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Clow [8]next page: The Cycle Of A Generation [trans_pix.gif] [trans_pix.gif] Rhythm Of Groups Based On Nature [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]Principles Of Sociology With Educational Applications", by Frederick R. Clow. Also available from Amazon: [38]Principles of sociology with educational applications. Rhythm Of Groups Based On Nature This metabolic rhythm impresses itself on all group activity, and no one can be a successful "social engineer" who does not take account of it. The public speaker allows times in his address when his hearers may relax their attention or change the kind of mental process which he requires of them, and herein is the real reason for the jokes and anecdotes with which a long address is interspersed. A teacher does the same thing in a recitation by having a variety of work done. To the same end, the school program combines periods for study, manual training, recitation, gymnastics, and play. Some of the longer periods of the metabolic rhythm are synchronized with those of nature. The earth's daily rotation makes a [39]cycle which has become inherent in the constitution of every living thing, of every person, and of every form of social life. The school assembles in the morning, has "morning exercises," and goes through those forms of work which demand the highest degree of mental efficiency; then there is an interval for lunch, and then the afternoon and evening have their appropriate exercises. The daily round repeats itself with more or less of regularity. The weekly cycle does not appear to correspond to anything in organic nature, but it probably has a metabolic basis else it would not be so prevalent. The lunar month is a cycle in nature from which the month of our calendar is derived; it is therefore a cycle with which many social arrangements are timed, such as the payment of salaries, and the making of reports. The cycle of seasons resulting from the annual revolution of the earth around the sun forces human [40]society everywhere through a corresponding cycle of important changes which vary according to the climate of the particular locality. The [41]principle involved in all the forms of relaxation ... is relief from tension or release from some form of restraint. Although this tension and restraint on the part of the individual are necessary conditions of all social evolution, they have been greatly intensified by the manner of life which characterizes the nineteenth and twentieth centuries. . . . When this everlasting urge of progress is excessive, as it has been in recent times, we may say that there is in a way a constant subconscious rebellion against it and a constant disposition to escape from it, and the method of escape is always the temporary reversion to simpler and more primitive forms of behavior, - a return to nature, so to speak. Sudden momentary and unexpected release from this tension, with instinctive reinstatement of primitive forms of expression, is laughter. Daily or periodic systematic return to primitive forms of activity is sport or play. War is a violent social reversion to elemental and natural intertribal relations. Profanity is a resort to primitive forms of vocal expression to relieve a situation which threatens one's well-being. Alcohol is an artificial means of relieving mental tension by the narcotizing of the higher brain centers. - Patrick, The Psychology of Relaxation, pp. 18-20. . . . The course of annual rainfall in the great cereal-producing area of the United States has been shown to move in cycles: there is a ground-swell of thirty-three years in length upon which cycles of eight years in [42]duration are superposed. . . . The rhythm in the activity of economic life, the alternation of buoyant, purposeful expansion with aimless depression, is caused by the rhythm in the yield per acre of the crops; while the rhythm in the production of the crops is, in turn, caused by the rhythm of changing weather which is represented by the cyclical changes in the amount of rainfall. ... - Moore, Economic Cycles, pp. 36, 135. 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A Film about Rhythm, Nature and Science By [17]James Evans and [18]Phil Jones, School of Environment and Development, University of Manchester School of Geography, Earth and Environmental Sciences, University of Birmingham (April 2008) __________________________________________________________________ Section: [19]Cultural Subjects: [20]Environment And Society, [21]Geography, [22]Urban Geography, [23]Cultural Geography. Key Topics: [24]nature , [25]representation. Abstract The first thing you will notice about this article is that it is actually a film. We did not set out to make a film, it just ended up that way. We started out making music out of environmental data, wondering why we only ever look at scientific data, why we do not listen to it. Wandering around the city passing through the transformed landscapes of channelised rivers and broken industrial spaces, we wanted to reveal the socio-natural rhythms of this hybrid city. The text you see below represents the shooting script for a film that explores Lefebvre's notion of rhythmanalysis in the context of socio-natural rhythms. The video accompanying it is far more interesting, including the environmental music that we produced by feeding scientific data through samplers and drum machines. The video questions the nature of scientific representation and whether the notion of rhythmanalysis can be stretched to explore rhythms beyond the human. Furthermore, the process of actually making the video, submitting it to this journal, and responding to the referees' comments made us question the very nature of what constitutes an academic paper in the twenty-first century. The accompanying commentary is our attempt to deal with these issues. To link to the film please go to [26]http://www.blackwell-compass.com/home_video#gecofilm. DOI: 10.1111/j.1749-8198.2008.00107.x This article abstract has been viewed 5348 times. 