Bakgrund: Stroke är en skada som sker i hjärnan i form av en blödning eller infarkt. Stroke medför oftast motoriska symtom i form av nedsatt balans, styrka, koordination och gångförmåga. Musikterapi har som syfte att använda musik och/eller annan auditorisk stimuli för att hjälpa patienten med kognitiva och motoriska nedsättningar som vid exempelvis Parkinson och MS. Syfte: Syftet med den här litteraturstudien var att kartlägga musikterapi som interventionsmetod vid stroke. Metod: Tre stycken frågeställningar låg som grund för den här litteratursammanställningen; Hur används musikterapi i interventionen? Vilken påverkan har musikterapi som intervention på gångförmågan vid strokerehabilitering? Vilken påverkan har musikterapi som intervention på funktionen av de övre extremiteterna vid strokerehabilitering Fem akademiska databaser användes för att hämta artiklarna; PubMed, PEDro, Scopus, Web of Science och CINAHL. Artiklarna kvalitetsgranskades med hjälp av Fribergs granskningsmall och en PICO-tabell användes för att klargöra syftet av studien. Resultat: 16 artiklar inkluderades i studien. Artiklarna visade att musikterapeutisk behandling gav övervägande goda resultat både på nedsatt gångförmåga och nedsatt funktion av övre extremitet. Framförallt gav Rhythmic Auditory Stimulation (RAS) och keyboard/piano spelande goda resultat. Konklusion: Det kan ses en positiv effekt av musikterapi som behandlingsmetod vid stroke. RAS visade på goda förbättringar vid nedsatt gångförmåga och keyboard/piano spelande goda resultat vid nedsatt funktion av övre extremitet. Mer forskning behövs dock gällande musikterapins effekter på övre extremitet vid strokerehabilitering.

Phonological awareness is an important component of early literacy and many children struggle to master its key elements, such as the ability to hear syllables and rhymes within the speech stream. The hypothesis explored within this study is that since music and language have parallel auditory perceptual mechanisms then training in rhythmic activities, such as music, could lead to increased understanding of the rhythmic nature required to decode early language and literacy skills. Previous research investigating the relationship between the constructs of music perception and phonological awareness has been promising, but generally inconclusive. Within the study I examine whether there is a link between the temporal processing required to process rhythmic entrainment in both phonological awareness skills and music. The data are interpreted with respect to a theoretical framework linking music and language based on temporal sampling. The ‘temporal sampling theory’ (Goswami, 2011) suggests that the decoding of both language and music is linked to the perception of accent and beat, and that the ability to hear the onset of these accents is critical within a stream of auditory events. To this end rhythmic entrainment tasks were presented in a range of musical activities including drumming along to music and singing nursery songs and rhymes. The musical and rhythmic activities were given in several different forms, to see which would be most effective in showing the children’s ability to synchronise to a beat. These were all presented at four pulse rates (400 ms, 500 ms, 666 ms, 1000 ms). Data were collected over a period of 2 years commencing in November 2009. In Study1 93 4 and 5-year-old children were tested and in Study 2 data were collected from a further 99. In addition to psychometric tests for IQ, Word Recall, teachers from the schools provided information from the children’s Foundation Stage profiles. Phonological awareness skills (syllable and rhyme) were also measured, as was reading development. Overall, children showed greater temporal accuracy (rhythmic entrainment) in keeping time with a musical piece than in keeping time with a metronome. Entrainment accuracy was greatest at the 500 ms rate, the only rate for which entrainment was as accurate with music and metronome. Individual differences in rhythmic entrainment whilst drumming were not linked to I.Q. Children were more temporally accurate when singing than in the rhythmic entrainment tasks and temporal accuracy at pulse rates of 500 ms (2 Hz) and 666 ms (1.5 Hz) showed some significant links to rhyme awareness and to reading. Temporal accuracy in singing a rhyming word on time was also greatest at 500 ms, although simply singing along to music did not show a preferred rate. Unexpectedly, temporal accuracy in singing was linked to I.Q., and was not linked independently to syllable and rhyme awareness. However, temporal accuracy in singing at the 500 ms rate was linked to reading. In Sample 2 of the PhD I report on the results of a seven-week three group matched intervention study of 99 children. The intervention was designed to investigate whether a short intervention of either music or ‘rhythmic speech’ based around the preferred rate of 500ms would lead to improved phonological awareness skills. Group 1 was given a programme of music games and songs, and group 2 was given a matched programme of games and ‘rhythmic speech’, without musical accompaniment or singing, to promote syllable and rhyme awareness. A third group, who received no additional training acted as a control. The results show that an intervention based on rhythmic structure in either a rhythmic speech form or in musical form can be successful in improving children’s phonological awareness skills. The rhythmic speech programme proved to be a more successful vehicle than the music intervention in improving the phonological skills of this group of 90 children. Both interventions were successful in improving both rhyme and syllable awareness, but the greatest improvements came in the syllable tests. There was further evidence that an intervention in either rhythmic speech or music would impact on the children’s future reading skills. Both interventions produced significantly higher correlations with a Word Reading test than the control group. There was no evidence to suggest that a musical intervention based on tapping along to a beat was of more benefit than one based on rhythmic speech. Overall the evidence gathered from the data in this study does suggest that there are direct links between rhythmic awareness, as measured by tapping to an isochronous beat, and the children’s capacity to decode phonological information. The favoured rate at which the brain processes information in both domains, thus linking them together, is at a pulse rate with an Inter Onset Interval set to 500ms. This study’s results could be used to support the development of rhythmic based interventions, in both a rhythmic speech and musical form in support of early literacy skills in 4 and 5 –year –old children.

