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[12]rhythm engine
A support group for my Gypsy Rhythm book. Ask questions about Gypsy
Rhythm technique, share your own learning experiences, and learn new
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[15]rhythm engine
[16]Post by [17]quecumbar » Sun Dec 20, 2009 11:00 am
rhythm is the engine that drives the train - learn form the source its
the only way
always watch the right hand - apparently thats the secret
Anyway enough of that Le QuecumBar in London
[18]www.quecumbar.co.uk has some stonking workshops for the Django
100th birthday festival get yourselves here and support all the
musicians holding them everyone can learn something - even the good
players!
If these musicians are not supported when they come to UK or anywhere
else - then there is not much reason to come here so please get out
there and support these guys books are not always the answer
LE QUECUMBAR INTERNATIONAL GYPSY SWING GUITAR FESTIVAL
WORKSHOPS
Sunday 17th January - Monday 25th January 2010
Honouring the 100th Birthday of Gypsy guitar genius Django Reinhardt,
these workshops are a rare opportunity to learn and communicate
directly from some of World's finest players of the Django Reinhardt
Gypsy Swing/Jazz style. This festival brings together more workshops of
this style than has ever been offered before anywhere worldwide, a
chance for musicians to learn from the source with Gypsies and
non-Gypsy leaders of the style. Everyone who plays or wishes to play
this style will benefit enormously from the cultural exchange of
techniques and musical ideas.
These workshops are supported by the National Lottery, through Arts
Council England.
WORKSHOPS £35
o For Gyspy Swing/Jazz guitar, Balkan Gypsy violin and Gypsy Swing/Jazz
double bass.
o Workshops are limited to 12 people and held for all levels except
beginners and are a perfect introduction to Gypsy music from the
masters themselves
Times for all workshops: 10.30 to 12.30, one hour for lunch then from
13.30 - 15.30
Tickets for all workshops: [19]www.wegottickets.com
Contact for all workshops: Sylvia Rushbrooke 0207 787 2227
[20]info@quecumbar.co.uk [21]www.quecumbar.co.uk
Workshops organised by Le QuecumBar and Le Q Records
January Workshops at a Glance:
Sunday 17 January
Sebastien Giniaux, Gypsy Swing/Jazz guitar, Royal Academy of Dance
Battersea
Monday 18 January
Olivier Kikteff, Gypsy Swing/Jazz guitar, Institut Francais/Cine
Lumiere South Kensington
Tuesday 19 January
Tcha Limberger, Balkan Gypsy violin, Le QuecumBar Battersea
Wednesday 20 January
Paulus Schafer, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere
South Kensington
Thursday 21 January
Ritary Gaguenetti, Gypsy Swing/Jazz guitar, Institut Francais/Cine
Lumiere South Kensington
Biel Ballester, Gypsy Swing/Jazz guitar, Le QuecumBar, Battersea
Leo Hipaucha, Double Bass Gypsy Swing/Jazz, Le QuecumBar Battersea
Friday 22 January
Ritary Gaguenetti, Gypsy Swing/Jazz guitar, Institut Francais/Cine
Lumiere South Kensington
Saturday 23 January
Lollo Meier, Gypsy Swing/Jazz guitar, Thomas's School, Battersea
Kussi Weiss Gypsy Swing/Jazz guitar, Polish Club, Hammersmith
Sunday 24 January
Lollo Meier, Gypsy Swing/Jazz guitar, Royal Academy of Dance, Battersea
We thank the venues involved who have given help and space for these to
happen.
ALL WORKSHOP PROCEEDS GO TO THE MUSICIANS, THESE ARE NON -PROFIT
WORKSHOPS TO HELP SHARE THIS MUSIC AROUND THE GLOBE WITH ITS EXPERTS
AND STUDENTS
SUNDAY 17th JANUARY
Gypsy Swing/Jazz guitar workshop with SEBASTIEN GINIAUX, France
Work shop venue: The Royal Academy of Dance, 36 Battersea Square,
London, SW11 3RA [22]www.rad.org.uk
Sebastien began playing the cello at age 6, and at 18 started teaching
himself the guitar, learning by ear. Influenced by Django, he then
added Gypsy music, classical and modern jazz to his repertoire. He is a
composer, arranger and band member for Norig and Taraf de Haidouks, and
one of the soloists of Selmer #607. In his own acoustic trio he plays
Gypsy swing/jazz, Balkan Gypsy, Malian music and his own compositions.
An instinctive, sensitive, eclectic, passionate and prodigiously gifted
musician, one of the hottest on the young Parisien Gypsy swing/jazz
scene today, he can also be found playing with Stochelo Rosenberg,
Toumani Diabaté, Cyrille-Aimée Daudel, Adrien Moignard, Mathieu
Chatelain and Caravan Palace, amongst many others.
[23]www.myspace.com/sebastienginiaux [24]sebastien.giniaux@free.fr
Sebastien will be playing in concert with David Reinhardt for the
opening night of the Le QuecumBar Gypsy Swing Guitar Festival on SUNDAY
17th JANUARY at Le QuecumBar. All tickets £20 at
[25]www.wegottickets.com
MONDAY 18th JANUARY
Gypsy Swing/Jazz guitar workshop with OLIVIER KIKTEFF, France
Work shop venue: Institut Francais/Cine Lumiere, 17 Queensberry Place,
London SW7 2DT [26]www.institut-francais.org.uk Nearest tube South
Kensington
Olivier seeks to create original and inspirational music that is
popular and accessible to everyone. He stamps his personality on his
music and accomplishes a wild melding of exciting ingredients,
intelligent and creative arrangements, and driving emotion whilst
retaining musical interpretations that are clear, fluid and sensitive.
Playing wild and fiery breakneck Gypsy guitar rhythms their music,
their performances are breathless, dynamic, creative, dexterous,
humorous and full of colour that demands your attention. Olivier will
be playing in concert with his band LES DOIGTS DE L'HOMME on MONDAY
18th JANUARY at Le QuecumBar. All tickets £15 at
[27]www.wegottickets.com
TUESDAY 19th JANUARY
Balkan Gypsy violin workshop with TCHA LIMBERGER, Belgian Gypsy
Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11
3HX
[28]www.quecumbar.co.uk
A rare opportunity and worth the effort to work with a true master of
this style: Tcha is an inspirational teacher and rarely gets time for
these work shops in the UK. He is happy to teach from basics to more
advanced and has a wealth of information and experience to impart to
any student enthusiastic and interested in this style. Tcha is a blind,
multilingual multi-instrumentalist, Tcha has accomplishments that span
violin, guitar, clarinet, and vocals. Born into a family of Gypsy
musicians, he began performing with the De Piottos on clarinet, later
swapping his clarinet for a guitar to play rhythm alongside Koen de
Cauter in the ground-breaking Waso. At 17, he took up violin, inspired
by stories of his grandfather, legendary violinist Piotto Limberger,
and recordings from Hungarian Toki Horvat. Later, in Budapest, he
studied classical and Gypsy music under Horvat Bela. He has worked
closely with many Gypsy legends, including Fapy Lafertin and Angelo
DeBarre. Tcha now lives in Transylvania and has set up a number of
orchestras, in addition to making many recordings as a freelance
instrumentalist. He also has students visit his home in Transylvania
and is one of the hardest-working musicians on the scene.
[29]www.myspace.com/limbergertcha [30]www.lejazzetal.com
[31]tcha.limberger@gmail.com
Tcha will be playing in concert with his band THE TCHA LIMBERGER TRIO
on TUESDAY 19th JANUARY at Le QuecumBar. All tickets £15 from
[32]www.wegottickets.com
WEDNESDAY 20th JANUARY
Gypsy Swing/Jazz guitar workshop with PAULUS SCHAFER, Dutch Gypsy
Work shop venue: Institut Francais/Cine Lumiere Contact, 17 Queensberry
Place
London SW7 2DT [33]www.institut-francais.org.uk Nearest tube South
Kensington
Paulus, from a Dutch Sinti Gypsy family, is a young rising star on
today's Gypsy Jazz scene. In 2000, he founded his Paulus Schäfer Gipsy
Band, which marries an authentic Hot Club sound with a more
contemporary, funkier style, and which is now in great demand at
numerous European festivals. With three albums under his belt, Paulus
has developed an individualistic, energetic, upbeat sound. His
virtuosity is apparent in his arrangements and improvisations, which
fuse elements of Stochelo Rosenberg and George Benson.
