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Ask questions about Gypsy Rhythm technique, share your own learning experiences, and learn new tips and tricks. Moderator: [13]Michael Horowitz [14]Post a reply ____________________ Search 1 post o Page 1 of 1 [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 [72]Top __________________________________________________________________ [73]Post a reply 1 post o Page 1 of 1 [74]Return to Gypsy Rhythm Jump to: [ Gypsy Rhythm................................................] Go Who is online Users browsing this forum: No registered users and 1 guest * [75]Board index * [76]The team o [77]Delete all board cookies o All times are UTC - 8 hours [ DST ] Revolution Style © 2007, 2008 by [78]Semi_Deus Powered by [79]phpBB © 2000, 2002, 2005, 2007 phpBB Group Références Liens visibles 1. http://www.djangobooks.com/ 2. http://www.djangobooks.com/forum/viewtopic.php?f=23&p=37599#start_here 3. http://www.djangobooks.com/forum/search.php?sid=335caf6a28def923a1ce6d05006d74a8 4. 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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 * [2]Description * [3]Claims * [4]National Phase * [5]Notices * [6]Documents Latest bibliographic data on file with the International Bureau * [7]Link + [8]Permanent Link + [9]Bookmark this page __________________________________________________________________ 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) [10]Scam Warning | [11]RSS | [12]Terms of use [13]WIPO Home services * [14]Español * [15]Français * [16]日本語 ____________________ Search * [17]Contact us * [18]Accessibility * [19]Site map * [20]Home * [21]IP Services * [22]PATENTSCOPE® * [23]Patent Search [24]PATENTSCOPE® * [25]About Patents * [26]PCT Resources * [27]PCT Service Centre * [28]Database Search * [29]PCT Applications * [30]National Collections & PCT * [31]External Databases * [32]Patent Analysis * [33]Glossary [34]Data Services [35]Publications [36]Projects & Programs [37]Patent Law [38]Priority Documents Related Links * [39]Patent Classification: IPC * [40]Statistics * [41]Life Sciences * [42]WIPO Standards E-Newsletters * [43]Subscription [44]ABOUT WIPO [45]IP SERVICES [46]PROGRAM ACTIVITIES [47]RESOURCES [48]NEWS & EVENTS Références 1. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152#mainContent 2. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=DESC 3. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=CLAIMS 4. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=NATIONAL 5. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=HISTORY 6. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=DOCS 7. http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152 8. http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152 9. javascript:bookmark('http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152', '(WO/1999/038152) PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION'); 10. http://www.wipo.int/portal/en/scam_warning.html 11. http://www.wipo.int/news/en/newsfeed.jsp 12. http://www.wipo.int/tools/en/disclaim.html 13. http://www.wipo.int/portal/index.html.en 14. http://www.wipo.int/adm/getlang.jsp?lang=es 15. http://www.wipo.int/adm/getlang.jsp?lang=fr 16. http://www.wipo.int/adm/getlang.jsp?lang=ja 17. http://www.wipo.int/contact/en/ 18. http://www.wipo.int/accessibility/en/ 19. http://www.wipo.int/tools/en/sitemap.html 20. http://www.wipo.int/portal/index.html.en 21. http://www.wipo.int/services/en/ 22. http://www.wipo.int/patentscope/en/ 23. http://www.wipo.int/pctdb/en/ 24. http://www.wipo.int/patentscope/en/ 25. http://www.wipo.int/patentscope/en/patents/ 26. http://www.wipo.int/pct/en/ 27. http://www.wipo.int/patentscope/en/service_center/ 28. http://www.wipo.int/patentscope/en/dbsearch/ 