This thesis illustrates how I hear processes of expansion organizing musical materials in the First String Quartet. By employing a flexible approach to expansion and developing models of wedge and additive expansions beyond the bounds of specific voice-leading or rhythmic augmentation procedures, expansion processes can be understood in each of the varied episodes of the quartet. Gubaidulina’s use of expansion processes, embodied organically in pitch, rhythm, form, and physical space, unifies the episodic materials of the First String Quartet and provides an inevitable conclusion to the work’s loose narrative.

The current study examined the change in articulatory patterns when speakers were asked to increase and decrease their speaking rate by matching metered and rhythmic audio recordings and by matching metered and rhythmic audiovisual recordings. There were 10 participants, five male and five female, ranging in age from 20 to 36 with a mean age of 25. Participants spoke the sentence "Don't fight or pout over a toy car"under rhythmic, metered, fast and slow conditions and in response to audio only or audiovisual models, resulting in eight speaking conditions: audio metered fast, audiovisual metered fast, audio metered slow, audiovisual metered slow, audio rhythmic fast, audiovisual rhythmic fast, audio rhythmic slow, and audiovisual rhythmic slow. Each participant had five sensors glued to their tongue, teeth and lips and articulatory movements were recorded with an NDI Wave electromagnetic articulograph. 10 tokens of the target utterance were analyzed for duration and Spatiotemporal Index (STI). STI was then computed for the vertical movements of the tongue, jaw and lower lip, as well as lip aperture in order to measure variability of speech movements over multiple sentence repetitions. Stroke metrics based on the speed history of the articulators were also computed in order to reveal average kinematic features of articulatory gestures, or the individual. movement strokes that occurred between successive speed minima in running speech. Statistical analysis revealed that STI measures did not change significantly in response to the different rate conditions. This study demonstrated that in neurotypical individuals, articulatory patterns including stroke count, onset speed, peak speed and hull area changed significantly in faster or slower speech. Additionally, the results revealed that both metered and rhythmic cues and both audio and audiovisual cues are effective in decreasing and increasing speaking rate without significantly impacting the STI (i.e., consistency) of articulatory movements. Therefore, it may be that a speaker's efforts to match the audio and audiovisual cues in real-time more significantly affected articulation patterns than whether cues were rhythmic, metered, audio or audiovisual.

