49- 50:What is music rhythm? 51- 52: The music rhythm is the beat. It is the most important element in 53- music. It drives the music forward. It is the gasoline of music. -- 63- 64: Rhythm 65- The beat. The beat can be even or uneven, steady or unsteady. -- 123- In 4/4 time, different note values can be combined in each measure as 124: long as they equal four beats. Click the examples to hear the rhythm 125- patterns: -- 249- * [38]Drums player online music machine 250: * [39]Restore rhythm online ear training 251- * [40]Drums map movie 27- 28: Effects of pre-exercise listening to slow and fast rhythm music on 29- supramaximal cycle performance and selected metabolic variables -- 46- We examined the effect of listening to two different types of music 47: (with slow and fast rhythm), prior to supramaximal cycle exercise, on 48- performance, heart rate, the concentration of lactate and ammonia in 49- blood, and the concentration of catecholamines in plasma. Six male 50: students participated in this study. After listening to slow rhythm or 51: fast rhythm music for 20 min, the subjects performed supramaximal 52- exercise for 45 s using a cycle ergometer. Listening to slow and fast 53: rhythm music prior to supramaximal exercise did not significantly 54- affect the mean power output. The plasma norepinephrine concentration 55: immediately before the end of listening to slow rhythm music was 56- significantly lower than before listening (p < 0.05). The plasma 57- epinephrine concentration immediately before the end of listening to 58: fast rhythm music was significantly higher than before listening (p < 59- 0.05). The type of music had no effect on blood lactate and ammonia 60- levels or on plasma catecholamine levels following exercise. In 61: conclusion, listening to slow rhythm music decreases the plasma 62: norepinephrine level, and listening to fast rhythm music increases the 63- plasma epinephrine level. The type of music has no impact on power -- 85- Dopamine agonist ; Neurotransmitter ; Catecholamine ; Human ; Bicycle 86: ergometer ; Music ; Rhythm ; Dopamine ; Norepinephrine ; Epinephrine ; 87- Physical performance ; Heart rate ; Physical exercise ; 1- Basic Music Theory. Copyright Neil Hawes 1997 2: Rhythm 3- 4: * Rhythm in music is dependent on the fact that humans recognise a 5- [1]beat occurring at a regular interval. 6: * Rhythm in music is more than just a [2]beat, however; it is the way 7- that sounds with differing lengths (or gaps between them) and -- 14- different loudness (i.e. amplitudes) of sounds 15: * It is common to speak of a particular rhythm, referring to a 16- pattern of [4]note lengths which occurs in a piece of music. 17: + It is important to understand that the rhythm is defined by 18- the pattern; the overall speed of it could vary from 19: performance to performance, but the rhythm would still be the 20- same. -- 22- [5]metronome marking and/or a [6]direction word or phrase; its 23: rhythm is specified by various [7]note lengths creating 24- [8]beats within [9]bars. 25: * Modern songs often include [10]syncopation in their rhythm 26- __________________________________________________________________ -- 34- 35: 1. http://neilhawes.com/sstheory/theory09.htm#rhythm 36: 2. http://neilhawes.com/sstheory/theory09.htm#rhythm 37: 3. http://neilhawes.com/sstheory/theory09.htm#rhythm 38- 4. http://neilhawes.com/sstheory/theory12.htm 5- 6: Rhythm and swing 7: * Swing jazz rhythm 8: * [7]Music rhythm 9- * [8]Learn music theory : polyrhythms -- 23- * [18]Jazz melody and improvisation 24: * Swing jazz rhythm 25- * [19]Jazz techniques : practice 26- 27:Swing jazz rhythm in improvisation 28- -- 31- If you also give a "sliding" or "retardation" between notes, you can 32: create the real swing jazz rhythm, which was born at the beginning of 33- the XX century about. When you stress an upbeat you make perhaps a 34- "swinging" rhythmics, (also being without a dragging or a sliding 35: between notes), for modern rhythm too, (such as pop and rhythm and 36- blues). -- 41- ...in this way: 42: swing jazz rhythm pattern 43- 44:Learn swing jazz rhythm 45- -- 48- means "stressing the upbeat" with an implied octaves triplets clef. 49: It's so a rhythm "sliding" effect created : the meaning of the American 50- word "swing" is just similar to "sliding", "waving" or "rocking". -- 54- ..must be played (in general) in this way: 55: fundamental jazz swing rhythm 56- In other words Swing has offbeat (upbeat) accents and an eighth-note -- 68- since we were children we have been starting clapping hands in 69: downbeat. Swing-jazz rhythm can be so learned naturally after studying 70- constantly in this direction. 71: * You need some months to learn swing rhythm on your instrument. I 72- remember you to stress always the upbeats. -- 84- 6. http://musilosophy.com/help-jazz-improvisation.htm 85: 7. http://musilosophy.com/music-rhythm.htm 86- 8. http://musilosophy.com/learn-music-theory.htm 12- 13: [8]Home: [9]Basic Music Theory Elements: Music Theory Rhythm 14- 15: "Music Theory Rhythm" 16: "Your Journey in Music Rhythm" 17- -- 19- 20: Your journey to learn and master the music theory rhythm begins in this 21: section of the Music Learning Workshop. The music rhythm workshop 22: provides us with the basics needed to get rhythm down cold. below we 23- link to the beginner series of lessons. 