29. http://www.wipo.int/pctdb/en/ 30. http://www.wipo.int/patentscope/search/en/ 31. http://www.wipo.int/patentscope/en/dbsearch/national_databases.html 32. http://www.wipo.int/patentscope/en/dbsearch/analysis.html 33. http://www.wipo.int/pctdb/en/glossary.jsp 34. http://www.wipo.int/patentscope/en/data/ 35. http://www.wipo.int/patentscope/en/publications/ 36. http://www.wipo.int/patentscope/en/programs/ 37. http://www.wipo.int/patent-law/en/ 38. https://webaccess.wipo.int/priority_documents/en/ 39. http://www.wipo.int/classifications/ipc/en/ 40. http://www.wipo.int/ipstats/en/statistics/patents/ 41. http://www.wipo.int/patentscope/en/lifesciences/ 42. http://www.wipo.int/standards/en/ 43. http://www.wipo.int/patentscope/en/updates.html 44. http://www.wipo.int/about-wipo/en/ 45. http://www.wipo.int/services/en/ 46. http://www.wipo.int/activities/en/ 47. http://www.wipo.int/resource/en/ 48. http://www.wipo.int/news/en/ 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 #[1]Suite101: Arts Education [2]Freelance Writing Jobs | [3]Today's Articles | [4]Sign In [icon_searchfilter_1.gif] ____________________ [5][v4_button_widget_search.png] Articles Writers Find [6]Suite101 Browse Sections [7]Home [8]Education & Career [9]Arts Education [10]Music Education [11]Write For Us » [12]Print Article [13]Subscribe [14]Share Article [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. [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Ideas for Teaching Rhythm, Mary R. Vogt Ideas for Teaching Rhythm [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [comment_icon_f1.png] What do you think about this article? __________________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ NOTE: Because you are not a Suite101 member, your comment will be moderated before it is viewable. post your comment What is 5+5? ______ [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] 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 [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] 1 Comment: Related Articles [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [23]Lessons about Sound and Rhythm * [24]Kindergarten Drama Lesson on Expressing Feelings * [25]Teaching Poetry Through Movement, Drama & Art * [26]Enhance Student Reading Skills * [27]Group Music Lessons for Young Children * [28]Syllable Count Poems Lesson * [29]How to Make Fun Butterfly Crafts for Kids [30]more in arts education [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Related Topics [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [31]Music Education * [32]Arts Education Curriculum * [33]Dance Education * [34]Drama Education * [35]Theater Education * [36]Visual Arts Education [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Reference [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [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 [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [43]Enter Suite101.com`s New Tagline Contest
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[43]O [44]P [45]Q [46]R [47]S [48]T [49]U [50]V [51]W [52]X [53]Y [54]Z [55]# [0.gif] - 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! Related for [56]Sweet Charity: sheet music [57]Buy Musical Sheet Music cd [58]Buy Soundtrack CD dvd [59]Buy Musical DVD Links: [60]Broadway Musicals Lyrics Scroller [61]Add/correct lyrics | [62]Request lyrics | [63]Links | [64]Privacy | [65]Contact us © STLyrics.com 2002 - Références 1. http://www.stlyrics.com/index.htm 2. http://www.stlyrics.com/a.htm 3. http://www.stlyrics.com/b.htm 4. http://www.stlyrics.com/c.htm 5. http://www.stlyrics.com/d.htm 6. http://www.stlyrics.com/e.htm 7. http://www.stlyrics.com/f.htm 8. http://www.stlyrics.com/g.htm 9. http://www.stlyrics.com/h.htm 10. http://www.stlyrics.com/i.htm 