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Author manuscript; available in PMC 2008 July 24. Published in final edited form as: [7]J Public Health Policy. 2006; 27(1): 2-12. doi: 10.1057/palgrave.jphp.3200061. PMCID: PMC2483431 NIHMSID: NIHMS58476 [8]Copyright notice and [9]Disclaimer Mystery of Seasonality: Getting the Rhythm of Nature Elena N. Naumova^* ^*Address for Correspondence: Department of Public Health and Family Medicine, Tufts University School of Medicine, 136 Harrison Avenue, Boston, MA 02111, USA. E-mail: elena.naumova/at/tufts.edu Small right arrow pointing to: The publisher's final edited version of this article is available at [10]J Public Health Policy. Small right arrow pointing to: See other articles in PMC that [11]cite the published article. Abstract Seasonality, a systematic periodic occurrence of events over the course of a year, is a well-known phenomenon in life and health sciences. Understanding seasonal fluctuations in diseases patterns presents us with a major challenge. To develop efficient strategies for disease prevention and control, we need to grasp the main determinants of temporal variations and their interactions. This paper will introduce the notion of seasonality by outlining several of its factors, using as illustrations respiratory and enteric water- or food-borne infections. Keywords: seasonality, water-borne infection, food-borne infection, respiratory infection * [12] Other Sectionsv + [13]Abstract + [14]Introduction + [15]Notion of Seasonality + [16]Diseases Seasonal Patterns + [17]Seasonal Host Susceptibility + [18]Seasonality in Pathogens Survival and Transmissibility + [19]Disease Seasonality and Calendar Effects + [20]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [21]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [22]References Introduction Now let us consider the seasons and the way we can predict whether it is going to be a healthy or an unhealthy year. (Hippocrates. Air, Waters, Places, 10)^[23]1 Seasonal fluctuations in birth and death, in sickness and health, are the haunting mysteries of mankind. People have made predictions from winds, tides, birds' migrations, spring blooms, sunsets, and constellations in hope of grasping the future. The complexity and uncertainty of ancient and modern means of prediction make us wonder to what extent we are able to understand the rhythm of nature. One might argue the future cannot be known, but from a practical point of view, a better understanding of changes in disease occurrences is essential for building efficient strategies for disease prevention and control. Seasonality, a systematic periodic occurrence of events over the course of a year, is a well-known phenomenon in life and health sciences. Since Hippocrates, observers worldwide have noted and documented marked fluctuations in the incidence of many diseases. In the modern view, the main determinants of temporal variations in disease manifestation are evolving host susceptibility, periodicity in pathogen abundance and transmissibility, and the ever-changing environment that can support or repress a host or pathogen. Interactions among these factors responsible for seasonal variation are interwoven into the intricate fabric of life. For many diseases, explanations for self-sustained oscillations still remain elusive. We lack adequate methods and sufficient analytical tools for comprehensive examination of seasonality in public health field studies. A dearth of observations, recorded over long periods at fine resolution, compounded by an enormous number of factors associated with periodic changes, obscure our ability to understand disease variation. Urgent need for effective strategies to prevent and control a spread of emerging infections in the rapidly changing world, however, demands a deeper insight into the cyclic nature of diseases. This paper will introduce the notion of seasonality and outline several factors associated with seasonality using as illustrations enteric water- or food-borne infections and respiratory infections. Then I propose a framework for systematic evaluation of seasonal oscillations. In every part of this presentation, and most importantly, I wish to stimulate discussion on this challenging topic. * [24] Other Sectionsv + [25]Abstract + [26]Introduction + [27]Notion of Seasonality + [28]Diseases Seasonal Patterns + [29]Seasonal Host Susceptibility + [30]Seasonality in Pathogens Survival and Transmissibility + [31]Disease Seasonality and Calendar Effects + [32]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [33]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [34]References Notion of Seasonality Every disease occurs at any season of the year but some of them more frequently occur and are of greater severity at certain times. (Hippocrates. Aphorisms, III, 19) Seasonality, as noted above, refers to the cyclic appearance of events over a period of time. A seasonal pattern may appear as a tight cluster of isolated outbreaks that occurred during a relatively short time period, then spreading over a wide geographic area. For example, in a temporal curve of enteric infection cases (i.e. giardiasis, cryptosporidiosis, or rotavirus infections), a compact cluster of outbreaks is followed by a long interval of low incidence. Systematic recurrence of such sequences forms a seasonal pattern typical of a specific pathogen in a given population and in a given locality. A seasonal increase in enteric or respiratory infection often produces a well-defined oscillating curve that starts to rise in one season and declines over the next one. The three main features characterize seasonality: * a point in time when a seasonal curve reaches its maximum, * an amplitude from peak to nadir, and * a duration of a seasonal increase defined by a shape of a curve. (The shape of a seasonal pattern reflects how fast a temporal curve reaches its peak and declines to nadir over a course of a full cycle. Depending on the length of a cycle whether it is one year or a half of a year, a seasonal curve would have one or two peaks.) Seasonal patterns, described by these