[34]www.sintimusicrecords.nl [35]www.paulusschafer.nl
[36]www.myspace.com/sintimusic [37]www.sinisttimusic.nl ;
Paulus will be playing in concert with Patron Ritary Gaguenetti, Andy
Aitchson, Ducato Piotrowski and Noah Schafer on WEDNESDAY 20th JANUARY
at Le QuecumBar All tickets £20 at [38]www.wegottickets.com
THURSDAY 21st JANUARY
Gypsy Swing/Jazz guitar workshop with BIEL BALLESTER, Spain
Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11
3HX
[39]www.quecumbar.co.uk
Born in Mallorca, gifted guitarist, composer, arranger and teacher Biel
Ballester studied classical guitar at the prestigious Luthier School in
Barcelona. He is a totally self-taught Gypsy swing player and was
spotted as a potential master more than 10 years ago in Samois, where
he spent many hours listening to, meeting and playing with Gypsy and
non-Gypsy masters of the style. He has played with the best around the
world. The Rosenberg Trio, Robin Nolan, Gustav Lundgren, Stephane
Wrembel and other Gypsy greats. A masterful player, with a clean, light
and fluid style, Biel showcases his creativity not only in his fluid
Latin-flavoured interpretations of Django's classics, but also in his
own highly-regarded compositions. Their original compositions are
acclaimed in the Gypsy Swing world and beyond, with two tracks featured
on the soundtrack of Woody Allen's film, Vicky Christina Barcelona.
[40]www.myspace.com/bielballester [41]www.bielballestertrio.com
Biel Ballester will be performing in concert with THE BIEL BALLESTER
TRIO on THURSDAY 21st JANUARY at Le QuecumBar. All tickets £15 at
[42]www.wegottickets.com
THURSDAY 21st JANUARY
Gypsy Swing/Jazz double bass workshop with LEO HIPAUCHA, Argentina
Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11
3HX
[43]www.quecumbar.co.uk
Renowned bass player and Barcelona resident player, Leo graduated from
Walter Malosseti's Superior Jazz School (Buenos Aires), and also
studied bass in the Manuel de Falla conservatory. Since 1993 he has
worked as a session musician for TV and radio in Argentina and has
recorded many CDs. He has played with outstanding Argentinean artists
including Andrés Calamaro, Vicentico (Fabulosos Cadillacs), Diego
Torresand and Sandra Mihanovich and has toured with Gloria Gaynor and
James Brown. [44]www.myspace.com/leandrohipaucha
[45]www.bielballestertrio.com
Leo will be playing in concert with THE BIEL BALLESTER TRIO on THURSDAY
21st JANUARY at Le QuecumBar. All tickets £15 at
[46]www.wegottickets.com
THURSDAY 21st JANUARY and FRIDAY 22nd JANUARY
Gypsy Swing/Jazz guitar workshop with RITARY GAGUENETTI, French Gypsy
Work shop venue: Institut Francais/Cine Lumiere, 17 Queensberry Place,
London SW7 2DT [47]www.institut-francais.org.uk Nearest tube South
Kensington
Ritary a Sinti Gypsy born in 1978, Ritary began playing at 14, first
learning from his father and teaching himself by listening to the Gypsy
masters. He matured into a charismatic, virtuoso musician with a style
that is smooth and melodious, clean and precise. At just 31, he is a
young guitar master and composer and has recorded numerous CDs,
demonstrating a musicality, versatility and technical expertise beyond
his years. He is equally at home with traditional Django tunes as with
bebop, funk and R&B, as displayed on his latest acclaimed album Gipsy
Soul. He has collaborated with Matcho Winterstein, Andreas Oberg,
Yorgui Loeffler and other greats, touring Europe, the USA and Canada
with his trio to rapturous welcomes. His is a perfect example of this
music's enduring adaptability. Ritary appears by courtesy of his label,
El Pescador de Estrellas, promoting jazz and world music based in
Spain.
[48]http://store.elpescadordeestrellas.com
[49]www.myspace.com/elpescadordeestrellas [50]www.ritary.com
[51]www.myspace.com/ritary [52]www.myspace.com/rgacoustic
Ritary will be playing in concert at Le QuecumBar on WEDNESDAY 20th
JANUARY with Paulus Schafer, Andy Aitchson, Ducato Piotrowski and Noah
Schafer, on THURSDAY 21st JANUARY with THE BIEL BALLESTER TRIO, on
SATURDAY 23rd JANUARY (Django's birthday) with Patron Lollo Meier:
Dutch Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter:
German Gypsy, accordion; Dietmar Osterburg: German, bass, on SUNDAY
24th JANUARY With Patron Lollo Meier: Dutch Gypsy, guitar; Feigeli
Prisor: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin;
Sani van Mullem: Dutch Gypsy, bass and on MONDAY 25th JANUARY "GRAND
FINALE with Stochelo Rosenberg: Dutch Gypsy, guitar; Patron Lollo
Meier: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani
van Mullem: Dutch Gypsy, bass. Tickets from £15 to £30 at
[53]www.wegottickets.com
SATURDAY 23RD JANUARY
Gypsy Swing/Jazz guitar workshop with KUSSI WEISS, German Gypsy
Work shop venue: Jazz Cafe POSK, The Polish Cultural Centre, 238-246
King Street, Hammersmith, London W6 0RF [54]www.jazzcafeposk.co.uk
Nearest Tube: Ravenscourt Park (District Line).
Kussi hails from a family of some of the most important and famous
Sinti musicians in Northern Germany. As in Gypsy musical tradition, he
began playing at just 10, taught by his uncle, Maurice Weiss, and
released his first CD at age 19. At just 32, he has released numerous
CDs and appeared at many international festivals. A virtuoso guitarist,
he offers an elegant combination of Django Reinhardt's music with
modern elements. His unique guitar style captivates his listeners with
its authentic, acoustic traditional Gypsy Swing, and he endears himself
to his audiences with his shy and unassuming demeanour.
[55]www.myspace.com/gipsyconnectionquartette
Kussi will be playing in concert at Le QuecumBar on FRIDAY 22nd JANUARY
with his band KUSSI WEISS QUINTET, and on SATURDAY 23RD JANUARY
(Django's birthday) with an all-star line up: Patron Lollo Meier: Dutch
Gypsy, guitar; Patron Ritary Gaguenetti: French Gypsy, guitar; Kussi
Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion;
Dietmar Osterburg: German, bass. Tickets £20 and £25 from
[56]www.wegottickets.com
SATURDAY 23rd JANUARY
Gypsy Swing/Jazz guitar workshop with LOLLO MEIER, Dutch Gypsy
Work shop venue: Thomas's School, 28-40 Battersea High Street,London
SW11 3JB
SUNDAY 24 th JANUARY
Gypsy Swing/Jazz guitar workshop with LOLLO MEIER, Dutch Gypsy
Work shop venue: The Royal Academy of Dance, 36 Battersea Square,
London SW11 3RA [57]www.rad.org.uk
Lollo was raised on Gypsy Swing from an early age and now a guitar
master, composer, bandleader and arranger, Lollo comes from an elite
family of Gypsy players and is cousin to the great Fapy Lafertin and
Stochelo Rosenberg. His goal: to carry on the music of Django with a
style and technique that's traditional, melodious, lyrical, sensitive
and joyful. His mellifluous compositions have a refreshing authentic
Django flavour and are played with extraordinary talent, unique style
and amazing suppleness that clearly reflect that he makes the music he
loves. His quartet, sought after around the globe for private functions
and renowned jazz festivals, is famous for playing lesser-known Django
tunes and his own compositions. A man of style, grace and humour, Lollo
touches his audiences with his pure melodious playing and makes
Django's music as fresh today as it was 80 years ago. Outside of
performing, he spends much of his time teaching sought-after
master-classes, sharing his artistry and passing down Django's legacy.
He is a remarkable man with a remarkable style of playing. Out of
15,000 international entries in the 2005 International Song Writing
competition held in Nashville, USA, Lollo Meier became a finalist with
"Melody for Le QuecumBar," gained honorary status and became part of
the top 1.4% of entrants.
"...Brilliancies came and went so fast that there was hardly time to
applaud...", Jack Massarik, London Evening Standard;
"It felt like the legendary Django Reinhardt was performing again",
Zutphen Paper.