24- We start with the essential building blocks of how to fundamentally 25: know rhythm and then expand our knowledge of rhythm music theory and 26- know how until we achieve mastery. -- 29- 30: The Basic Building Blocks of Rhythm 31- 32: Rhythm forms the basis of music theory. It is what all other musical 33- elements are based upon. You can only survive so long in your musical 34: journey without the essential building block of rhythm. 35- 36- Ask professional musicians: what one element of music do you find to be 37: most important? The answer will often be rhythm. As it is the one thing 38- that is least forgiven by the listener. -- 67- 68:Beginning Rhythm Music Theory Lessons 69- -- 76- 77:Beginning Rhythm 78- 79: [11]Rhythm Definitions 80- [12]Note Symbols -- 83- [15]Time Signatures 84: [16]Counting Rhythm Beats 85: [17]Counting Rhythm Using Rests 86: [18]Counting Rhythm Duple Pattern 87: [19]Counting Rhythm Quadruple Pattern 88: [20]Counting Rhythm Triplet pattern 89- [21]Note Relationships -- 95- Start with some terms we will need to become familiar with when 96: discussing rhythm and music theory and move on through the lessons to 97- build up on the previous group of knowledge. 98: This outline shows the components of rhythm available on this site that 99- you can start learning. 100- This sequence is designed to quickly lead you through the basics of 101: what is needed to learn rhythm music theory. 102- The Music Learning Workshop "Get It Down Cold" Workbooks will be -- 106- 107: [24]Basic Music Theory Elements: [25]Rhythm | [26]Notes | [27]Master 108- Staff | [28]Intervals | [29]Scales | [30]Chords | [31]Key Signatures -- 140- 141:Beginning Rhythm 142- 143: * [45]Rhythm Definitions 144- * [46]Note Symbols -- 147- * [49]Time Signatures 148: * [50]Rhythm Counting Beats 149: * [51]Rhythm Counting Rests 150: * [52]Rhythm Duple Pattern 151: * [53]Rhythm Quadruple Pattern 152: * [54]Rhythm Triplet Pattern 153- * [55]Note Relationships 154: * [56]Rhythm Beat Chart 155- -- 186- 187: [73]top of Music Theory Rhythm 188- -- 207- 10. http://www.musiclearningworkshop.com/mlw-whats-new.html 208: 11. http://www.musiclearningworkshop.com/rhythm-definitions.html 209- 12. http://www.musiclearningworkshop.com/music-note-symbols.html -- 212- 15. http://www.musiclearningworkshop.com/time-signatures.html 213: 16. http://www.musiclearningworkshop.com/rhythm-counting-beats.html 214: 17. http://www.musiclearningworkshop.com/rhythm-counting-rests.html 215: 18. http://www.musiclearningworkshop.com/rhythm-duple-pattern.html 216: 19. http://www.musiclearningworkshop.com/rhythm-quadruple-pattern.html 217: 20. http://www.musiclearningworkshop.com/rhythm-triplet-pattern.html 218: 21. http://www.musiclearningworkshop.com/rhythm-note-relationships.html 219: 22. http://www.musiclearningworkshop.com/support-files/rhythm-beat-chart.pdf 220- 23. http://www.musiclearningworkshop.com/join.html 221- 24. http://www.musiclearningworkshop.com/basic-music-theory-elements.html 222: 25. http://www.musiclearningworkshop.com/music-theory-rhythm.html 223- 26. http://www.musiclearningworkshop.com/music-theory-notes.html -- 241- 44. http://www.musiclearningworkshop.com/faq.html 242: 45. http://www.musiclearningworkshop.com/rhythm-definitions.html 243- 46. http://www.musiclearningworkshop.com/music-note-symbols.html -- 246- 49. http://www.musiclearningworkshop.com/time-signatures.html 247: 50. http://www.musiclearningworkshop.com/rhythm-counting-beats.html 248: 51. http://www.musiclearningworkshop.com/rhythm-counting-rests.html 249: 52. http://www.musiclearningworkshop.com/rhythm-duple-pattern.html 250: 53. http://www.musiclearningworkshop.com/rhythm-quadruple-pattern.html 251: 54. http://www.musiclearningworkshop.com/rhythm-triplet-pattern.html 252: 55. http://www.musiclearningworkshop.com/rhythm-note-relationships.html 253: 56. http://www.musiclearningworkshop.com/support-files/rhythm-beat-chart.pdf 254- 57. http://feeds2.feedburner.com/MusicLearningBlog -- 269- 72. http://www.anrdoezrs.net/click-3759593-10650814 270: 73. http://www.musiclearningworkshop.com/music-theory-rhythm.html#top 271- 74. http://www.musiclearningworkshop.com/index.html 8- 9: The Generational Rhythm of American Politics 10- -- 126- All these studies have provided basic data for the development of a 127: comprehensive theory of the generational rhythm of politics. Most of 128- their authors have not attempted to formulate such a theory and -- 296- mid-1960s? The answer to these questions lie in a proper 297: understanding of the temporal rhythm of political life in the United 298: States. (Rhythm in the sense used here refers to the structured flow 299- of time and events.) 300- 301: The American political system, like all others, has a rhythm of its 302: own, which, in turn, is linked with the overall rhythm of human 303- time. By tracing those links, we can begin to lay out a discernible -- 306- happen) when they do.