three characteristics, may vary for different diseases, different locations, or different subpopulations. Many viral and bacterial infections in humans show marked seasonal changes. In some diseases, like salmonellosis and influenza, annual oscillations explain up to 60% of variability. Such impact should not be ignored and deserves a proper examination. * [35] Other Sectionsv + [36]Abstract + [37]Introduction + [38]Notion of Seasonality + [39]Diseases Seasonal Patterns + [40]Seasonal Host Susceptibility + [41]Seasonality in Pathogens Survival and Transmissibility + [42]Disease Seasonality and Calendar Effects + [43]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [44]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [45]References Diseases Seasonal Patterns Diseases vary in their relationships one with another; some are opposed, some are mutually agreeable. (Hippocrates. Aphorisms, III, 3) Differences in diseases peaks reflect different etiology, heterogeneity in host susceptibility, or route of transmission. In temperate climates, Campylobacter and Salmonella infections are known to rise in summer, giardiasis in early fall, and rotavirus infection in mid-winter, etc. Interestingly, for the same infectious agent, infections recorded in two different locations may present a different pattern of incidence. A seasonal pattern for cryptosporidiosis in the United States exhibits one late summer peak ([46]1); in contrast, in the United Kingdom, two seasonal peaks are seen ([47]2). The UK picture reflects two dominant sources of exposure: one from animals in the late spring, and another from humans in the fall ([48]3). Close temporal clustering of seasonal peaks in diseases that share similar sources of exposure suggests dominant routes of transmissions. Peaks in water-borne cryptosporidiosis and giardiasis often cluster after a summer peak in ambient temperature. Such synchronization in disease manifestation can be governed by environmental and social factors. In some instances, periodicity of a given infection observed in a particular population may be not present in another. A seasonal peak in cryptosporidiosis cases observed in the general population is not apparent in the immunocompromized HIV-positive gay men, even though the incidence of cryptosporidiosis in HIV-positive population is very high. This suggests differences in dominant routes of transmission. Seasonal patterns can change over time. After intense vaccination campaigns in the 1950s and 1970s in the United Kingdom, the patterns of measles and pertussis changed, with the high rates of disease usually seen when children were attending school diminishing for measles and practically disappearing for pertusis ([49]4). Explanations for these phenomena remain elusive. A departure from a systematically observed pattern could reflect the evolution of a pathogen or a change in herd immunity. A simple rule to remember is that a discovery hides in outliers. Faced with an abundance of causal agents, a bare observation of a rise in the incidence of non-specific enteritis should be interpreted with caution. A seasonal pattern can represent a mix of temporal curves. Imagine two periodic curves of similar intensity, but one peaks in a spring and another in a fall; the sum of these two curves might lose the appearance of seasonality, covering two distinctly seasonal phenomena. Some infections are very rare. Their seasonal patterns are difficult to examine because the relevant data must be collected over a very long time and/or aggregated over large spatial units. Precision in evaluating seasonality can thus be jeopardized by time-dependent and/or space-dependent confounders. Seasonal fluctuations can be found beyond infectious diseases; chronic somatic diseases also exhibit substantial temporal variations. Plausibly, exacerbations in chronic conditions are driven by infectious agents or environmental changes. Understanding the interplay of an infection and a chronic disease may lead to better control for both. * [50] Other Sectionsv + [51]Abstract + [52]Introduction + [53]Notion of Seasonality + [54]Diseases Seasonal Patterns + [55]Seasonal Host Susceptibility + [56]Seasonality in Pathogens Survival and Transmissibility + [57]Disease Seasonality and Calendar Effects + [58]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [59]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [60]References Seasonal Host Susceptibility When the weather is seasonable and the crops ripen at the regular times, diseases are regular in their appearance... (Hippocrates. Aphorisms, III, 8) Poor nutrition directly affects host susceptibility. In places of food scarcity, researchers suspect that temporal patterns in birth weight and preterm delivery result from seasonal variations in food availability ([61]5). In general, due to a less developed immune system, young children are susceptible to infection; their immune response may be further weakened by seasonal cutbacks in essential micronutrients and vitamins. Anemnestic responses to an antigen determine whether an infection recurs. Short-lived immune memory together with seasonal changes in pathogen transmissibility contribute further to the complexity of seasonal patterns. Even a perfectly healthy person can experience a change in susceptibility to infection due to stress, injuries, or trauma. The probability of a marked impact of such factors on disease seasonality is virtually unknown. * [62] Other Sectionsv + [63]Abstract + [64]Introduction + [65]Notion of Seasonality + [66]Diseases Seasonal Patterns + [67]Seasonal Host Susceptibility + [68]Seasonality in Pathogens Survival and Transmissibility + [69]Disease Seasonality and Calendar Effects + [70]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [71]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [72]References Seasonality in Pathogens Survival and Transmissibility Some diseases are produced by the manner of life that is followed; others by the life-giving air we breathe. (Hippocrates. The Nature of Man, 9) Temperature, humidity, and precipitation -- the defining