I denna studie undersöks och jämförs hur rytmisk notläsning med barn, 5–8 år, framställs i vetenskapliga texter under 2000-talet. Fokus för studien är vilka strategier som skildras men även forskning om vilka effekter notläsning kan ha på läs- och skrivutveckling refereras. För att besvara studiens syfte och frågeställning används metoden allmän litteraturstudie med systematisk ansats samt en informell intervju med tre forskare inom neurologi. Fyra vetenskapliga artiklar är inkluderade i studien. Alla har granskats kvalitets- och kunskapskritiskt. Den vetenskapsteoretiska ansatsen för studien är kulturhistorisk men min långa bakgrund som rytmikpedagog, skolad och erfaren i Dalcroze-metodik, är den vinkel jag oundvikligen betraktar resultatet ur. Ett av studiens resultat är att ämnet inte ägnats någon större uppmärksamhet från forskare under 2000-talet och det därför finns mycket att göra för att utveckla praxis. De huvudsakliga resultaten i de studerade artiklarna är att a) barn tenderar att prioritera tonhöjd framför rytm i notbilden, b) underliggande puls på rytmens minsta värde, snarare än puls som motsvarar taktens värde, förenklar för notläsningsförmågans utveckling, c) god notläsning kräver tidigt utformade strategier snarare än övning och d) rytmisk notläsning kan utvecklas på ett likartat sätt som läs- och skrivförmåga och bör stödjas ur det perspektivet med aktiviteter som innefattar ljuda, skriva och läsa. I intervjudelen framkommer bland annat att rytmisk träning kan främja tal- och skriftspråklig utveckling men att det inte förekommer några direkta transfereffekter mellan läsning och notläsning. / In this study, the 21st century scientific literature addressing rhythmic music reading in children aged 5–8 is explored and compared. The described strategies are the main focus of the study but research on music reading´s effect on the development of reading and writing skills is also discussed. In order to meet the purpose of this study and answer the scientific question, the methods general literature study with systematic approach together with informal interviews with three neurology-scientists, are applied. Four scientific articles are included in the study. They were all thoroughly reviewed from a quality- and knowledge perspective. The scientific theory used for this study is Vygotskij´s cultural-historical psychology but my own background as a teacher of eurythmics, educated and experienced in Dalcroze´s methodology, is inevitably the light in which I view the results of this study. One of the study´s results, is that this subject did not yet render much attention from researchers during the 21st century, leaving a lot of room for further development of practice. The main results of the studied articles are that a) children tend to prioritize tone before rhythm when reading notated music, b) underlying beat on the shortest note-duration in the rhythm, rather than beat that corresponds to the “worth” of the bar, simplifies the development of music reading skills, c) accomplished music reading demands early developed strategies rather than practice and d) rhythmic music reading may develop in a trajectory similar to that of language and literacy acquisition and should be fostered within that perspective through all of the following: oral and aural exercises, writing and reading. The interview-section shows, amongst other things, that rhythmic training may promote the development of articulation and writing, but there are no direct transfer effects between reading and music reading.

La musique et le mouvement sont inséparables. Les mouvements produits spontanément lors de l'écoute musicale seraient le reflet d'un lien étroit entre le système perceptif et moteur. Ce lien est l'objet d'étude de cette thèse. Une première approche concernait l'impact des mouvements induits par la musique sur la cognition musicale. Dans deux études, nous montrons que bouger en rythme sur la musique n'améliore ni la rétention de nouveaux morceaux de musique (Etude 1) ni la rétention d'informations contextuelles relatives à leur encodage (Etude 2). Les résultats des ces deux études suggèrent la superficialité du traitement inhérent à l'expression des affordances musicales nécessaire à la production de mouvements induits par la musique dans la tâche motrice ainsi qu'un traitement moteur automatique de la musique indépendamment de la tâche. L'importance du groove musical a également été mise en évidence. Une deuxième approche concernait l'influence de la perception de rythmes musicaux sur la production de mouvements rythmiques. Notre troisième étude testait l'hypothèse selon laquelle les membres du corps seraient influencés de manière différente en fonction du tempo musical. Les résultats montrent que la tâche de tapping était la plus influencée par la perception de rythmes musicaux. Ceci serait dû à la nature similaire de la pulsation musicale et des mécanismes de timing impliqués dans le tapping ainsi qu'à des phénomènes de résonance motrice. Nous avons également observé la mise en place de certaines stratégies face à la tâche. L'ensemble de ces résultats est discuté à la lumière du lien entre perception et action, de la cognition musicale incarnée et des affordances musicales. / Music and movement are inseparable. The movements that are spontaneously procuded when listening to music are thought to be related to the close relationship between the perceptual and motor system in listeners. This particular link is the main topic of this thesis. A first approach was focused on the impact of music-induced movements on music cognition. In two studies, we show that moving along to music neither enhances the retention of new musical pieces (Study 1) nor the retention of the contextual information related to their encoding (Study 2). These results suggest a shallow processing inherent to the expression of musical affordances required for the production of music-induced movements in the motor task. Moreover, they suggest that music is automatically processed in a motoric fashion independantly of the task. Our results also brought forward the importance of the musical groove. A second approach focused on the influence of the perception of musical rhythms on the production of rythmic movements. Our third study tested the hypothesis that different limbs would be differentially influenced depending on the musical tempo. Results show that the tapping taks was the most influenced by the perception of musical rhythms. We argued that this would come from the similar nature of the musical pulse and the timing mecanisms involved in the tapping task and motor resonance phenomena. We also observed different strategies put in place to cope with the task. All these results are discussed in light of the link between perception and action, embodied musical cognition and musical affordances.