Orientador: Elizabeth Paoliello Machado de Souza / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Fisica / Made available in DSpace on 2018-08-04T08:23:11Z (GMT). No. of bitstreams: 1 Saroa_GiovannaRegina_M.pdf: 10118425 bytes, checksum: f8e3e6655072ac27c9689e84a62bc17f (MD5) Previous issue date: 2005 / Resumo: O objetivo deste estudo foi reconstruir a história da ginástica rítmica em Campinas ¿ São Paulo - Brasil, pois este tema nunca foi explorado em pesquisas acadêmicas e esta é sem dúvida uma grande história, a história de vida de pessoas que passaram por esse esporte e deixaram marcas de conquistas, vitórias e paixões. Registrar esta pesquisa na área acadêmica é algo importante para podermos dar continuidade na história da ginástica em nossa cidade e com isso entendermos o crescimento relevante dessa modalidade em Campinas, que transformou a vida de muitas pessoas ao longo dessas três décadas e nesse decorrer, foi tomando diversos rumos, ganhando espaço e conquistando cada vez mais adeptos. Para essa composição histórica, foi utilizada a metodologia da História Oral, que possibilitou a reconstrução com os personagens que fizeram e fazem parte dela, além da utilização de imagens e reportagens pesquisadas nos jornais da cidade e dos acervos pessoais cedidos pelas entrevistadas. Este trabalho teve como resultado o registro da história desta modalidade esportiva, que nessas três ultimas décadas tem encantado o cenário esportivo campineiro / Abstract: The objective of this study was to ransom The History of the Rhythmic Gymnastics in the city of Campinas ¿ São Paulo ¿ Brazil, since that theme had never been explored in academic researches before, and that is, beyond doubt, a great story, a life story of people who went through that sport and left their marks of conquests, victories and passion. Registering this research in the academic area is something important, to be able to have the continuity of the gimnastic history in our city, and so as to understand the relevant growth of that modality in Campinas, which has changed the life of many people along these three decades and which, in the meantime, has taken several courses, gaining space and conquering more and more adepts. For that historical essay, the methodology of the oral history was used, which enabled its rescue with the characters that made, and still make, part of it, besides the use of images and reportings collected into the city newspapers, as well as the personal assets given in by the interviewees. This work had as a result the registering of this sports modality history, which within these last three decades has delighted the Campinas sports scenery / Mestrado / Pedagogia do Movimento / Mestre em Educação Física

Musikkundige wissen, dass das Seitenthema einer klassischen Sonatenexposition in Dur in der Oberquinttonart steht. Weniger oder gar nicht bekannt ist, dass sich einhergehend mit der harmonischen Modulation eine rhythmische Intensivierung vollzieht, womit der Prozess der Modulation als ein dramatischer wahrgenommen wird. Diese mit einer inneren Beschleunigung einhergehende Differenzierung der musikalischen Textur erfährt oft eine Zuspitzung vor dem Abschluss der Exposition. In den musiktheoretischen Schriften wird diesem Gegenstand bisher wenig Beachtung geschenkt. Immerhin finden sich bei James Hepokoski und Warren Darcy und vor allem bei Charles Rosen Ansätze einer adäquaten Beschreibung, die hier entwickelt und ausgeführt werden. Anhand der frühen Haydn’schen Klaviersonaten wird in diesem Aufsatz das Phänomen beschrieben und nachvollziehbar gemacht. Gleichzeitig möchte der Beitrag die Diskussion darüber anregen, was dieser Befund für das Verständnis, die Analyse, das Nachschaffen und die Interpretation von Sonatensätzen seit der Wiener Klassik beitragen kann. / Those knowledgeable in music know that the secondary theme of a classical sonata form exposition in a major key is in the dominant key. Less well known, if at all, is the fact that a rhythmic intensification takes place as well along with the harmonic modulation in such a way that the process is perceived as dramatic. This differentiation of musical texture, accompanied by an internal acceleration, often comes to a head just before the conclusion of the exposition. In music-theoretical literature, little attention has been paid to this subject. Nevertheless, in writings by James Hepokoski and Warren Darcy, and especially Charles Rosen, approaches to an adequate description can be found, which are developed and elaborated in this contribution. Taking into account Haydn’s early piano sonatas, the phenomenon is described and made comprehensible. The paper also aims to stimulate a discussion about what these findings can contribute to the understanding, analysis, recreation, and interpretation of sonata movements since the Viennese Classical period.