factors of seasons -- are important determinants of pathogens' survival. Changes influence pathogens' potency and life expectancy, resulting in temporal fluctuations in pathogens' abundance. In many instances, seasonal changes in pathogen survival and transmission are inseparably related to both biological and social aspects of our lives. They are synchronized by weather. High ambient temperature, for example, provides a supportive environment for food-borne pathogens, favoring their multiplication in food and on food preparation surfaces ([73]6). Food contamination is believed to be a significant mode of transmission for infections caused by Salmonella and Campylobacter ([74]7); therefore, during warm weather, the risk for food-borne diseases increases ([75]8). Seasonal changes in level of contamination, availability of potable water, sanitation and hygiene practices, as well as crowding and person-to-person contacts, affect pathogens' transmissibility. Worldwide, water use differs from season to season ([76]9). In temperate climates, warm weather leads to higher water consumption and encourages outdoor activities -- swimming, camping, and recreational water use. In tropical regions, contamination of surface water increases during wet seasons. Although spread of pathogens via food is certainly possible, contaminated water is the dominant source of exposure for enteric infections caused by protozoa Cryptosporidium and Giardia ([77]10 --[78]12). Depending on locality, outbreaks of cryptosporidiosis and giardiasis associated with drinking or recreational water frequently occur during warm or wet seasons ([79]13,[80]14). With the onset of cooler weather, the "heating season" marks a change in indoor air quality. Inadequate and poorly designed ventilation in crowded public places and urban transit systems may boost exposure to air-borne pathogens by increasing their concentration in stagnant air and by re-circulating contaminated air. Higher relative humidity may also affect the stability of air-borne droplets in which viruses travel from person to person. * [81] Other Sectionsv + [82]Abstract + [83]Introduction + [84]Notion of Seasonality + [85]Diseases Seasonal Patterns + [86]Seasonal Host Susceptibility + [87]Seasonality in Pathogens Survival and Transmissibility + [88]Disease Seasonality and Calendar Effects + [89]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [90]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [91]References Disease Seasonality and Calendar Effects You will find, as a general rule, that the constitutions and the habits of a people follow the nature of the land where they live. (Hippocrates. Air, Waters, Places, 24) Diseases do not watch calendars. Their incidence rises and falls because of changes in factors associated with the diseases. However, in every culture all social events are synchronized by calendars; and every calendar reflects the cyclic rhythm of nature. Traditional celebrations and gatherings observed by communities according to calendars affect pathogen transmission. Holidays, social activities, and seasonal travel are often associated with changes in food consumption and preparation, and are therefore associated with changes in disease incidence. Preparing meat on a barbecue increases the risk of Campylobacter infection ([92]15,[93]16) and foreign travel increases the risk for enteric infections. Aggregation of children in schools, daycare centers, and summer camps, reflecting school calendars, facilitates rapid exchange of pathogens. There are marked seasonal variations in transmission, and thus the incidence of enteric and respiratory infections. * [94] Other Sectionsv + [95]Abstract + [96]Introduction + [97]Notion of Seasonality + [98]Diseases Seasonal Patterns + [99]Seasonal Host Susceptibility + [100]Seasonality in Pathogens Survival and Transmissibility + [101]Disease Seasonality and Calendar Effects + [102]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [103]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [104]References Climate Change, Extreme Weather Events, and Disease Seasonality The changes of the seasons are especially liable to beget diseases, as are great changes from heat to cold, or cold to heat in any season. Other changes in the weather have similarly severe effects. (Hippocrates. Aphorisms, III, 1) As weather affects human health by creating favorable conditions for pathogen proliferation and transmission, severe weather can affect the timing and intensity of infectious outbreaks, and natural disasters lead to drastic changes in population structure and pathogen ecology. Catastrophic events like tsunamis, hurricanes, devastating floods, and heat waves that cause deaths, population displacement, and infrastructural damage may have dramatic effects on the incidence of infections and their seasonal patterns. Recent work has shown highly significant associations between extreme precipitation and water-borne disease outbreaks ([105]17). Heavy precipitation, rapid snowmelt, and floods flush animal wastes from the land into surface waters and may overwhelm drinking and wastewater treatment systems. The latter leads to discharges in watersheds of untreated human wastes. As a result, pathogens can appear in drinking and recreational water in very high concentrations ([106]18,[107]19). A rapid snowmelt, resultant runoff, and filtration system failure at the overloaded local drinking water treatment plant were implicated in the largest known water-borne outbreak of cryptosporidiosis, which occurred in Milwaukee, Wisconsin in 1993 ([108]20). This outbreak happened in April, not within the usual seasonal peak for cryptosporidiosis cases. A flood, which also resulted from a rapid snowmelt, has been linked with a similar increased incidence of diarrhea ([109]21). Experts expect that global climate change will increase climate variability and the frequency of extreme precipitation events in temperate regions ([110]22,[111]23). "Global warming" may also increase the frequency and magnitude of other extreme weather events, such as heat waves and