11. http://www.stlyrics.com/j.htm 12. http://www.stlyrics.com/k.htm 13. http://www.stlyrics.com/l.htm 14. http://www.stlyrics.com/m.htm 15. http://www.stlyrics.com/n.htm 16. http://www.stlyrics.com/o.htm 17. http://www.stlyrics.com/p.htm 18. http://www.stlyrics.com/q.htm 19. http://www.stlyrics.com/r.htm 20. http://www.stlyrics.com/s.htm 21. http://www.stlyrics.com/t.htm 22. http://www.stlyrics.com/u.htm 23. http://www.stlyrics.com/v.htm 24. http://www.stlyrics.com/w.htm 25. http://www.stlyrics.com/x.htm 26. http://www.stlyrics.com/y.htm 27. http://www.stlyrics.com/z.htm 28. http://www.stlyrics.com/19.htm 29. http://www.stlyrics.com/songs/a.html 30. http://www.stlyrics.com/songs/b.html 31. http://www.stlyrics.com/songs/c.html 32. http://www.stlyrics.com/songs/d.html 33. http://www.stlyrics.com/songs/e.html 34. http://www.stlyrics.com/songs/f.html 35. http://www.stlyrics.com/songs/g.html 36. http://www.stlyrics.com/songs/h.html 37. http://www.stlyrics.com/songs/i.html 38. http://www.stlyrics.com/songs/j.html 39. http://www.stlyrics.com/songs/k.html 40. http://www.stlyrics.com/songs/l.html 41. http://www.stlyrics.com/songs/m.html 42. http://www.stlyrics.com/songs/n.html 43. http://www.stlyrics.com/songs/o.html 44. http://www.stlyrics.com/songs/p.html 45. http://www.stlyrics.com/songs/q.html 46. http://www.stlyrics.com/songs/r.html 47. http://www.stlyrics.com/songs/s.html 48. http://www.stlyrics.com/songs/t.html 49. http://www.stlyrics.com/songs/u.html 50. http://www.stlyrics.com/songs/v.html 51. http://www.stlyrics.com/songs/w.html 52. http://www.stlyrics.com/songs/x.html 53. http://www.stlyrics.com/songs/y.html 54. http://www.stlyrics.com/songs/z.html 55. http://www.stlyrics.com/songs/0-9.html 56. http://www.stlyrics.com/s/sweetcharity.htm 57. http://www.sheetmusicplus.com/a/phrase.html?id=68820&phrase=Sweet%20Charity 58. http://www.amazon.com/exec/obidos/external-search/103-7184989-1727801?mode=music&keyword=Sweet%20Charity&tag=stlyrics-20 59. http://www.amazon.com/exec/obidos/external-search/103-7184989-1727801?mode=dvd&keyword=Sweet%20Charity&tag=stlyrics-20 60. http://www.allmusicals.com/ 61. http://www.stlyrics.com/add.htm 62. http://www.stlyrics.com/forum 63. http://www.stlyrics.com/links.htm 64. http://www.stlyrics.com/privacy.htm 65. http://www.stlyrics.com/contact.htm [1]Chest of Books: Read Books Online [trans_pix.gif] [2]Free Books / [3]Society / [4]The Rhythm Of Life / [5]books [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [6]previous page: Chapter II. Music Of Other Climes [7]page up: The Rhythm Of Life | by Charles Brodie Patterson [8]next page: Music Of Other Climes. Part 3 [trans_pix.gif] [trans_pix.gif] Music Of Other Climes. Part 2 [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] Search ______________ Search Titles * [9]Animals * [10]Architecture * [11]Arts * [12]Business * [13]Computers * [14]Crafts * [15]Finance * [16]Flora and Plants * [17]Cooking * [18]Gardening * [19]Health and Healing * [20]History * [21]Home Improvements * [22]Languages * [23]New Age * [24]Novels * [25]Real Estate * [26]Reference * [27]Religion * [28]Science * [29]Society * [30]Sports * [31]Travel * [32]Outdoors * [33]Site Listing Discover * [34]Find Articles * [35]FAQ Help Tutorials * [36]Travel Articles 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 Tags [46]life, [47]colours, [48]music, [49]religion, [50]metaphysics, [51]cosmic consciousness, [52]dance, [53]energy, [54]rhythm, [55]music, [56]vibration [trans_pix.gif] __________________________________________________ Search [trans_pix.gif] [57]TOP [58]previous page: Chapter II. Music Of Other Climes [59]page up: The Rhythm Of Life | by Charles Brodie Patterson [60]next page: Music Of Other Climes. 