A teoria das redes complexas tem se tornado cada vez mais em uma poderosa teoria computacional capaz de representar, caracterizar e examinar sistemas com estrutura não trivial, revelando características intrínsecas locais e globais que facilitam a compreensão do comportamento e da dinâmica de tais sistemas. Nesta tese são exploradas as vantagens das redes complexas na resolução de problemas relacionados com tarefas do âmbito musical, especificamente, são estudadas três abordagens: reconhecimento de padrões, mineração e síntese de músicas. A primeira abordagem é desempenhada através do desenvolvimento de um método para a extração do padrão rítmico de uma peça musical de caráter popular. Nesse tipo de peças coexistem diferentes espécies de padrões rítmicos, os quais configuram uma hierarquia que é determinada por aspectos funcionais dentro da base rítmica. Os padrões rítmicos principais são caracterizados por sua maior incidência dentro do discurso musical, propriedade que é refletida na formação de comunidades dentro da rede. Técnicas de detecção de comunidades são aplicadas na extração dos padrões rítmicos, e uma medida para diferenciar os padrões principais dos secundários é proposta. Os resultados mostram que a qualidade da extração é sensível ao algoritmo de detecção, ao modo de representação do ritmo e ao tratamento dado às linhas de percussão na hora de gerar a rede. Uma fase de mineração foi desempenhada usando medidas topológicas sobre a rede obtida após a remoção dos padrões secundários. Técnicas de aprendizado supervisionado e não-supervisionado foram aplicadas para discriminar o gênero musical segundo os atributos calculados na fase de mineração. Os resultados revelam a eficiência da metodologia proposta, a qual foi constatada através de um teste de significância estatística. A última abordagem foi tratada mediante o desenvolvimento de modelos para a composição de melodias através de duas perspectivas, na primeira perspectiva é usada uma caminhada controlada por critérios sobre redes complexas predefinidas e na segunda redes neurais recorrentes e sistemas dinâmicos caóticos. Nesta última perspectiva, o modelo é treinado para compor uma melodia com um valor preestabelecido de alguma característica tonal subjetiva através de uma estratégia de controle proporcional que modifica a complexidade de uma melodia caótica, melodia que atua como entrada de inspiração da rede. / The theory of complex networks has become increasingly a powerful computational tool capable of representing, characterizing and examining systems with non-trivial structure, revealing both local and global intrinsic structures that facilitate the understanding of the behavior and dynamics of such systems. In this thesis, the virtues of complex networks in solving problems related to tasks within the musical scope are explored. Specifically, three approaches are studied: pattern recognition, data mining, and synthesis. The first perspective is addressed by developing a method for extracting the rhythmic pattern of a piece of popular music. In that type of musical pieces, there coexist different types of rhythm patterns which constitute a hierarchy determined by functional aspects within the basic rhythm. The main rhythmic patterns are characterized by a higher incidence within the musical discourse and this factor is reflected in the formation of communities within the network constructed from the music piece. Community detection techniques are applied in the extraction of rhythmic patterns, and a measure to distinguish the main patterns of the secondary is proposed. The results showed that the quality of extraction is sensitive to the detection algorithm, the method of representing rhythm, and treatment of percussion lines when generating the network. Data mining is performed using topological measures over the network obtained after the removal of secondary patterns. Techniques of supervised and unsupervised learning are applied to discriminate the musical genre according to the attributes calculated in the data mining phase. The quantitative results show the efficiency of the proposed methodology, which is confirmed by a test of statistical significance. Regarding the melody generation, an algorithm using a walk controlled by criteria on predefined complex networks has been developed, as well as the development of melody composition models using recurrent neural networks and chaotic dynamical systems. In the last approach, the model is trained to compose a melody with a subjective characteristic melodic value pre-established by a proportional control strategy that acts on the parameters of a chaotic melody as input inspiration.