These compositions explore concepts based on processes and polymeter. Drawing on influences ranging from Steve Reich to Conlon Nancarrow and Nik Bärtsch they use and develop an approach to rhythmic thinking based on ostinati constructed of layers of different speeds. Through the use of click tracks, they look at how an ensemble can be enabled to perform rhythms that, without the electronic support, would be unplayable – crossing a line between the possible and the impossible. By means of processes built on a number of different ideas, the pieces explore how these can be used to affect both the behaviour and evolution of musical material, as well as using them to create fixed structures within which I then move subjectively and more intuitively. The question of balance, of moving between two points or approaches that are seemingly opposites, has also been examined: looking at how the journey affects the destination, where the simple becomes complex, and where personal meets impersonal.

Orientador: Florivaldo Menezes Filho / Banca: Alexandre Roberto Lunsqui / Banca: Silvio Ferraz Mello Filho / Resumo: Este trabalho detém-se sobre o conceito de periodicidade generalizada, desenvolvida pelo compositor belga Henri Pousseur (1929-2009), com intuito de investigar algumas das mais notáveis transformações ocorridas na organização rítmica e temporal da música do século XX, especialmente na produção ligada à experiência do serialismo integral no pós-guerra europeu. A periodicidade também será abordada do ponto de vista da Teoria da Informação, de acordo com as formulações do teórico francês Abraham Moles (1920-1992), referência fundamental para o trabalho deste compositor. Segue-se, então, a exposição teórica da periodicidade generalizada, complementada por um caso prático de aplicação composicional por meio de uma análise da obra Apostrophe et six réflexions, escrita por Henri Pousseur na época da formulação deste conceito. / Abstract: This work is centered on the concept of generalized periodicity as proposed by Belgian composer Henri Pousseu (1929-2009), aiming to investigate some of the most remarkable transformations in rhythmic and temporal organization in 20th century concert music, specifically concerning the experience of serialism in post-war Europe. Periodicity is also approached through Information Theory, accordingly to the developments made by French theorist Abraham Moles (1920-1992), fundamental reference for Pousseur's work. After a conceptual presentation of the generalized periodicity, a case study of its compositional application is provided by an analysis of the work Apostrophe et six réflexions (1964-1966), written by the Belgian composer by the time this concept was formulated. / Mestre

Thesis (Ed.D.)--Boston University / The purpose of this study is to construct an instrument to measure objectively locomotor response to rhythmic auditory stimuli. This purpose will be considered accomplished if the instrument distinguishes between members of the study groups; if, as evidence of its validity the results obtained from measuring groups of untrained, trained amateurs, and professional dancers reflect the obvious difference in the rhythmic skill of these groups.