droughts, and thereby have profound effects on public health ([112]24,[113]25). In a comprehensive study conducted in the United Kingdom that described a short-term link between temperature and food poisoning, the authors also hypothesized that climate change could lead to changes in rates of food poisoning ([114]26). Integration of environmental parameters into disease forecasting and warning systems could allow public health officials to alert the populace when specific meteorological conditions pose predictable risks to health ([115]27). Simple messages about proper food preparation and refrigeration and the risks of using contaminated recreational waters could, for example, be provided before, during, and after extreme events. Better understanding of disease seasonality would also help to predict outbreaks of infections triggered by climate variability. * [116] Other Sectionsv + [117]Abstract + [118]Introduction + [119]Notion of Seasonality + [120]Diseases Seasonal Patterns + [121]Seasonal Host Susceptibility + [122]Seasonality in Pathogens Survival and Transmissibility + [123]Disease Seasonality and Calendar Effects + [124]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [125]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [126]References Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking Desperate cases need the most desperate remedies. (Hippocrates. Aphorisms, I, 6) At first, seasonal fluctuations should be systematically described. This requires a framework with sound definitions and analytic tools suitable for routine use by public health professionals. In public health sciences, the existing methodology currently lacks methods and tests for assessing complex interactions in the time-dependent factors responsible for disease seasonality. Next, reliable data with fine temporal resolution are a must. The vast majority of epidemiological studies have examined seasonal patterns of infections using quarterly or monthly data. This coarse temporal aggregation can thwart an otherwise detailed, accurate, and comprehensive analysis of seasonal patterns and may even be misleading ([127]28). Examination of daily or weekly rates can substantially improve evaluation of seasonal curves, but a systematic approach for using at least weekly aggregates is needed. Finally, reluctance to apply sophisticated mathematical models in public health studies must be overcome. Underlying processes in disease manifestation and spread are complex and multifaceted. Causal pathways are often obscured. To disentangle causal effects of many factors within the circular processes of self-sustaining oscillations demands the careful building of sound conceptual models of seasonality; models that can be tested. The emerging fields of computational epidemiology and intelligent data mining will complement established work in philosophy of science and mathematical biology to become an essential part of thinking in public health and policy. Acknowledgments I thank Drs Eileen O'Neil and Beth Rosenberg for their thoughtful suggestions, and the support of funding agencies: the National Institute of Allergy and Infectious Diseases (U19AI062627), and the National Institute of Environmental Health Sciences (R01ES013171). Footnotes ^1Hippocrates' citations are taken from: Lloyd, GER, editor. Hippocratic Writings. Trans. Chadwick J and Mann WN. London: Penguin; 1978. * [128] Other Sectionsv + [129]Abstract + [130]Introduction + [131]Notion of Seasonality + [132]Diseases Seasonal Patterns + [133]Seasonal Host Susceptibility + [134]Seasonality in Pathogens Survival and Transmissibility + [135]Disease Seasonality and Calendar Effects + [136]Climate Change, [dot.gif] Extreme Weather Events, [dot.gif] and Disease Seasonality + [137]Methodology in Studying Seasonality: Brining Mathematics and Philosophy to Public Health Thinking + [138]References References 1. Naumova EN, Chen JT, Griffiths JK, Matyas BT, Estes-Smargiassi SA, Morris RD. Use of passive surveillance data to study temporal and spatial variation in the incidence of giardiasis and cryptosporidiosis. Public Health Rep. 2000;115(5):436-47. [[139]PubMed] 2. Naumova EN, Christodouleas J, Hunter PR, Syed Q. Effect of precipitation on seasonal variability in cryptosporidiosis recorded by the North West England surveillance system in 1990 --1999. J Water Health. 2005;3(2):185-96. [[140]PubMed] 3. McLauchlin J, Amar C, Pedraza-Diaz S, Nichols GL. Molecular epidemiological analysis of Cryptosporidium spp. in the United Kingdom: results of genotyping Cryptosporidium spp. in 1,705 fecal samples from humans and 105 fecal samples from livestock animals. J Clin Microbiol. 2000;38(11):3984-90. [[141]PubMed] 4. Anderson RM, May RM. Infectious Diseases of Humans. New York: Oxford University Press; 2004. 5. Fallis G, Hilditch J. A comparison of seasonal variation in birthweights between rural Zaire and Ontario. Can J Public Health. 1989;80(3):205-8. [[142]PubMed] 6. Kusumaningrum HD, Riboldi G, Hazeleger WC, Beumer RR. Survival of foodborne pathogens on stainless steel surfaces and cross-contamination to foods. Int J Food Microbiol. 2003;85(3):227-36. [[143]PubMed] 7. Mead PS, Slutsker L, Dietz V, McCaig LF, Bresee JS, Shapiro C, et al. Food-related illness and death in the United States. Emerg Infect Dis. 1999;5(5):607-25. 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J Food Prot. 1999;62(9):1059-70. [[149]PubMed] 13. Barwick RS, Levy DA, Craun GF, Beach MJ, Calderon RL. Surveillance for waterborne-disease outbreaks -- United States, 1997 --1998. MMWR CDC Surveill Summ. 2000;49(4):1-21. [[150]PubMed] 14. Clavel A, Alivares JL, Fleta J, Castillo J, Varea M, Ramos FJ, et al. Seasonality of cryptosporidiosis in children. Eur J Clin Microbiol Inf Dis. 1996;15:77-9. 15. Kapperud G, Skjerve E, Bean NH, Ostroff SM, Lassen J. Risk factors for sporadic Campylobacter infections: results of a case --control study in southeastern Norway. J Clin Microbiol. 1992;30(12):3117-21. [[151]PubMed] 16. Neimann J, Engberg J, Molbak K, Wegener HC. A case --control study of risk factors for sporadic Campylobacter infections in Denmark. Epidemiol Infect. 