[58]www.lollomeier.nl [59]www.myspace.com/lollomeier
Lollo will also be playing in the following concerts at Le QuecumBar
SATURDAY 23rd JANUARY (Django's birthday), with Patron Ritary
Gaguenetti: French Gypsy, guitar; Kussi Weiss: German Gypsy, guitar;
Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass.
SUNDAY 24th JANUARY with Patron Ritary Gaguenetti: French Gypsy,
guitar; Feigeli Prisor: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch
Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass.
MONDAY 25th JANUARY "Grande Finale" with Stochelo Rosenberg: Dutch
Gypsy, guitar; Patron Ritary Gaguenetti: French Gypsy, guitar; Wattie
Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass.
An extraordinary and fitting finale for Django Reinhardt's 100th
birthday, each night is a world first, with an all-star line-up and
stellar performances. Three nights of Gypsy swing/jazz heaven with
unrivalled talent from across Europe to honour and celebrate their
Gypsy icon and founder of the genre. A formidable line-up, culminating
in a last night that features three world master soloists, Stochelo,
Lollo and Ritary, a unique and very special event featuring multiple
stars on the same stage together, where their musical prowess, skill,
technique and sensitivity can be enjoyed and appreciated in an intimate
café-style atmosphere. These are nights like the nights when the music
was born on the streets of 1930s Paris, when Django was the King of
Gypsy Swing,
WORKSHOP VENUES:
Institut Francais/Cine Lumiere
17 Queensberry Place
London SW7 2DT
[60]www.institut-francais.org.uk
Tube: South Kensington
How to get there:
From Victoria underground catch a tube on the Circle or District line
its 2 stops or take a taxi at about £6
[61]http://www.streetmap.co.uk/map.srf?x=52 ... hp=ids.srf
Jazz Cafe POSK
The Polish Cultural Centre
238-246 King Street, Hammersmith, London
W6 0RF
[62]http://www.jazzcafeposk.co.uk
Tube: Ravenscourt Park - District Line
Royal Academy of Dance, Thomas's School and Le QuecumBar are almost
next door to each other so the directions for all three are the same.
There is no tube station but we are serviced by the very good 170 bus
that runs from Victoria to Roehampton passing Clapham Junction.
Thomas's School
28-40 Battersea High Street,
London SW11 3JB
[63]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf
Royal Academy of Dance
36 Battersea Square, Battersea,
London SW11 3RA
[64]www.rad.org.uk
[65]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf
Le QuecumBar & Brasserie
42-44 Battersea High Street
London SW11 3HX
[66]www.quecumbar.co.uk
[67]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf
How to find us by Bus Route 170:
The 170 runs between Victoria Station and Clapham Junction
or Clapham Junction to Victoria Station.
(A taxi from Clapham Junction is about £5 and from Victoria Station
about £10)
170 from Victoria Station:
The 170 bus stops at Vicarage Crescent near Battersea Square, got off
the bus and walk back, you will pass the Royal Academy of Dance then on
to walk through Battersea Square into Battersea High Street and
Thomas's and Le QuecumBar are about 80 yards on the right
170 from Clapham Junction:
The 170 bus stops at Vicarage Crescent near Battersea Square, walk
forward, you will pass the Royal Academy of Dance on the opposite side
of the road walk through Battersea Square on your right into Battersea
High Street and Thomas's and Le QuecumBar are about 80 yards on the
right
By Train:
Clapham Junction is the nearest train station and is a 15 minute walk
or a short 170 bus ride. Depending on where you are travelling from,
Victoria station may be the best option from where you can also catch
the 170 bus
By Car:
Parking after 4.30 is free and at weekends
London Airports:
Gatwick: This is the best airport to come into - there is a direct
train to Clapham Junction around 25 minutes and approx £17 return
Stanstead: To Victoria Station by coach ie Terravision coach £10 approx
or train to central London
Heathrow: Take a London-bound Piccadilly Line train from Heathrow to
Hammersmith. Here there is cross-platform interchange to the District
Line (be careful of the step from the Piccadilly Line train). Take any
eastbound District Line (except any that might be going to High Street
Kensington, Edgware Road or Olympia) to Victoria. From Victoria catch
the 170 bus.
Map of where Le QuecumBar is:
42-44 Battersea High Street
London SW11 3 HX:
[68]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf
Outside of Paris, the worlds dedicated gypsy swing venue. We are proud
to have the support of our world class musician patrons:
Angelo Debarre John Jorgenson Dave Kelbie
John Etheridge Lollo Meier Robin Nolan Hank Marvin Andreas Oberg
[69]quecumbar
Posts: 3
Joined: Fri Jan 21, 2005 1:07 pm
Location: London
+ [70]E-mail quecumbar
+ [71]Website
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21. http://www.quecumbar.co.uk/
22. http://www.rad.org.uk/
23. http://www.myspace.com/sebastienginiaux
24. mailto:sebastien.giniaux@free.fr
25. http://www.wegottickets.com/
26. http://www.institut-francais.org.uk/
27. http://www.wegottickets.com/
28. http://www.quecumbar.co.uk/
29. http://www.myspace.com/limbergertcha
30. http://www.lejazzetal.com/
31. mailto:tcha.limberger@gmail.com
32. http://www.wegottickets.com/
33. http://www.institut-francais.org.uk/
34. http://www.sintimusicrecords.nl/
35. http://www.paulusschafer.nl/
36. http://www.myspace.com/sintimusic
37. http://www.sinisttimusic.nl/
38. http://www.wegottickets.com/
39. http://www.quecumbar.co.uk/
40. http://www.myspace.com/bielballester
41. http://www.bielballestertrio.com/
42. http://www.wegottickets.com/
43. http://www.quecumbar.co.uk/
44. http://www.myspace.com/leandrohipaucha
45. http://www.bielballestertrio.com/
46. http://www.wegottickets.com/
47. http://www.institut-francais.org.uk/
48. http://store.elpescadordeestrellas.com/
49. http://www.myspace.com/elpescadordeestrellas
50. http://www.ritary.com/
51. http://www.myspace.com/ritary
52. http://www.myspace.com/rgacoustic
53. http://www.wegottickets.com/
54. http://www.jazzcafeposk.co.uk/
55. http://www.myspace.com/gipsyconnectionquartette
56. http://www.wegottickets.com/
57. http://www.rad.org.uk/
58. http://www.lollomeier.nl/
59. http://www.myspace.com/lollomeier
60. http://www.institut-francais.org.uk/
61. http://www.streetmap.co.uk/map.srf?x=526635&y=178866&z=0&sv=SW7+2DT&st=2&pc=SW7+2DT&mapp=map.srf&searchp=ids.srf
62. http://www.jazzcafeposk.co.uk/
63. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf
64. http://www.rad.org.uk/
65. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf
66. http://www.quecumbar.co.uk/
67. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf
68. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf
69. http://www.djangobooks.com/forum/memberlist.php?mode=viewprofile&u=179&sid=335caf6a28def923a1ce6d05006d74a8
70. http://www.djangobooks.com/forum/memberlist.php?mode=email&u=179&sid=335caf6a28def923a1ce6d05006d74a8
71. http://www.quecumbar.co.uk/
72. http://www.djangobooks.com/forum/viewtopic.php?f=23&p=37599#wrap
73. http://www.djangobooks.com/forum/posting.php?mode=reply&f=23&t=7312&sid=335caf6a28def923a1ce6d05006d74a8
74. http://www.djangobooks.com/forum/viewforum.php?f=23&sid=335caf6a28def923a1ce6d05006d74a8
75. http://www.djangobooks.com/forum/index.php?sid=335caf6a28def923a1ce6d05006d74a8
76. http://www.djangobooks.com/forum/memberlist.php?mode=leaders&sid=335caf6a28def923a1ce6d05006d74a8
77. http://www.djangobooks.com/forum/ucp.php?mode=delete_cookies&sid=335caf6a28def923a1ce6d05006d74a8
78. http://semi.phpbbmodders.net/
79. http://www.phpbb.com/
Liens cachés :
80. http://www.djangobooks.com/forum/index.php?sid=335caf6a28def923a1ce6d05006d74a8
[1]Skip to main content
(WO/1999/038152) PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION
* Biblio. Data
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__________________________________________________________________
Pub. No.: WO/1999/038152 International Application No.:
PCT/US1999/000569
Publication Date: 29.07.1999 International Filing Date: 11.01.1999
IPC: G10H 1/00 (2006.01), G10H 1/36 (2006.01)
Applicant: THE HOTZ CORPORATION [US/US]; 749-H Lakefield Road Westlake
Village, CA 91361 (US).