O objetivo geral deste estudo é testar e discutir as correlações (intensidade, sinal, e significância) intra e interdimensões de dois inventários: Inventário de Motivação à Prática Regular de Atividades Físicas e Esportivas (IMPRAFE-126) e o Inventário de Autodeterminação para Praticantes Regulares de Atividades Físicas e Esportivas (IAPAFE-25). O IMPRAFE-126 avalia seis dimensões motivacionais à prática regular de atividade física e esportiva (Controle de Estresse, Saúde, Sociabilidade, Competitividade, Estética e Prazer); enquanto que o IAPAFE-25 avalia cinco níveis de autodeterminação propostos pela Teoria da Autodeterminação: Motivação Intrínseca, Regulação Identificada, Regulação Introjetada, Regulação Externa, e Amotivação. Tais correlações permitirão detectar em que níveis de autoregulação o IMPRAFE-126 mede as seis dimensões motivacionais, considerando os cinco níveis de autodeterminação avaliados pelo IAPAFE-25. Para responder adequadamente ao objetivo geral foi necessário examinar as intensidades, sinais e níveis de significância das seguintes correlações: (a) as seis dimensões motivacionais com as cinco dimensões de autodeterminação; (b) os itens do IMPRAFE-126 com as cinco dimensões de autodeterminação. Através dessas análises pretende-se apresentar algumas orientações para a condução das atividades de treino. Para tanto, o estudo contou com a participação de uma amostra de 62 atletas de Ginástica Rítmica (GR) do sexo feminino com idades de 13 a 16 anos, participantes de campeonatos estaduais e escolares no estado do Rio Grande do Sul. Os resultados das correlações intradimensões do IMPRAFE-126 indicaram que o “Prazer” é a dimensão que melhor representa o perfil motivacional das atletas avaliadas, correlacionando-se de maneira significativa com as outras cinco dimensões motivacionais do IMPRAFE-126. Cabe salientar que a “Competitividade” também se destaca enquanto uma dimensão motivacional relevante, quando associada às dimensões “Controle de Estresse”, “Saúde” e “Sociabilidade”. Quanto às correlações intradimensões do IAPAFE-25, constatou-se que os maiores índices correlacionais ocorreram nos estilos mais internos de motivação, caracterizando um comportamento mais autônomo destas atletas. Com relação aos objetivos específicos, os resultados foram os seguintes: (a) nas correlações interdimensões dos inventários IMPRAFE-126 e IAPAFE-25, os maiores índices ocorreram nos estilos mais internos de motivação, caracterizando um comportamento autodeterminado das atletas; (b) nas correlações entre os itens do IMPRAFE-126 e as dimensões do IAPAFE-25, foi possível constatar que as correlações significativas ocorreram nos estilos mais internos de motivação. Esses resultados indicam que é preciso orientar a prática regular da GR no sentido de fortalecer a Motivação Intrínseca e proporcionar prazer ao praticante. Sugere-se que estudos dessa natureza sejam realizados com atletas de outras modalidades esportivas, visando aprofundar o conhecimento sobre essa temática. / The general objective of this study is to test and discuss the correlations (intensity, sign and significance) intra and interdimensions of two inventories: “Inventário de Motivação à Prática Regular de Atividades Físicas e Esportivas” (IMPRAFE-126) and “Inventário de Autodeterminação para Praticantes Regulares de Atividades Físicas e Esportivas” (IAPAFE-25). The IMPRAFE-126 assesses six motivational dimensions to the regular practice of physical activity and sport (Stress’ Control, Health, Sociability, Competitiveness, Aesthetic and Pleasure), while the IAPAFE-25 assesses five levels of self-determination proposed by the Self- Determination Theory: Intrinsic Motivation, Identified Regulation, Introjected Regulation, External Regulation, and Amotivation. Carrying out such correlations will allow detecting in what levels of self-regulation the IMPRAFE-126 measures the six motivational dimensions, considering the five levels of self-determination assessed by the IAPAFE-25. In order to adequately answer the general objective of this study it was necessary to examine the intensities, signs and levels of significance of the following correlations: (a) the six motivational dimensions in relation to the five selfdetermination dimensions; (b) the items of the IMPRAFE-126 in relation to the five self-determination dimensions. Throughout these analyses we also intent to present some guidelines for conducting physical activity and sport training sessions. The sample was composed of 62 female athletes of Rhythmic Gymnastics (RG) with age from 13 to 16 years who participate in Rio Grande do Sul State and school championships. The results of the intradimensions of the IMPRAFE-126 indicated that “Pleasure” is the dimension that better represents the motivational profile of the athletes that participate in the study, correlating in a significant manner with the other five motivational dimensions of the IMPRAFE-126. “Competitiveness” is also a relevant motivational dimension when associated to the dimensions of “Stress’ Control”, “Health” and “Sociability”. In respect to the intradimensions’ correlation of the IAPAFE-25, the highest indices occurred in the more internal forms of motivation. This characterizes a more autonomous behavior of these athletes. In relation to the specific objectives, the results were the following: (a) in the interdimensions’ correlation of the IMPRAFE-126 and IAPAFE-25, the highest indices occurred in the more internal forms of motivation, characterizing a self-determined behavior of the athletes; (b) in the correlations between the items of the IMPRAFE-126 and the dimensions of the IAPAFE-25, the significant correlations occurred in the more internal forms of motivation. These results indicated that it is necessary to orient the regular practice of RG in a way to strength the Intrinsic Motivation and must give pleasure to the athletes. For a better understanding of the matter, it is necessary to carry out new studies including other sports.