2003;130(3):353-66. [[152]PubMed] 17. Curriero FC, Patz JA, Rose JB, Lele S. The association between extreme precipitation and waterborne disease outbreaks in the United States, 1948 --1994. Am J Pub Health. 2001;91(8):1194-9. [[153]PubMed] 18. Fayer R, Trout JM, Lewis EJ, Xiao L, Lal A, Jenkins MC, et al. Temporal variability of Cryptosporidium in the Chesapeake Bay. Parasitol Res. 2002;88(11):998-1003. [[154]PubMed] 19. Kistemann T, Classen T, Koch C, Dangendorf F, Fischeder R, Gebel J, et al. Microbial load of drinking water reservoir tributaries during extreme rainfall and runoff. Appl Environ Microbiol. 2002;68(5):2188-97. [[155]PubMed] 20. MacKenzie WR, Hoxie NJ, Proctor ME, Gradus MS, Blair KA, Peterson DE, et al. A massive outbreak in Milwaukee of Cryptosporidium infection transmitted through the public water supply. N Engl J Med. 1994;331(3):161-7. [[156]PubMed] 21. Wade TJ, Sandhu SK, Levy D, Lee S, LeChevallier MW, Katz L, et al. Did a severe flood in the Midwest cause an increase in the incidence of gastrointestinal symptoms? Am J Epidemiol. 2004;159(4):398-405. [[157]PubMed] 22. World Health Organization. Using climate to predict infectious disease outbreaks: a review. World Health Organization; Geneva, Switzerland: 2004. Publication no. WHO/SDE/OEH/04.01. 23. Easterling DR, Evans JL. Observed variability and trends in extreme climate events. Bull Am Meteorol Soc. 2000;81:417-25. 24. Charron D, Thomas M, Waltner-Toews D, Aramini J, Edge T, Kent R, et al. Vulnerability of waterborne diseases to climate change in Canada: a review. J Toxicol Environ Health A. 2004;67(20 --22):1667-77. [[158]PubMed] 25. Patz JA, Epstein PR, Burke TA, Balbus JM. Global climate change and emerging infectious diseases. JAMA. 1996;275(3):217-23. [[159]PubMed] 26. Bentham G, Langford IH. Climate change and the incidence of food poisoning in England and Wales. Int J Biometeorol. 1995;39(2):81-6. [[160]PubMed] 27. Ebi KL, Schmier JK. A stitch in time: improving public health early warning systems for extreme weather events. Epidemiol Rev. 2005;27:115-21. [[161]PubMed] 28. da Silva Lopes ACB. Spurious deterministic seasonality and auto-correlation corrections with quarterly data: further Monte Carlo results. Empir Econ. 1999;24(2):341-59. __________________________________________________________________ PubMed articles by these authors * [162]Naumova, E. PubMed related articles * [163]ReviewSeasonality of infectious diseases. Annu Rev Public Health. 2007; 28:127-43. [Annu Rev Public Health. 2007] * [164]ReviewSeasonality and the dynamics of infectious diseases. Ecol Lett. 2006 Apr; 9(4):467-84. [Ecol Lett. 2006] * [165]Seasonal infectious disease epidemiology. Proc Biol Sci. 2006 Oct 7; 273(1600):2541-50. [Proc Biol Sci. 2006] * [166]Seasonal control for an endemic disease with seasonal fluctuations. Theor Popul Biol. 1988 Apr; 33(2):115-25. [Theor Popul Biol. 1988] * [167]Seasonality of primarily childhood and young adult infectious diseases in the United States. Chronobiol Int. 2006; 23(5):1065-82. [Chronobiol Int. 2006] * » [168]See reviews... | » [169]See all... Recent Activity [170]Clear [171]Turn Off [172]Turn On * [173]Mystery of Seasonality: Getting the Rhythm of NatureMystery of Seasonality: Getting the Rhythm of Nature Your browsing activity is empty. Activity recording is turned off. [174]Turn recording back on Links * [175]PubMed * [176]Taxonomy * [177]Taxonomy Tree * [178]Use of passive surveillance data to study temporal and spatial variation in the incidence of giardiasis and cryptosporidiosis. Public Health Rep. 2000 Sep-Oct; 115(5):436-47. [Public Health Rep. 2000] * [179]Effect of precipitation on seasonal variability in cryptosporidiosis recorded by the North West England surveillance system in 1990-1999. J Water Health. 2005 Jun; 3(2):185-96. [J Water Health. 2005] * [180]Molecular epidemiological analysis of Cryptosporidium spp. in the United Kingdom: results of genotyping Cryptosporidium spp. in 1,705 fecal samples from humans and 105 fecal samples from livestock animals. J Clin Microbiol. 2000 Nov; 38(11):3984-90. [J Clin Microbiol. 2000] [181]See more articles cited in this paragraph * [182]A comparison of seasonal variation in birthweights between rural Zaire and Ontario. Can J Public Health. 1989 May-Jun; 80(3):205-8. [Can J Public Health. 1989] [183]See more articles cited in this paragraph * [184]Survival of foodborne pathogens on stainless steel surfaces and cross-contamination to foods. Int J Food Microbiol. 2003 Aug 25; 85(3):227-36. [Int J Food Microbiol. 2003] * [185]ReviewFood-related illness and death in the United States. Emerg Infect Dis. 1999 Sep-Oct; 5(5):607-25. [Emerg Infect Dis. 1999] * [186]The effect of temperature on food poisoning: a time-series analysis of salmonellosis in ten European countries. Epidemiol Infect. 2004 Jun; 132(3):443-53. [Epidemiol Infect. 2004] [187]See more articles cited in this paragraph * [188]A new analytical tool to assess health risks associated with the virological quality of drinking water (EMIRA study). Water Sci Technol. 2001; 43(12):39-48. [Water Sci Technol. 2001] * [189]ReviewReview of epidemiological studies on health effects from exposure to recreational water. Int J Epidemiol. 1998 Feb; 27(1):1-9. [Int J Epidemiol. 1998] * [190]ReviewGiardia, Cryptosporidium, and Cyclospora and their impact on foods: a review. J Food Prot. 1999 Sep; 62(9):1059-70. [J Food Prot. 1999] * [191]Surveillance for waterborne-disease outbreaks--United States, 1997-1998. MMWR CDC Surveill Summ. 2000 May 26; 49(4):1-21. [MMWR CDC Surveill Summ. 2000] [192]See more articles cited in this paragraph * [193]Risk factors for sporadic Campylobacter infections: results of a case-control study in southeastern Norway. J Clin Microbiol. 1992 Dec; 30(12):3117-21. [J Clin Microbiol. 1992] * [194]A case-control study of risk factors for sporadic campylobacter infections in Denmark. Epidemiol Infect. 2003 Jun; 130(3):353-66. [Epidemiol Infect. 