The Peabody Conservatory commissioned Estudios De Frontera by Alejandro Viñao in 2004. Percussionist Robert Van Sice initiated the commissioning process. Estudios De Frontera is the first composition for percussion ensemble by Viñao. Viñao's Estudios is written in two movements. The first is titled Homage to Nancarrow. As the title implies the compositional processes are directly influenced by Conlon Nancarrow. The composer states: "Homage to Nancarrow is concerned with the perceptual illusion of multiple simultaneous speeds or tempi....This movement explores the type of rhythms that create the illusion that multiple independent tempi are being heard while remaining playable by musicians." The purpose of this document is to provide a rhythmic analysis describing the techniques used by Chopin, Ligeti, and Nancarrow, and demonstrating their manifestation in the first movement of Alejandro Viñao's Estudios de Frontera. The analysis provides detailed information in regards to Nancarrow's rhythmic structures including: ostinato, hemiola, isorhythm, accelerations, and implied poly-tempo. Additionally, by seeking advice from notable performers and ensembles, the areas of greatest concern are identified, and strategies towards rehearsal and performance are recommended. The performance guide is included as an appendix to the analytic body of the paper.

No description available.

In 1993, American percussionist and composer B. Michael Williams published Four Solos for Frame Drums. This collection is considered the first work written exclusively for solo frame drum in Western notation. Williams primarily modeled his solos around traditional rhythms and techniques from Middle Eastern musical traditions as well as Glen Velez's virtuosic style of playing frame drums. He also drew influence from the music of South India and Sub-Saharan Africa. Williams intentionally combines the aforementioned elements as a means to expose his students and audience members to the music and drumming of these regions. The purpose of this paper is to provide a detailed analysis of select compositions for solo frame drum by B. Michael Williams in order to assist future performers in making well-informed interpretive decisions. The analysis will highlight the compositional style, structural components, technical demands and important performance considerations of four pieces by Williams: Quatrinity, Etude in Arabic Rhythms, Another New Riq and Rhythmic Journey no. 1: (From Conakry to Harare).

Les habiletés rythmiques varient considérablement d’un individu à l’autre. Cependant, notre compréhension du lien entre ces variations au niveau comportemental et les marqueurs électrophysiologiques qui les sous-tendent est incertaine. L’objectif du travail actuel était d’examiner la signature cérébrale (EEG) des différences individuelles des habiletés rythmiques impliquant la prédiction temporelle (i.e., perceptuelles, sensorimotrices). Les participants (n=43) ont effectué deux tâches provenant de la Battery for the Assessment of Auditory Sensorimotor and Rhythmic abilities (BAASTA, Dalla Bella et al., 2017). De plus, l’activité cérébrale de ces participants a été enregistrée lors d’une tâche de prédiction temporelle. Cette tâche utilisant le paradigme du stimulus discordant (i.e., oddball paradigm) consistait en la présentation de sons purs standards (i.e., non pertinents) et discordants (i.e., pertinents) sur des séquences isochrones ou non-isochrones (i.e., régulières ou non). Les résultats ont montré des différences individuelles dans les habiletés rhythmiques se reflétant au niveau des composantes ERP. Chez tous les participants, des meilleures habiletés sensorimotrices ont été associées à de plus petites amplitudes de la P50 lors de la présentation de sons standards, suggérant une inhibition accrue des stimuli non pertinents. Aussi, l’amplitude de la composante N100 pourrait servir de marqueur de la capacité de traitement de la discordance des stimuli. Effectivement, les individus ayant de bonnes habiletés de traitement du rythme, présente des amplitudes moins négatives de la N100 pour les sons discordants présentés régulièrement, suggérant une discrimination accrue des sons discordants. Ainsi, ces résultats ajoutent à notre compréhension des processus sous-jacents aux différences individuelles dans les habiletés rhythmiques. / It is known that rhythmic abilities vary widely in the general population. However, our understanding of the link between these variations at the behavioral level and their underlying brain electrophysiological patterns is uncertain. The aim of the present work was to investigate the electrophysiological correlates of individual differences in rhythmic abilities (i.e., perceptual, sensorimotor). Participants (n=43) performed two tasks of rhythmic abilities (beat alignment test and paced tapping) from the Battery for the Assessment of Auditory Sensorimotor and Rhythmic abilities (BAASTA, Dalla Bella et al., 2017). Moreover, the brain activity (EEG) of these participants was recorded while they performed a temporal predictability task. This task consisted in an oddball paradigm where standard (i.e., irrelevant tones) and deviant (i.e., relevant tones) sinusoidal tones were presented in isochronous (i.e., regular) and temporally random (i.e., irregular) sequences. Results indicated that individual differences in rhythmic abilities are reflected in electrophysiological markers of temporal predictability. Across all participants, improved sensorimotor abilities were associated with smaller amplitudes of the P50 auditory evoked potential to standard tones, suggesting increased inhibition of irrelevant stimuli. Moreover, the amplitude of the N100 component serve as a potential marker of the ability to process stimuli deviance. Indeed, individuals with good rhythm abilities have less negative amplitudes of N100 for deviant tones presented in the isochronous sequence, suggesting enhanced discrimination of deviant tones. Altogether, these findings add to our understanding of the processes underlying individual differences in rhythmic abilities.

Synuclein, Parkinson's disease, network activity, neuron, tau protein, neurodegeneration, connectivity, cAMP,

No description available.

This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context. After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context. Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology. Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)