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[6]Customize feed [7]Science and technology news * [8]Home * [9]Nanotechnology * [10]Physics * [11]Space & Earth * [12]Electronics * [13]Technology * [14]Chemistry * [15]Biology * [16]Medicine & Health * [17]Other Sciences * [18]Psychology & Psychiatry * [19]Research * [20]Medications * [21]Cancer * [22]Genetics * [23]HIV & AIDS * [24]Diseases * [25]Other * [26]Health * [27]Neuroscience 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 [29]print this article [30]email this article [31]download pdf [32]blog this article [33]bookmark this article [34]Stumble it [35]Digg this [36]share on Facebook [37]retweet [38]share on Reddit [39]add to delicious Rate this story - 4.5 /5 (4 votes) * rank * [40]1 * [41]2 * [42]3 * [43]4 * [44]5 [45]view popular Rank Filter _ (Submit) Filter (Submit) Off Move the slider to adjust rank threshold, so that you can hide some of the comments. Display comments: [46]newest first * [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"? + [48]report abuse + o Current rank o [49]1 o [50]2 o [51]3 o [52]4 o [53]5 * [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. + [55]report abuse + o Current rank o [56]1 o [57]2 o [58]3 o [59]4 o [60]5 * [61]print * [62]email * [63]pdf * [64]txt * [65]blog * [66]bookmark * [67]aA * [68]Aa May 28, 2008 [69]all stories Comments: [70]2 * rank * [71]1 * [72]2 * [73]3 * [74]4 * [75]5 4.5 /5 (4 votes) * [76]Stumble this up * [77]share on Facebook * * [78]Digg this * [79]retweet * * [80]share this * share on Facebook [81]Facebook * retweet [82]ReTweet * share on MySpace [83]MySpace * share on Slashdot [84]Slashdot * share on Google [85]Google * share on Reddit [86]Reddit * add to delicious [87]Delicious * save to Yahoo! bookmarks [88]Yahoo! bookmarks * share on Windows Live [89]Windows Live * Add to Mixx! 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Week [2]Top 50 Artists This Week [3]Newest 50 Lyrics Today [placer.gif] [4]lyrics Bananarama Rhythm Of Life Lyrics || 228274 lyrics from 16974 bands [5]Bookmark and Share [placer.gif] Browse [6]A [7]B [8]C [9]D [10]E [11]F [12]G [13]H [14]I [15]J [16]K [17]L [18]M [19]N [20]O [21]P [22]Q [23]R [24]S [25]T [26]U [27]V [28]W [29]X [30]Y [31]Z [32]# __________________________________________________ [band name...] [search.gif]-Submit [placer.gif] lyrics [33][get.media?sid=21908&m=1&tp=5&d=s&c=1] __________________________________________________________________ [34]Song Lyrics » [35]B » [36]Bananarama Lyrics » Rhythm Of Life Lyrics Bananarama Rhythm Of Life Lyrics Total views : 44 times this week. 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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) [phone_left.gif] [109]Send "Rhythm Of Life" Ringtone to your Cell Phone! 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May 19, 2008 [*bilde.jpg] 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 Moderated discussion Add your comments and responses to this essay in our Moderated Discussions. 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[5]Home 2. [6]Education 3. [7]Shakespeare [8][education_shakespeare;kw=;site=shakespeare;chan=education;pos=lb;sz =728x90;ord=1A1JJ840B20SA0c8m] * [9]Share * * [10]Shakespeare * [11]Shakespeare's Life * [12]Plays * [13]Sonnets * Free Shakespeare Newsletter! ____________________ (Submit) Sign Up * [14]Discuss in my Forum [15]Lee Jamieson Lee's Shakespeare Blog By [16]Lee Jamieson, About.com Guide to Shakespeare * [17]My Bio * [18]My Blog * [19]My Forum Add to: * [20]iGoogle * [21]My Yahoo! * [22]RSS 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 * [27]Comments (2) * [28]See All Posts * [29]Share * [30]Prev * [31]Next [32]Leave a Comment 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! 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