2003] [195]See more articles cited in this paragraph * [196]The association between extreme precipitation and waterborne disease outbreaks in the United States, 1948-1994. Am J Public Health. 2001 Aug; 91(8):1194-9. [Am J Public Health. 2001] * [197]Temporal variability of Cryptosporidium in the Chesapeake Bay. Parasitol Res. 2002 Nov; 88(11):998-1003. [Parasitol Res. 2002] * [198]Microbial load of drinking water reservoir tributaries during extreme rainfall and runoff. Appl Environ Microbiol. 2002 May; 68(5):2188-97. [Appl Environ Microbiol. 2002] * [199]A massive outbreak in Milwaukee of cryptosporidium infection transmitted through the public water supply. N Engl J Med. 1994 Jul 21; 331(3):161-7. [N Engl J Med. 1994] * [200]Did a severe flood in the Midwest cause an increase in the incidence of gastrointestinal symptoms? Am J Epidemiol. 2004 Feb 15; 159(4):398-405. [Am J Epidemiol. 2004] [201]See more articles cited in this paragraph * [202]ReviewVulnerability of waterborne diseases to climate change in Canada: a review. J Toxicol Environ Health A. 2004 Oct 22-Nov 26; 67(20-22):1667-77. [J Toxicol Environ Health A. 2004] * [203]Global climate change and emerging infectious diseases. JAMA. 1996 Jan 17; 275(3):217-23. [JAMA. 1996] * [204]Climate change and the incidence of food poisoning in England and Wales. Int J Biometeorol. 1995 Nov; 39(2):81-6. [Int J Biometeorol. 1995] [205]See more articles cited in this paragraph * [206]ReviewA stitch in time: improving public health early warning systems for extreme weather events. Epidemiol Rev. 2005; 27():115-21. 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http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2483431/#pmclogo 1. http://www.ncbi.nlm.nih.gov/pmc/journals/ 2. http://www.ncbi.nlm.nih.gov/sites/entrez?db=pmc 3. http://www.ncbi.nlm.nih.gov/pmc/ #[1]Edit this page [2]Wikipedia (en) [3]copyright [4]Wikipedia RSS Feed [5]Wikipedia Atom Feed Circadian rhythm From Wikipedia, the free encyclopedia Jump to: [6]navigation, [7]search "Human clock" redirects here. For the online clock, see [8]Humanclock. Overview of human circadian biological clock with some physiological parameters. A circadian rhythm is a roughly 24-hour cycle in the biochemical, physiological or behavioural processes of living entities, including [9]plants, [10]animals, [11]fungi and [12]cyanobacteria (see [13]bacterial circadian rhythms). The term "circadian", coined by [14]Franz Halberg,^[15][1] comes from the [16]Latin [17]circa, "around", and diem or dies, "day", meaning literally "approximately one day". The formal study of biological temporal rhythms such as daily, [18]tidal, weekly, seasonal, and annual rhythms, is called [19]chronobiology. Circadian rhythms are [20]endogenously generated, and can be entrained by external cues, called [21]zeitgebers, the primary one of which is [22]daylight. Contents * [23]1 History * [24]2 Criteria * [25]3 Origin * [26]4 Importance in animals + [27]4.1 Impact of light-dark cycle + [28]4.2 Arctic animals + [29]4.3 Butterfly migration * [30]5 Biological clock in mammals + [31]5.1 Determining the human circadian rhythm + [32]5.2 Outside the "master clock" * [33]6 Light and the biological clock * [34]7 Enforced longer cycles * [35]8 Human health + [36]8.1 Disruption + [37]8.2 Effect of drugs * [38]9 See also * [39]10 References + [40]10.1 Bibliography + [41]10.2 Notes * [42]11 External links [[43]edit] History The earliest known account of a circadian rhythm dates from the 4th century BC, when Androsthenes, a ship captain serving under [44]Alexander the Great, described [45]diurnal leaf movements of the [46]tamarind tree.^[47][2] The first modern observation of endogenous circadian oscillation was by the French scientist [48]Jean-Jacques d'Ortous de Mairan in the 1700s; he noted that 24-hour patterns in the movement of the leaves of the plant [49]Mimosa pudica continued even when the plants were isolated from external stimuli. In 1918, J. S. Szymanski showed that animals are capable of maintaining 24-hour activity patterns in the absence of external cues such as light and changes in temperature.^[50][3] [51]Joseph Takahashi discovered the genetic basis for the rodent circadian rhythm in 1994.^[52][4]^[53][5] [[54]edit] Criteria To differentiate genuinely endogenous circadian rhythms from coincidental or apparent ones, three general criteria must be met: 1) the rhythms persist in the absence of cues, 2) they persist equally precisely over a range of temperatures, and 3) the rhythms can be adjusted to match the local time: * The rhythm persists in constant conditions (for example, constant dark) with a period of about 24 hours. The rationale for this criterion is to distinguish circadian rhythms from those "apparent" rhythms that are merely responses to external periodic cues. A rhythm cannot be declared to be endogenous unless it has been tested in conditions without external periodic input. * The rhythm is temperature-compensated, i.e., it maintains the same period over a range of temperatures. The rationale for this criterion is to distinguish circadian rhythms from other biological rhythms arising due to the circular nature of a reaction pathway. At a low enough or high enough temperature, the period of a circular reaction may reach 24 hours, but it will be merely coincidental. * The rhythm can be reset by exposure to an external stimulus. The rationale for this criterion is to distinguish circadian rhythms from other imaginable endogenous 24-hour rhythms that are immune to resetting by external cues and, hence, do not serve the purpose of estimating the local time. Travel across [55]time zones illustrates the necessity of the ability to adjust the biological clock so that it can reflect the local time and anticipate what will happen next. Until rhythms are reset, a person usually experiences [56]jet lag. [[57]edit] Origin [58]Question book-new.svg This section needs additional [59]citations for [60]verification. Please help [61]improve this article by adding [62]reliable references. Unsourced material may be [63]challenged and [64]removed. (October 2007) Photosensitive proteins and circadian rhythms are believed to have originated in the earliest cells, with the purpose of protecting the replicating of DNA from high [65]ultraviolet radiation during the daytime. As a result, replication was relegated to the dark. The fungus [66]Neurospora, which exists today, retains this [67]clock-regulated mechanism. Circadian rhythms allow organisms to anticipate and prepare for precise and regular environmental changes; they have great value in relation to the outside world. The rhythmicity appears to be as important in regulating and coordinating internal metabolic processes, as in coordinating with the environment.