Inventor: HOTZ, Jimmy, C.; (US).
Agent: D'ALESSANDRO, Kenneth et al.; D'Alessandro & Ritchie P.O. Box
640640 San Jose, CA 95164-0640 (US).
Priority Data:
09/013,353 26.01.1998 US
Title: PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION
Abstract: A rhythm engine (18) for an electronic musical instrument
provides a plurality of rhythm structure tables (30) selectable by a
user through a rhythm table selector (34). Each rhythm table (30)
corresponds to a particular rhythmic beat or pattern and defines a
series of trigger events in time and magnitude (velocity). A gesture
controller (12) generates a series of musical note signals, each of
which includes a note-on signal and a note-off signal. These musical
note signals are then input to the rhythm engine (18), processed along
with the selected rhythm structure table (30), and output as processed
musical note trigger signals at timing intervals dictated by the
selected rhythm structure table (30) and with corresponding velocities
also dictated by the rhythm structure table (30). The rhythm structure
table selection may be changed as a user plays, either by the user or
automatically as dictated by a prerecorded musical piece being played
along with by the user. Processed musical note trigger signals may then
be applied to other conventional components of a digital music system.
A phrase engine (16) is also provided which provides a plurality of
phrase structure tables (40) and operates similarly to the rhythm
engine (18) above except that phrases differ from rhythms in that
phrases contain note values as well as duration and velocity
information and may contain polyphonic information.
Designated States: JP.
European Patent Office (EPO) (AT, BE, CH, CY, DE, DK, ES, FI, FR, GB,
GR, IE, IT, LU, MC, NL, PT, SE).
Publication Language: English (EN)
Filing Language: English (EN)
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31. http://www.wipo.int/patentscope/en/dbsearch/national_databases.html
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A Striking Resemblance: DNA Dissociation as a Rhythmic Event
by David Lindsay
Copyright 2002. All right reserved.
In seeking new interpretations of genetics, a number of scientists and
musicians have generated musical sequences based on patterns that can
be found in DNA. As the field of genomics expands, so have the methods
of arriving at musical representations of DNA multiplied. The present
paper offers a new approach that concentrates on the element of rhythm.
Most musical interpretations of DNA to date have been concerned with
the possible tonal qualities of the four nucleic acids that make up the
genetic code, with an emphasis on the proteins that are created from
them. As an alternative, one may look to the natural processes during
which the DNA strands are dissociated, or broken apart. During
replication and transcription, the strands dissociate sequentially and
so raise the possibility of a characteristic temporal event.
Gena and Strom have pursued the subject of dissociation as it relates
to the creation of amino acids, with significant results.^1 The present
approach begins one step earlier, investigating the DNA dissociation
process apart from subsequent coding events. By looking solely at DNA
dissociation, to the exclusion of the amino acids and proteins
generated, we are able to include the process of replication within our
scope.
The basic processes and elements of DNA dissociation are well known.
The pairing of nucleic acids in the DNA molecule follows a uniform
rule: adenine (A) is paired with thymine (T) on the opposite strand,
and cytosine (C) with guanine (G.)
A C G T
T G C A
These pairs are held together with hydrogen bonds (H-bonds), which also
obey a fixed principle: A and T are bound by two H-bonds, C and G by
three H-bonds. Thus a DNA molecule can be thought of as a ladder with
rungs that are clustered in groups of either two or three:
A C G T
|| ||| ||| ||
T G C A
In order to separate the opposing DNA strands, the H-bonds must be
broken. Indeed, it is the breaking of the H-bonds that constitutes the
dissociation of DNA. This breakage is achieved through a chain of
events in which ATP molecules--the basic source of energy in biological
organisms--play a determining role.
Because more energy is needed to break three H-bonds than is needed to
break two, dissociation suggests a non-uniform expenditure of energy.
Alternatively, one may say that a uniform expenditure of energy lower
than a certain threshold value will yield a non-uniform event, as
governed by the number of H-bonds in any given base pair. We will call
this relationship between energy expended and the result that follows
the governing algorithm, which will be expressed, where the energy is
constant, by the following coefficients:
A=2
C=3
G=3
T=2
Given an arbitrary DNA sequence:
A C G T A A T A T T C T
the governing algorithm will generate a set of twos and threes:
2 3 3 2 2 2 2 2 2 2 3 2
Certain formal aspects of DNA dissociation in its biological state
constrain the expression of the governing algorithm. When dissociation
is initiated artificially (by heating), for example, the entire DNA
molecule is effected more at less at once. In such a case, A-T rich
regions will tend to separate sooner than regions rich in C-G pairs. In
vivo, however, the H-bonds are broken linearly, as the dissociation
progresses away from the initiation site:
A C G T A A T A T T C T
-------> ||| || || || || || || || ||| ||
T G C A T T A T A A G A
Thus, when derived from a sequence of DNA, the governing algorithm can
be used to generate a predictable and unique temporal event.
H-bonds have been observed (again in vivo) to break in a four-based
stagger, meaning that there is a pause in the dissociation after four
sets of H-bonds. (In this regard, the investigation of DNA dissociation
differs markedly from those concerned with the creation of proteins,
which emphasize the three-base pattern created by the codons that
constitute the genetic code.) The governing algorithm set generated
above would, under such conditions, be expressed in groups of four:
2332 2222 2232
Another formal aspect of DNA dissociation that will limit its
expression is bidirectionality. Dissociation takes place in two
opposite directions along the DNA molecule, to form what is known as a
replication bubble or replicon. As a result, two sequences of H-bond
breakage are activated simultaneously:
A C G T A A T A T T C T
|| ||| ||| || <-------------> || || ||| ||
T G C A T T A T A A G A
The presence of all these conditions -- i.e., a governing algorithm
expressed linearly in opposite directions in a four-base stagger --
will constitute a rhythm engine. These conditions may be applied
equally to molecular processes or musical ones.
Furthermore, the energy applied to make a rhythm engine run (ATP in the
case of DNA, mechanical energy in the case of music) may vary, and
indeed may be intentionally varied. We will call the way in which it is
varied its energy profile.
The variety of energy profiles is theoretically unlimited. One could,
for example, propose an energy profile in which the force is sufficient
to travel along the successive H-bonds at a statistically uniform rate,
while releasing more energy from a cluster of three than from a cluster
of two. If the energy used for this profile were mechanical, the
governing algorithm would be converted to a series of stress and
unstressed "beats," such that:
A=2=unstressed beat (-)
C=3=stressed beat (´)
G=3=stressed beat (´)
T=2=unstressed beat (-)
Such an outcome, of course, describes a metrical system of scansion. It
should be noted that the observation on the four-base stagger is not
founded on comprehensive study, and that staggers occurring after any
other number of H-bonds may be common. Nevertheless, the similarity to
scansion applies equally to any instance of pauses in the dissociation
process.
Perhaps the chief virtue of the rhythm engine, and its attending energy
profile, is its adaptability. A set of rhythm engines based on close
observation of DNA dissociation holds out the promise of generating
music as yet unexpressed by other means. (This is especially so given
the unique bidirectional nature of DNA dissociation, which has few if
any analogues in nature.) By the same token, this field of inquiry may
cast new light on genetic processes. For the moment, one implication
will suffice.
Its seems eminently logical that repetitve DNA sequences would
facilitate synchronized breakage of H-bonds, simply because, in such
cases, the breakage in both directions will follow a built-in symmetry.
In other words, H-bonds, or groups of H-bonds on either side of the
origin site will tend to break at the same time and so move toward
resonance.
Non-repetitive sequneces, on the other hand, will be less likely to
fall into sychronization or resonance. By this reasoning, where the DNA
strand is attached at its ends, non-repetitive sequences will tend to
transmit energy to the attached substance (the nucleus wall, for
example) or else be contained as heat, while repetitive sequences will
tend to disperse energy into the nucleus itself. This assumption, which
is testable, follows the same physics as those involved in engineering
a suspension bridge.
The distinction bears investigating in relation to coding and
non-coding DNA. It is well known that non-coding DNA (so-called because
it does not code for protein) tends to be highly repetitive in
comparison to coding-DNA. By extension, it is proposed here that the
properties of non-coding DNA during dissociation may serve to regulate
the energy involved in the processes of replication and transcription.
