections , phrases taking seconds or minutes, is likewise similar to Moravcsik's "long" category. Roads' Sound object : "a basic unit of musical structure" and a generalization of note ( Xenakis' mini structural time scale); fraction of a second to several seconds, and his Microsound (see granular synthesis ) down to the threshold of audible perception; thousandths to millionths of seconds, are similarly comparable to Moravcsik's "short" and "supershort" levels of duration. One difficulty in defining rhythm

6270-423: The level of the sound within the auditory signal and the process of audition . The initial auditory signal is compared with visual information—primarily lip movement—to extract acoustic cues and phonetic information. It is possible other sensory modalities are integrated at this stage as well. This speech information can then be used for higher-level language processes, such as word recognition . Speech perception

6365-449: The loop of interdependence of rhythm and tempo is overcome due to the simplicity criterion, which "optimally" distributes the complexity of perception between rhythm and tempo. In the above example, the repetition is recognized because of additional repetition of the melodic contour, which results in a certain redundancy of the musical structure, making the recognition of the rhythmic pattern "robust" under tempo deviations. Generally speaking,

6460-447: The mind of the perceiver. Although people traditionally viewed the senses as passive receptors, the study of illusions and ambiguous images has demonstrated that the brain 's perceptual systems actively and pre-consciously attempt to make sense of their input. There is still active debate about the extent to which perception is an active process of hypothesis testing, analogous to science , or whether realistic sensory information

6555-534: The more redundant the "musical support" of a rhythmic pattern, the better its recognizability under augmentations and diminutions, that is, its distortions are perceived as tempo variations rather than rhythmic changes: By taking into account melodic context, homogeneity of accompaniment, harmonic pulsation, and other cues, the range of admissible tempo deviations can be extended further, yet still not preventing musically normal perception. For example, Skrjabin 's own performance of his Poem op. 32 no. 1 transcribed from

6650-534: The most common in Western music calculates each time value as a multiple or fraction of the beat. Normal accents re-occur regularly providing systematical grouping (measures). Measured rhythm ( additive rhythm ) also calculates each time value as a multiple or fraction of a specified time unit but the accents do not recur regularly within the cycle. Free rhythm is where there is neither, such as in Christian chant , which has

6745-422: The next occurs if it is to be really distinct. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm. Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter . Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of

6840-456: The perception of affective touch intensity, but not affective touch pleasantness. Therefore, the S1 is not directly involved in processing socially affective touch pleasantness, but still plays a role in discriminating touch location and intensity. Multi-modal perception refers to concurrent stimulation in more than one sensory modality and the effect such has on the perception of events and objects in

6935-453: The range of which is typically considered to be between 20  Hz and 20,000 Hz. Frequencies higher than audio are referred to as ultrasonic , while frequencies below audio are referred to as infrasonic . The auditory system includes the outer ears , which collect and filter sound waves; the middle ear , which transforms the sound pressure ( impedance matching ); and the inner ear , which produces neural signals in response to

7030-553: The regularity with which we walk and the heartbeat. Other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that since certain features of human music are widespread, it is "reasonable to suspect that beat-based rhythmic processing has ancient evolutionary roots". Justin London writes that musical metre "involves our initial perception as well as subsequent anticipation of

7125-460: The relation of long and short or stressed and unstressed syllables in a metrical foot or line; an instance of this" . Rhythm is related to and distinguished from pulse, meter, and beats: Rhythm may be defined as the way in which one or more unaccented beats are grouped in relation to an accented one. ... A rhythmic group can be apprehended only when its elements are distinguished from one another, rhythm...always involves an interrelationship between

7220-444: The retina according to direction of origin. A dense surface of photosensitive cells, including rods, cones, and intrinsically photosensitive retinal ganglion cells captures information about the intensity, color, and position of incoming light. Some processing of texture and movement occurs within the neurons on the retina before the information is sent to the brain. In total, about 15 differing types of information are then forwarded to

7315-414: The same exploration behavior normally associated with novelty. Recent studies on lesions in the area concluded that rats with a damaged perirhinal cortex were still more interested in exploring when novel objects were present, but seemed unable to tell novel objects from familiar ones—they examined both equally. Thus, other brain regions are involved with noticing unfamiliarity, while the perirhinal cortex

7410-447: The sensation and flavor of food in the mouth. Other factors include smell , which is detected by the olfactory epithelium of the nose; texture , which is detected through a variety of mechanoreceptors , muscle nerves, etc.; and temperature, which is detected by thermoreceptors . All basic tastes are classified as either appetitive or aversive , depending upon whether the things they sense are harmful or beneficial. Smell

7505-426: The sense of a regular beat is absent because the music consists only of long sustained tones ( drones ). In the 1930s, Henry Cowell wrote music involving multiple simultaneous periodic rhythms and collaborated with Leon Theremin to invent the rhythmicon , the first electronic rhythm machine , in order to perform them. Similarly, Conlon Nancarrow wrote for the player piano . In linguistics , rhythm or isochrony

7600-418: The sense of familiarity in humans and other mammals. In tests, stimulating this area at 10–15 Hz caused animals to treat even novel images as familiar, and stimulation at 30–40 Hz caused novel images to be partially treated as familiar. In particular, stimulation at 30–40 Hz led to animals looking at a familiar image for longer periods, as they would for an unfamiliar one, though it did not lead to