^25 The historical pattern of political events 307: in the United States follows a generational rhythm which flows in 308- cycles ranging from 25 to 40 years each, approximately the -- 310- life. The sequence and impact of discrete political events is 311: substantially shaped by the rhythm of the generations, even though 312- the events themselves may seem random. Thomas Jefferson noted this -- 379- appear to move in sufficiently precise generational units to account 380: for the rhythm of social and political action. If we look closely 381- and carefully, we can map the internal structure of each generation -- 983- history, the crucial points of demarcation are very much in tune 984: with the generational rhythm of events. They are of two kinds; 985- first, the critical elections that determine who shall govern in a -- 1253- 1254: To suggest that a generational rhythm is clearly apparent in 1255- American politics is not to suggest that events move in any 1256: lock-step, that the rhythm of every generation is exactly the same 1257- as that of every other, or that there are no exceptions to the -- 1264- 1265: Chapter 2 has focused in detail on the generational rhythm of 1266- American politics. Ultimately derived from the biblical -- 1272- theory. A more systematic biostatistical basis for the generation 1273: rhythm was provided by Thomas Jefferson. Jefferson points the way to 1274: understanding that the rhythm of generations is based upon human 1275- social rhythms generally. 1276- 1277: Political events follow the rhythm of the generations, both in their 1278: internal rhythm and on an intergenerational basis. Centuries 1279- represent three generations and also have a certain pattern to them. -- 1398- 25. The discussion to be advanced in the following pages was first 1399: presented in Daniel J. Elazar, "Generational Rhythm of American 1400- Politics," American Political Quarterly (January 1978) vol. 6, no. 48- adopted and abandoned poetic forms by analyzing their narratives on 49: rhythm. I explore the political salience of rhythmical transformations 50- and argue that the secular has been a vital and complex force in the 51- modern abandonment of metrical discipline. The secular affects how 52: poets seek to modernize their rhythm, vocabulary, and relation to 53- public. It also affects, I conclude, the ways in which anthropologists -- 74- 75: Rhythm ; Transformation ; Modernization ; Poet ; Modernity ; Poetry ; 76- Israel ; Palestine ; Near East ; 14- 15: Title: The Rhythm of Political Oratory 16- Author: [14]Varvara Danilina -- 28- My doctoral dissertation was completed after four years of research on 29: the rhythm of British and American political oratory. I sought to 30- establish the rhythmic norm for political public speech and to find -- 35- political science. 36: There is no single linguistic perspective on speech rhythm. For 37- instance, such distinguished scholars as D. Crystal and D. Abercrombie -- 39- to Moscow University school of thought, to which I belong, speech 40: rhythm is created by a blend of phonetics, syntax and meaning of an 41- utterance. As a result of my research, I established rhythmic -- 54- own contribution consisted in adapting this method to the study of 55: public speech, describing the typical rhythm of political oratory, and 56: challenging some popular assumptions about speech rhythm. 57: As for the impact of speech rhythm upon listeners, I started by 58- analyzing audiences in order to understand psychological, social and -- 74- Congress in the aftermath of September 11, 2001. 75: To analyze the reactions of these audiences to the rhythm of Prime 76- Minister Major and President Bush's parliamentary addresses I used M. -- 81- These phrases and syntagmas happened to be quite similar in terms of 82: rhythm to other stretches of speech in the same addresses. Moreover, 83- there proved to be little rhythmic difference between John Major and 84- George Bush's speeches. In short, my research demonstrated that there 85: is no direct interconnection between the rhythm of a public address and 86- audience responses. 86- * Chorus vocals (may include horn players) 87: * Rhythm guitar(s) (plays funk strumming pattern) 88- * Tenor guitar (plays a finger-picked osinato groove) -- 94- * Organ/keyboards 95: * Rhythm [51]conga #1 96: * Rhythm [52]conga #2 97- * Solo (lead) [53]conga -- 132- * [79]Bebe cool lives in Uganda famous for his reggea mixed with 133: luganda pop and English making an Afrobeat rhythm in Uganda known 134- as Luga flow.He also lives in kampala. -- 158- * [88]Weird MC Rap artiste who occasionally experinments with 159: Afrobeat rhythm. 160- * [89]Vibe Squad A Ghanaian music crew formed by EaZZY Da Opemfour -- 163- afrobeat star in East Africa and central Africa.He is known for his 164: rhythm of 2 pac shakur 165- * [91]Mr. Something Something Canadian afrobeat group -- 301- 17. http://en.wikipedia.org/wiki/Funk 302: 18. http://en.wikipedia.org/wiki/Rhythm 303- 19. http://en.wikipedia.org/wiki/Percussion_instrument