1. Gena, Peter and Charles Strom. "Musical Synthesis of DNA Sequences,"
Proceedings of the Sixth International Symposium on Electronic Arts
(Sept. 1995).
For a description of the author's inquiries into genetic copyrighting
and how those inquiries led to this paper, click [1]here.
[2]A Thousand Apologies - a sample of music based on these principles.
For an explanation of how this track was composed, click [3]here.
Also see - http://www.whozoo.org/mac/Music/Sources.htm - an excellent
website devoted to genetic music, run by M.A. Clark of Texas Wesleyan
University.
Références
Liens visibles
1. http://www.lazslo.com/dnalecture.html
2. http://www.lazslo.com/athousandapologies.mov
3. http://www.lazslo.com/apologetics.html
Liens cachés :
4. http://www.lazslo.com/dave.html
5. http://www.lazslo.com/dave.html
6. http://www.lazslo.com/dnalecture.html
CNMAT Rhythm Engine Project
[1]CRE Personnel
What is the CNMAT Rhythm Engine Project?
The CNMAT Rhythm Engine (CRE) software provides a flexible and powerful
way for representing, constructing, and performing rhythm-oriented
music. It represents rhythmic data using quantized subdivision,
continuous time, and/or a mixture of the two by allowing fractional
deviations from quantization. It allows readily for the combination of
different musical phrases or systems, in series or in parallel, to
yield larger musical structures. Such operations may be performed in an
editing context (ahead of performance time) or in an improvising
context (during performance time). The CRE software may be used to
drive synthesizers, samplers, or other sound modules. The software
consists of rhythmic data structures, programs that handle the data
(e.g. editors, scheduler, players) and a graphical user interface that
represents these programs and data visually.
Expressive timing
One crucial aspect that distinguishes this software from currently
commercially available drum machines is the subtle and fine-grained
control of rhythmic timing that the software offers. Timing, or
rhythmic placement, is just as much an expressive parameter as, say,
tone, pitch, or loudness; therefore we treat it on equal footing with
these other parameters. We control a note's fine rhythmic placement in
the same way that we control its loudness or duration. For example, we
can create different kinds of apparent accents by playing notes
slightly late (behind the beat) or early (ahead of the beat).
All the various musical parameters combine dynamically and subtly in
human performance. Small deviations from strict metricity combine with
manipulation of tone and loudness to embody what some people call a
musician's "feel." The importance of expressive timing in
rhythm-oriented music is one of the driving concepts behind this
project.
Composition and combination techniques
Another principal distinguishing trait of this software is its
facilitation of non-standard composition techniques. These include
making large structures by putting together small "cells," layering
different-length rhythmic loops, setting up hierarchies and
heterarchies, creating arbitrarily complex composite beat schemes, and
most importantly, allowing for improvisatory invention and control of
such structures.
Applications
Here are some possible applications of CRE:
* Anything that any standard drum machine does
* Automated percussion tracks with "human feel"
* A program that takes quantized rhythms as input and outputs the
same rhythms with "human feel"
* Musical pieces of fixed duration whose component parts are variable
(e.g. the 30-second commercial)
* Cycling multiple phrases or rhythmic cells with
irrationally-related durations
* Cycling multiple phrases, starting and stopping any given cycle at
will, in real time
* Making a program that improvises by "driving around in
rhythm-space" based on real-time input or by itself (i.e. machine
listening and analysis of rhythmic information, and response or
invention according to some combination of generative processes)
* Let the user start and stop each node of the MOb tree without
altering the tree structure.
Please send other ideas, suggestions, or comments to Vijay Iyer, since
this list provides checkpoints for the software development.
__________________________________________________________________
Page maintained by Vijay Iyer
Last modified July 15, 1996
__________________________________________________________________
[2]Up to Vijay's page
[3]Up to CNMAT homepage
[4]Send mail to the CRE group
[5]Send mail to Vijay Iyer
Références
1. http://WWW.CNMAT.Berkeley.Edu/~vijay/cdm/personnel.html
2. http://www.cnmat.berkeley.edu/~vijay/
3. http://www.cnmat.berkeley.edu/
4. mailto:cdm@icsi.berkeley.edu
5. mailto:vijay@cnmat.berkeley.edu
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[15]Jennifer Wagaman
Teaching Rhythm to Kindergarten Students
Lesson Ideas Involving Rhythm for Young Students
[16]Dec 16, 2008 [17]Jennifer Wagaman
Be creative and resourceful when teaching kindergarten students about
rhythm.
[rounded_corners_5_fff.png] [rounded_corners_5_fff.png]
[rounded_corners_5_fff.png] [rounded_corners_5_fff.png]
Teaching rhythm to Kindergarten students can be a fun way to get
students moving around the classroom. When writing lesson plans with
the objective towards learning rhythm, consider not only the manner in
which you teach the students, but which songs would provide the best
lesson opportunity, as well as which songs will work for the short
attention span the students have.
How to Teach Rhythm
Use the body demonstrate the beat, also called body percussion, will
help students feel the beat and learn the rhythm. This can involve
having the students clap, tap, or stomp their feet while singing. This
reinforces beat in a tactile manner, and helps the students stay
focused on what you are doing. You can also use any opportunity you
have to get the students up and moving about the room while singing
songs. Although this does take decent [18]classroom management skills,
it may also help your student's behavior as they are not required to
sit still throughout the class period.
What Songs Teach Rhythm
Teaching children about rhythm can be a great time to introduce some
fun songs. Lessons involving rhythm can be taught with any song that
has a steady beat, which basically means that most songs are good to
teach rhythm. Pick songs that the students either already know or are
easy to teach, as this will ensure that they already know the basic
rhythm.
Some good songs to use for teaching rhythm include songs like Engine
Engine Number Nine, and Skip to My Lou. For Engine Engine Number Nine,
after teaching the song, have the students form a train and move around
the room to the beat of the train in the song. For Skip to My Lou, have
the students walk, march, or skip around the room to the beat of the
song.
Keep Attention Span in Mind
Because a Kindergarten age child has a relatively short attention span,
keep your songs short and varied. Do several songs per class period. It
is better to do 3 five minute songs, assuming a 20 minute class period,
than to spend 15 minutes on one song. So once again, choose songs that
are either easy to teach, or that the students are already somewhat
familiar with.
Do not be afraid to experiment with your class as you teach the concept
of rhythm. Reflect on your lesson after you have taught it, decide
where there is room for improvement, and work to improve it for the
next class you teach it to.
You may also be interested in using [19]STOMP to teach rhythm in the
classroom.
Read more [20]tips for music teachers.
The copyright of the article Teaching Rhythm to Kindergarten Students
in [21]Arts Education is owned by [22]Jennifer Wagaman. Permission to
republish Teaching Rhythm to Kindergarten Students in print or online
must be granted by the author in writing.
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[rounded_corners_5_fff.png] [rounded_corners_5_fff.png]
Ideas for Teaching Rhythm, Mary R. Vogt Ideas for Teaching Rhythm
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[comment_icon_f1.png] What do you think about this article?
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Comments
Apr 15, 2009 7:59 AM
Guest :
I particularly like the idea of reflecting on the lesson after its
implementation. Reflection and teaching reflectively should be
encouraged among music teachers.
Cheers
Mark Minott
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Reference
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* [37]how to teach rhythm
* [38]teaching rhythm to kindergarten students
* [39]lesson ideas for teaching rhythm
* [40]what songs will teach rhythm
* [41]teaching music to kindergarten students
* [42]reflection on how a lesson went
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Lyrics, Rhythm of Life Lyrics
[1]Sweet Charity soundtrack, Sweet Charity lyrics
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- Rhythm of Life Lyrics
Ensemble:
Daddy started out in San Francisco,
Tootin' on his trumpet loud and mean,
Suddenly a voice said, "Go forth Daddy,
Spread the picture on a wider screen."
And the voice said, "Brother, there's a million pigeons
Ready to be hooked on new religions.
Hit the road, Daddy, leave your common-law wife.
Spread the religion of The Rhythm Of Life."
And The Rhythm Of Life is a powerful beat,
Puts a tingle in your fingers and a tingle in your feet,
Rhythm in your bedroom,
Rhythm in the street,
Yes, The Rhythm Of Life is a powerful beat,
To feel The Rhythm Of Life,
To feel the powerful beat,
To feel the tingle in your fingers,
To feel the tingle in your feet,
Daddy, spread the gospel in Milwaukee,
Took his walkie talkie to Rocky Ridge,
Blew his way to Canton, then to Scranton,
Till he landed under the Manhattan Bridge.