7695-407: The shoe enters a person's eye and stimulates the retina, that stimulation is the proximal stimulus. The image of the shoe reconstructed by the brain of the person is the percept. Another example could be a ringing telephone. The ringing of the phone is the distal stimulus. The sound stimulating a person's auditory receptors is the proximal stimulus. The brain's interpretation of this as the "ringing of

7790-415: The sound. By the ascending auditory pathway these are led to the primary auditory cortex within the temporal lobe of the human brain, from where the auditory information then goes to the cerebral cortex for further processing. Sound does not usually come from a single source: in real situations, sounds from multiple sources and directions are superimposed as they arrive at the ears. Hearing involves

7885-757: The style. Rhythm may also refer to visual presentation, as "timed movement through space" and a common language of pattern unites rhythm with geometry. For example, architects often speak of the rhythm of a building, referring to patterns in the spacing of windows, columns, and other elements of the façade . In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston , Fred Lerdahl and Ray Jackendoff , Jonathan Kramer , Christopher Hasty, Godfried Toussaint , William Rothstein, Joel Lester, Guerino Mazzola and Steffen Krebber . In his television series How Music Works , Howard Goodall presents theories that human rhythm recalls

7980-436: The subjective feeling of having chosen a particular action. Some conditions, such as schizophrenia , can cause a loss of this sense, which may lead a person into delusions, such as feeling like a machine or like an outside source is controlling them. An opposite extreme can also occur, where people experience everything in their environment as though they had decided that it would happen. Even in non- pathological cases, there

8075-516: The term " meter or metre " from the terminology of poetry. ) The metric structure of music includes meter, tempo and all other rhythmic aspects that produce temporal regularity against which the foreground details or durational patterns of the music are projected. The terminology of western music is notoriously imprecise in this area. MacPherson preferred to speak of "time" and "rhythmic shape", Imogen Holst of "measured rhythm". Dance music has instantly recognizable patterns of beats built upon

8170-534: The timing of the unstressed syllables in between them being adjusted to accommodate the stress timing. Narmour describes three categories of prosodic rules that create rhythmic successions that are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests

8265-591: The title Rhythmic . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Rhythmic&oldid=988443512 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Rhythm The Oxford English Dictionary defines rhythm as "The measured flow of words or phrases in verse, forming various patterns of sound as determined by

8360-597: The upper surface of the tongue , called taste buds or gustatory calyculi . The human tongue has 100 to 150 taste receptor cells on each of its roughly-ten thousand taste buds. Traditionally, there have been four primary tastes: sweetness , bitterness , sourness , and saltiness . The recognition and awareness of umami , which is considered the fifth primary taste, is a relatively recent development in Western cuisine . Other tastes can be mimicked by combining these basic tastes, all of which contribute only partially to

8455-466: The visual processing centers within the central nervous system. Light-altered neuron activation occurs within about 5–20 milliseconds in a rabbit retinal ganglion, although in a mouse retinal ganglion cell the initial spike takes between 40 and 240 milliseconds before the initial activation. The initial activation can be detected by an action potential spike, a sudden spike in neuron membrane electric voltage. A perceptual visual event measured in humans

8550-399: The voices of a contrapuntal texture". This concept was concurrently defined as "attack point rhythm" by Maury Yeston in 1976 as "the extreme rhythmic foreground of a composition – the absolute surface of articulated movement". From 1927 and forward the recognized definition of "Counter Rhythm " is "A subordinate rhythm acting as a counterbalance to the main rhythm" (OED ). Counter Rhythm

8645-409: The whole piece is structured. In the 20th century, composers like Igor Stravinsky , Béla Bartók , Philip Glass , and Steve Reich wrote more rhythmically complex music using odd meters , and techniques such as phasing and additive rhythm . At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to

8740-459: The widespread use of irrational rhythms in New Complexity . This use may be explained by a comment of John Cage 's where he notes that regular rhythms cause sounds to be heard as a group rather than individually; the irregular rhythms highlight the rapidly changing pitch relationships that would otherwise be subsumed into irrelevant rhythmic groupings. La Monte Young also wrote music in which

8835-428: The world across part of the brain's surface. These different modules are interconnected and influence each other. For instance, taste is strongly influenced by smell. The process of perception begins with an object in the real world, known as the distal stimulus or distal object . By means of light, sound, or another physical process, the object stimulates the body's sensory organs. These sensory organs transform

8930-443: The world. Chronoception refers to how the passage of time is perceived and experienced. Although the sense of time is not associated with a specific sensory system , the work of psychologists and neuroscientists indicates that human brains do have a system governing the perception of time, composed of a highly distributed system involving the cerebral cortex , cerebellum , and basal ganglia . One particular component of

9025-456: Was the presentation to individuals of an anomalous word. If these individuals are shown a sentence, presented as a sequence of single words on a computer screen, with a puzzling word out of place in the sequence, the perception of the puzzling word can register on an electroencephalogram (EEG). In an experiment, human readers wore an elastic cap with 64 embedded electrodes distributed over their scalp surface. Within 230 milliseconds of encountering

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