Daddy was the new sensation, got himself a congregation,
Built up quite an operation down below.
With the pie-eyed piper blowing, while the muscatel was flowing,
All the cats were go, go, go-ing down below.
Daddy was the new sensation, got himself a congregation,
Built up quite an operation down below.
With the pie-eyed piper blowing, while the muscatel was flowing,
All the cats were go, go, go-ing down below.
Flip your wings and fly to Daddy,
Flip your wings and fly to Daddy,
Flip your wings and fly to Daddy,
Fly, fly, fly to Daddy,
Take a dive and swim to Daddy,
Take a dive and swim to Daddy,
Take a dive and swim to Daddy,
Swim, swim, swim to Daddy
Hit the floor and crawl to Daddy,
Hit the floor and crawl to Daddy,
Hit the floor and crawl to Daddy,
Crawl, crawl, crawl to Daddy,
And The Rhythm Of Life is a powerful beat,
Puts a tingle in your fingers and a tingle in your feet,
Rhythm in your bedroom,
Rhythm in the street,
Yes, The Rhythm Of Life is a powerful beat,
To feel The Rhythm Of Life,
To feel the powerful beat,
To feel the tingle in your fingers,
To feel the tingle in your feet,
To feel The Rhythm Of Life,
To feel the powerful beat,
To feel the tingle in your fingers,
To feel the tingle in your feet,
Flip your wings and fly to Daddy,
Take a dive and swim to Daddy,
Hit the floor and crawl to Daddy,
Daddy we got The Rhythm Of Life,
Of life, of life, of life.
Yeah! Yeah! Yeah!
Man!
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56. http://www.stlyrics.com/s/sweetcharity.htm
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Description
This section is from the book "[37]The Rhythm Of Life", by Charles
Brodie Patterson. Also available from Amazon: [38]Rhythm of Life.
Music Of Other Climes. Part 2
Aristoxenus, an early Greek critic of prosody, distinguished the
elements out of which rhythm is composed as: the spoken word, the time
of [39]music in song, and the bodily [40]motion. And he defined rhythm
so produced as an arrangement of the time periods. The art of the early
Greek poets was devoted to a harmonious combination of language,
instrument, and gesture, the whole three uniting to form perfect
rhythm. Ages ago it was known that rhythm could be put into everything
we do with the greatest advantage, so that no matter what work one may
be engaged in, the rhythmic way of doing it is the easiest as well as
the most graceful.
Pythagoras, who lived some six hundred and fifty years before Christ,
and is considered one of the greatest of early mathematicians, believed
that the universe was created by music. It is said he taught that not
the ear, but mathematics, should be the guide in music. He was
apparently one of the first Greeks to teach the music of the spheres,
and had a scale in which the Moon, Mercury, Venus, the Sun, Mars,
Jupiter, and Saturn corresponded to the notes E, F, G, A, B, C, and D,
of which the Sun formed the middle or the controlling note; thus we can
see that the music of 2500 years ago was, in one sense, derived from
the heavens, and that heavenly bodies were used as symbols of musical
sounds. Unquestionably Greece laid the foundation of her civilisation
in music, and the other Muses constituted different degrees of the one
great fundamental note that ruled through all from first to last.
It is music that comes through man's ear in sound, and it is music that
comes through man's eye in colour. Musical sound vibration and musical
colour vibration underlie all [41]nature, and give beauty to all life.
Take music and colour out of the world and we have a dead world, a
world without a soul. The nation that is devoid of the musical sense,
so that it neither creates nor loves music, has lost its soul. And the
individual who has not awakened to a love of music and colour has not
yet found his soul. We feel music and colour far more than we see or
hear them. The greatest beauty of sound or colour is a revelation to
the soul of man rather than something derived through his sense nature.
Greece was a great nation so long as she continued to use the divine
principles of rhythm, melody, and [42]harmony in everything she felt,
thought, and did. From the time she began to lose these principles,
there came a decline. But the spirit which once animated the Greek
people did not die; it lives on, and will continue to live on until
there shall come a civilisation even greater than that of the Greeks.
As Jesus was a prophecy of what man must become, so Greece was a
prophecy of what the whole world shall yet become.
When we write of the music of the past, let us remember that music is
without beginning or ending, that it lives in the heart of the
Infinite, that the demand can never exceed the supply. Moreover, the
world can have the music it desires if it is willing to seek it. But
the things that heart and mind desire are not brought into being
without an effort on the part of those desiring them. We must bring of
what we have to bear on that which we desire to have; for everything we
receive, there must be something in the nature of an equivalent given.
We can have what heart and mind desire, when we use heart and mind and
bodily effort to get it. It was Plato who said: "The soul which has
seen the most of truth shall come to the birth as a philosopher, or
artist, or musician, or lover." It is through seeing the most of truth
and expressing all that we are able to see that there comes the new
birth, the new zeal, the new knowledge. Love music for the love of
music; love beauty for the love of beauty, and music and beauty will
become redoubled, as it were, in your life. If we are going to secure
from life all that is highest and best, then we must bring to life all
that is highest and best. We cannot barter the unlovely for the lovely,
or the unwholesome for that which is wholesome, the discordant for the
harmonious. No, it is like that attracts like. Give all the melody that
is in your life to the world, and a still greater melody will flow back
into it. Give to the world the best, and give only the best, then shall
you receive the best.
With the decline of music in Greece, there was a long period when the
progress of music seemed to have come to an end. The world came under
the thraldom of the Roman Empire, and the Muses, save in the most
external way, failed to prove of interest to the people. With the
coming of materialism into any country, the death-knell of beauty is
sounded. The Roman Empire was noted for its building of wonderful
roads, and the carrying on of great wars; but it paid little attention
to all that goes to make life truly great or beautiful. True it is
that, under some of the emperors of Rome, art flourished more than it
did under others. With the advent of Christianity as the national
religion of the Roman Empire, it might be thought that the Christian
Gospel of peace and goodwill would have brought with it something of
the true music of life; but there is little evidence that the change
from Roman barbarism to Christian civilisation wrought any marked
change in the art of the day. Undoubtedly all the persecutions and the
curtailments of the religious rights of the early Christians had much
to do with keeping them from expressing themselves through music. There
were doubtless many other reasons besides this. The majority of them
were made up of the poorer classes and it is doubtful whether, even
under ordinary circumstances, they would have been able to have
expressed themselves through music. It was during the fourth century
A.D. that Ambrose, Bishop of Milan, made the first real effort to
produce Church music, and he seems to have met with considerable
success; later, Pope Gregory the Great carried on still further the
work begun by Ambrose. But comparatively little of what might be called
good music was produced until the middle or end of the fourteenth
century. From that time on the growth of music is a continuous one, and
Italy takes a very prominent part; not only did she lay a new
foundation of musical art, but she has continued on through the
centuries without any break in her career, so that I think it may
truthfully be said that the knowledge and love of music possessed by
the Italians has not been exceeded by the people of any other nation in
modern times.
Continue to:
* prev: [43]Chapter II. Music Of Other Climes
* [44]Table of Contents
* next: [45]Music Of Other Climes. Part 3
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[46]life, [47]colours, [48]music, [49]religion, [50]metaphysics,
[51]cosmic consciousness, [52]dance, [53]energy, [54]rhythm, [55]music,
[56]vibration
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Keeping the rhythm of life in sync
May 28, 2008
Beyond symbolically holding our feelings of love and compassion, the
heart is a very efficient pump with a steady beat that provides the
rhythm of life. Abnormal rhythm in the heart is a condition known as
cardiac arrhythmia. A normal heart beats between 60 and 100 times per
minute. It goes faster if needed for exercise or to handle emotional or
physical stress.
The heart beat is regulated by a complex and specialized electrical
system that runs through the heart muscle. The muscle itself is indeed
electrically active. Alterations in the normal electrical system of the
heart and its regulatory mechanisms lead to arrhythmias. These could be
too fast, too slow, or irregular.
All forms of arrhythmia can cause problems. Patients with abnormal
heart rhythms can suffer a variety of health issues. Different people
may experience arrhythmias in different ways. Some may have an abnormal
rhythm and not even know it.
Fatigue, dizziness, lightheadedness, palpitations, heart racing, chest
pressure, fainting spells, episodic blurry vision, shortness of breath,
swelling of the legs, strokes, heart attacks or sudden death can occur
because of abnormal heart rhythm.
To evaluate the electrical system of the heart and identify its
relation to the symptoms patients may have, physicians use an
electrocardiogram. This diagnostic test allows us to look in real time
at the graphic tracing of the electrical activity of the heart by
placing electrodes on the skin.
Most commonly, the arrhythmias occur intermittently and it may be
difficult to catch an episode with an electrocardiogram. In this case,
other tests may be ordered. One is an electrophysiology study, in which
electrodes are placed inside the heart through a form of heart
catheterization.
Cardiologists with rigorous training in the specialty of
electrophysiology can treat rhythm disorders with drugs, catheters, or
implantable devices. Catheter ablation is the procedure that allows
doctors to thread a catheter through veins in the groin to areas inside
the heart where abnormal electrical connections or scar tissue are
causing arrhythmias. The catheter then delivers heat or freezing
temperatures to these abnormal areas, and tissue is selectively
destroyed to prevent the recurrence of the arrhythmia.
Implantable devices are sometimes needed to stimulate the heart when
the natural pacemaker or the heart's electrical system is not
functioning and the heart beats too slow. More complex pacemakers can
be used in selected patients with a weakened heart muscle to
resynchronize the beating of the chambers of the heart and restore some
of its pumping function.
Implantable defibrillators can save lives when patients at risk of
dangerous arrhythmias collapse from a rhythm that is too fast. The
device, a small implantable computer, identifies the abnormality and
delivers an electrical shock to restore the normal rhythm.
Correcting abnormal heart rhythms can relieve discomfort, prevent
disability, prolong life, and frequently allows patients to go back to
their normal daily living. Penn State Hershey Heart and Vascular
Institute has a team of heart rhythm specialists and the most advanced
treatments available to help restore the heart rhythm ... to help
restore the rhythm of life.
For more information, visit [28]http://www.pennstatehershey.org/rhythm
Source: Penn State, By Javier Banchs
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* [47]Sepp - May 29, 2008
+ Rank: 1 / 5 (1)
"...the heart is a very efficient pump with a steady beat that
provides the rhythm of life..."
Why do we call the heart a "pump" when its principal function is
just to give rhythm to a natural circulatory flow of the blood
through our system of vessels.
It isn't pressurization by the heart that makes the blood
circulate. Picture miles and miles of blood vessels getting ever
smaller along the way until they are capillaries, then, after
supplying blood to tissues, these capillaries gradually open up to
become veins. No amount of pressure - even if the heart was capable
of supplying it - could squeeze that liquid through such lengthy
and thin pipes.
It is _rhythm_ we get from the heart, and indeed the article is all
about that. So let's find a better term than the misleading word
"pump" to describe the heart.
What about "metronome"?
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* [54]bmcghie - May 29, 2008
+ Rank: 4 / 5 (1)
Sorry Sepp, but the heart does supply pressure. That's it. If you
don't think that it can generate enough pressure... you are wrong.
Your body does a VERY good job of dilating the required vessels,
and constricting others to optimize the use of this pressure, and
also takes advantage of skeletal muscle movement to help blood
return to the heart... but the bottom line is the heart is ONLY
used to generate pressure. Resulting fluid movement occurs due to
the vessels and their levels of constriction/dilation.
As for your "miles and miles"... yeah, if your blood is too thick,
as sometimes occurs with blood doping athletes abusing drugs... the
thicker blood becomes harder to pump, leading to localized flow
loss in some areas, which triggers blood clotting. I apologize if
this sounds a little heavy handed, but you really need to do some
reading if you understand the heart to be ANYTHING but a massive
pump sitting in your chest. I suggest wikipedia-ing "circulation"
or taking a highschool biology class.
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Rhythm Of Life lyrics
(Chorus)Get down to the rhythmKeep on movingDown to the rhythm of life
Get down to the rhythmYou know you can do itIt's the rhythm of life
Better get yourself togetherGotta make you're mind up soon
Now that time is running out on youIf you're lostThen I'll find you
I'll be right behind youAnd you knowI can catch you when you fall(Chorus)
If you're feeling lost and lonelyYou know I can ease your pain
Never have to be that way againJust believe you can make it
The chance is there so take itIt's your lifeSo don't let it pass you by(Chorus)
Get down to the rhythmGet down to the rhythmGet down, get down, get down
(repeat x2)(Chorus (x3) to fade)
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5 most recent columns
January 11, 2010: [8]Music Therapy Experience in a Public Hospital. By
Diego Schapira
December 28, 2009: [9]The Honor of Sharing Our History. By Barbara
Wheeler
December 14, 2009: [10]Challenges on Music Therapy Clinical Practice.
By Lia Rejane Mendes Barcellos
November 16, 2009: [11]Keeping Music Close to Nature. By Sarah Hoskyns
November 2, 2009: [12]Some Thoughts on Being a White Music Therapist.
By Helen Oosthuizen
Sound, Rhythm, Life Symphony
By Gabriella Giordanella Perilli ()
1st Movement: Introduction and Allegro
When I think about my life, I have an image of waves moving
rhythmically, at different levels and in different directions, each
producing different sounds. These sounds reflect me interacting with
other people in various environments. Perhaps I have developed this
metaphor as a musician trying to understand what is going inside and
around me emotionally. It is a kind of an ecological perception in
which each wave, whether sonic or emotional, becomes a meaningful
presence.
I was astonished the first time I heard the recorded sounds of planets
and the composed music sent to Voyager as witness of our human
civilization and cultures. While the aural perception of music on this
planet is made possible by human sensory organs and functions, in other
parts of the Universe perhaps music is a mathematical code immediately
grasped by intelligent minds. This leads me to think that space is not
empty or chaotically immeasurable; rather it is filled with rhythm, and
sounds - or electromagnetic waves. Curiously, the immense space of the
universe is not threatening for me as before.
Once a very different experience happened at my physician's office,
when I first heard my own blood pulsing through my veins, during an
echo Doppler imaging. The incessant bubbling flow seemed to nurture
each cell in my body, with dynamic contours and peaks of intensity
arising randomly, above the background sound.
Meeting outstanding people in the Music Therapy field, like Helen Bonny
and Ken Bruscia, allowed me to reach a deep level of understanding of
sound and rhythm and how they embed our lives. That opened terrific
scenarios I could never imagine before.
2nd Movement: Adagio Maestoso
Suddenly my mind diverges from such pleasant experiences and goes to a
patient of mine, suffering from a severe kind of autistic syndrome.
That young man felt people as if they were electrical appliances,
making irritating noises. It seemed as if he could perceive when a
person had some health or emotional problem which, for him, made
unbearable sounds. In such occasion he became very anxious, crying
aloud while lying down, moving his body as if tortured by those
dangerous noises.
When his psychodynamic therapist introduced me to this young man, she
told me about an unusual behavior of his. Quite often, during a therapy
session, he made vocal sounds while rhythmically wringing his hands.
His sounds were so emotionally intense that their
message--"Help!"--seemed to flood my being. How could I participate in
a meaningful way to share his anxiety and at the same time modify it
safely? I decided to experiment with adding my own vocalizations (with
overtones) to his. He was very surprised to hear my sounds and his
together. We used to tape our nonverbal dialogue and, afterwards,
listen to it with curiosity. That became part of our music therapy
session: no longer did he isolate himself; instead he accepted vocal
interactions with me first, and, then, with other people outside.
My opinion was that, by these interactive music experiences, he
developed a better selective attention function so that he was able to
process only the meaningful sounds, distinguishing them from the huge
amount of incoming stimuli. Finally he could enjoy being with people,
without being overwhelmed by their presence and their annoying sounds.
In contrast, sounds could not be shut off or avoided in the delusional
experiences of schizophrenic patients that had I met previously in a
Mental Health Community Center. Terrifying voices and crashing sounds
were always present in their heads, unless we played music that they
liked. Listening to such moving music transformed the perceived nasty
words into supportive ones, so that they could feel relieved from their
painful situation: the green color of their face turned on in a light
pink together with a smile illuminating their eyes.
Other examples of unforgettable sounds in my own life come to mind: the
roar of bombs exploding during the Second World War, and our neighbors'
desperate cry for the deportation of their close relatives. In both
situations, my mother took great care to help me to cope with these
dramatic events so that as a child I could not be overwhelmed by
fearful or anxious sounds. She guided me through each fearful event
with a brave heart, looking for strength and possible resources. I was
grateful to her then; and later as a music therapist.
I particularly appreciated my mother's insights when I began to work
with clients in Guided Imagery and Music (GIM), wherein a client may
experience similarly difficult and tragic situations. The guide has to
be a supportive, trustful presence that allows the client to cope with
and explore the situation to discover and develop potentialities
available to the client. Every GIM session affords the client and
therapist with inexhaustible and surprising alternatives for healing:
the rhythm of life is embodied in human beings as well as the
environment; music can evoke motion and emotion, while also producing
amazing levels of awareness and different states of consciousness
necessary for improving quality of life.
3rd Movement: Trio
In Hamburg, during the 8th World Congress, Maturana presented his idea
which considers that a good development of each system is possible when
there is coherence between its internal parts, and it and its
environment. Human beings and their environment are in constant
interaction. In this way they influence each other with mutual
perturbation which trigger off structural modification in each system.
Change has to occur at the same time, in a consensual domain of
structural coupling, and, he said, this can happen, for example, with
rhythm entrainment and music.
As I have observed in GIM sessions, the music evokes but does not
determine the nature of personal modification. Any change is produced
by each individual in a independent and unique way, based on subjective
readiness and level of development, as well as the need to maintain the
structural characteristics (autopoiesis) and to avoid disintegration.
To reach that goal of integrity and coherence, our brain organizes
schema to structure and order internal and external events using
rhythmic patterns or subjective tempo, both of which are
self-referential and carry our own personal meaning. Those temporal
structures have a neurophysiological basis, and seem to be biologically
determined; moreover, from a psychological point of view, they follow
an evolution similar to early psychophysical experiences with a
caregiver and the social environment. In some way, those temporal
patterns may influence our music perception and evaluation by
comparison between the inner and outer different temporalities. As
Oliver Sachs says, our brain is a musical score; thus interaction with
sound and rhythm is both natural and functional. Neurosciences enlarge
our horizon regarding music and the brain, showing that numerous areas
are involved in processing musical stimuli. The music effect on human
beings and on their self-definition process is, partially, due to the
emotional response to music.
Musical behavior and musical cognition are expression of the
metaphorical process by which our knowledge evolves. The musical
behavior and cognition prove that concepts become meaningful because
they are associated with embodied functions. It is important to
understand that what we call an abstract thought depends from our
sensory and motor experiences. By consequence, music, which seems to be
the most abstract form of artistic expression, may be considered the
most embodied one, reproducing and stimulating rhythm, motion, emotion,
and metaphorical thinking.
Moment by moment, music builds up both time flow and its duration.
Unfortunately, this is not experienced by people with Alzheimer,
because their subjective tempo, or internal clocklike system, processes
separate instances in an atemporal fashion. In that pathological
situation, only sensory and emotional memories seem to function. They
do not mentally grasp the present, nor can they demonstrate the
capacity of the human nervous system to maintain its viability and
integrity from instant to instant, as described in T. Fraser's theory.
There is no more the noetic experience of time which combines ideas
about present, past, and future necessary to define and construct a
conscious unity of selfhood. By hearing music, Alzheimer patients could
answer, emotionally, in the instant articulated and defined by music
itself. In this experience they can live the organic present in which
is still possible to maintain coherence among their biological clocks.
And, thus, they can still feel joy.
4th Movement: Finale Allegro con brio
All the above experiences stimulated and sustained me in trusting the
efficacy of music to enhance human quality of life, in spite of
criticism and depreciation expressed for years by some colleagues of
mine as far as music therapy. At the same time other colleagues shared
my ideas, and appreciated my work. By consequence with their support my
dream came true. So that I succeeded to bring music therapy,
particularly the Bonny Method of Guided Imagery and Music, at the
highest academic level in Italy, founding the post graduation Institute
named "School of Psychotherapy and Integrated Music Therapy - SPIM" to
train psychologists and physicians in this field.
This is my life a meaningful kinetic Symphony moved by, through, and
with a sonic universe of feelings evoked by rhythm, sounds, and music.
References
Bruscia, K.E. & Grocke, D.E. (Eds.) (2002). Guided Imagery and Music:
The Bonny Method and Beyond. Gilsum NH: Barcelona Publishers.
Fraser T. (1990). Of Time, Passion, and Knowledge: Reflections on the
Strategy of Existence. Second edition. Princeton: Princeton University
Press.
Johnson, M. (1987). The Body in the Mind. The Bodily Basis of Meaning,
Imagination, and Reason. Chicago: The University of Chicago Press.
Maturana, H.R. (1970). Biology of Cognition. Urbana: University of
Illinois.
To cite this page:
Perilli, Gabriella (2008). Sound, Rhythm, Life Symphony. Voices: A
World Forum for Music Therapy. Voices: A World Forum for Music Therapy.
Retrieved from http://www.voices.no/columnist/colpirelli190508.php
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Iambic Pentameter: The Rhythm of Life?
Sunday March 22, 2009
[bencrystal.jpg]
Does the thought of [23]iambic pentameter terrify you? I remember being
baffeled by it at school myself because I got bogged down in counting
syllables and working out where the stresses go but, I now know that
this is a very technical way of studying iambic pentameter.
In later life, Ive grown to love iambic pentameter. Theres something
beautiful about it that I cant put my finger on. I know for sure that
its in the speaking because on the page it is inert. When you [24]speak
those words aloud, they literally jump off the tongue and the rhythm is
the easiest of all meters to find.
I asked Ben Crystal about this [25]in our interview a few months ago.
He said that iambic pentameter is the rhythm of our English language
and of our bodies a line of that poetry has the same rhythm as our
heartbeat. A line of iambic pentameter fills the human lung perfectly,
so its the rhythm of speech.
I think this is true. When you [26]learn how to speak verse, you soon
discover that its a very instinctive rhythm. Once you relax and go with
the flow, it comes naturally. And, strange as it might sound, classic
iambic pentameter lines like If music be the food of love, play on and
Now is the winter of our discontent do happen to fit a single breath
perfectly if spoken with passion.
So, if youre having trouble with iambic pentameter, remember that its
designed to be spoken, not studied. Open your mouth and speak aloud
those great words.
Photo of Ben Crystal © Scott Wishart
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Comments
March 30, 2009 at 2:29 pm
[33](1) [34]Kent Richmond says:
In doing verse translations of five Shakespeare plays, I have
had to learn how Shakespeares iambic pentameter works in order
to give my translations the feel of the original. One of the
beauties of iambic pentameter is that the poet can temporarily
relax the meter without violating it. In this series of made-up
and rather prosaic lines, the first line is straight-ahead
iambic pentameter. The second and third lines, if read
independently, are less obviously iambic pentameter, yet they do
not violate the rhythm. The fourth line is clearly unmetrical
and removes the sense that we are listening to verse.
1. Her mother took the kids to shop for clothes,
2. Planning to buy them all some warmer sweaters. (trochaic
start; feminine ending)
3. No! No! No! No she bellowed at the oldest. (Two spondees to
start; feminine ending)
4. Dont you ever hit your little sister. (unmetrical)
Shakespeare, at least in the plays I have translated, did not
write verse lines with the rhythm of (4). To make this line
sound a bit more like Shakespeares iambic pentameter, we need to
make a few alterations to line 4.
1. Her mother took the kids to shop for clothes,
2. Planning to buy them all some warmer sweaters.
3. No! No! No! No she bellowed at the oldest.
4. Dont ever hit that little girl again.
To make the whole passage sound like prose, we need to change
the first line a little.
Then her mother took the kids clothes shopping, planning to buy
them all some warmer sweaters. No! No! No! No she bellowed at
the oldest. Dont you ever hit your little sister.
The first and fourth lines now have trochaic feet exposed in the
wrong places, and most editors would print such a passage as
prose. Shakespeares iambic pentameter certainly places
constraints on what rhythms are allowed, yet it allows for
flexibility and naturalness. Take a look at George Wrights book
titled Shakespeares Metrical Art to see the techniques
Shakespeare employed.
April 11, 2009 at 8:25 pm
[35](2) Dave says:
The words literally jump off the tongue? I'd like to see that!
[36]Leave a Comment
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* [37]Introducing Iambic Pentameter
* [38]Iambic Pentameter - How to Study Iambic Pentameter
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