^[68][6] This is suggested by the maintenance (heritability) of circadian rhythms in fruit flies after several hundred generations in constant laboratory conditions,^[69][7] as well as in creatures in constant darkness in the wild, and by the experimental elimination of behavioural but not physiological circadian rhythms in quail.^[70][8] The simplest known circadian clock is that of the prokaryotic [71]cyanobacteria. Recent research has demonstrated that the circadian clock of Synechococcus elongatus can be reconstituted in vitro with just the three proteins of their central oscillator. This clock has been shown to sustain a 22-hour rhythm over several days upon the addition of [72]ATP. Previous explanations of the [73]prokaryotic circadian timekeeper were dependent upon a DNA transcription / translation feedback mechanism. It is an unanswered question whether circadian clocks in eukaryotic organisms require translation/transcription-derived oscillations, for, although the circadian systems of eukaryotes and prokaryotes have the same basic architecture (input - [74]central oscillator - output), they do not share any [75]homology. This implies probable independent origins. In 1971, Ronald J. Konopka and [76]Seymour Benzer first identified a genetic component of the biological clock using the fruit fly as a model system. Three mutant lines of flies displayed aberrant behaviour: one had a shorter period, another had a longer one, and the third had none. All three mutations mapped to the same gene, which was named [77]period.^[78][9] The same gene was identified to be defective in the sleep disorder FASPS ([79]Familial advanced sleep phase syndrome) in human beings thirty years later, underscoring the conserved nature of the molecular circadian clock through evolution. Many more genetic components of the biological clock are now known. Their interactions result in an interlocked feedback loop of gene products resulting in periodic fluctuations that the cells of the body interpret as a specific time of the day. A great deal of research on biological clocks was done in the latter half of the 20th century. It is now known that the molecular circadian clock can function within a single cell; i.e., it is cell-autonomous.^[80][10] At the same time, different cells may communicate with each other resulting in a synchronized output of electrical signaling. These may interface with endocrine glands of the brain to result in periodic release of hormones. The receptors for these hormones may be located far across the body and synchronize the peripheral clocks of various organs. Thus, the information of the time of the day as relayed by the [81]eyes travels to the clock in the brain, and, through that, clocks in the rest of the body may be synchronized. This is how the timing of, for example, sleep/wake, body temperature, thirst, and appetite are coordinately controlled by the biological clock. [[82]edit] Importance in animals Circadian rhythmicity is present in the [83]sleeping and feeding patterns of animals, including human beings. There are also clear patterns of core body temperature, [84]brain wave activity, [85]hormone production, cell regeneration and other biological activities. In addition, [86]photoperiodism, the physiological reaction of organisms to the length of day or night, is vital to both plants and animals, and the circadian system plays a role in the measurement and interpretation of day length. " Timely prediction of seasonal periods of weather conditions, food availability or predator activity is crucial for survival of many species. Although not the only parameter, the changing length of the photoperiod ('daylength') is the most predictive environmental cue for the seasonal timing of physiology and behavior, most notably for timing of migration, hibernation and reproduction.^[87][11] " [[88]edit] Impact of light-dark cycle The rhythm is linked to the light-dark cycle. Animals, including humans, kept in total darkness for extended periods eventually function with a [89]freerunning rhythm. Each "day", their sleep cycle is pushed back or forward, depending on whether their [90]endogenous period is shorter or longer than 24 hours. The environmental cues that each day reset the rhythms are called [91]Zeitgebers (from the German, Time Givers).^[92][12] It is interesting to note that totally-blind subterranean mammals (e.g., [93]blind mole rat Spalax sp.) are able to maintain their endogenous clocks in the apparent absence of external stimuli. Although they lack image-forming eyes, their photoreceptors (detect light) are still functional; as well, they do surface periodically.^[[94]citation needed] Freerunning organisms that normally have one consolidated sleep episode will still have it when in an environment shielded from external cues, but the rhythm is, of course, not entrained to the 24-hour light/dark cycle in nature. The sleep-wake rhythm may, in these circumstances, become out of phase with other circadian or [95]ultradian rhythms such as [96]temperature and [97]digestion.^[[98]citation needed] Recent research has influenced the design of [99]spacecraft environments, as systems that mimic the light/dark cycle have been found to be highly beneficial to astronauts.^[[100]citation needed] [[101]edit] Arctic animals Norwegian researchers at the [102]University of Tromsř have shown that some Arctic animals ([103]ptarmigan, [104]reindeer) show circadian rhythms only in the parts of the year that have daily sunrises and sunsets. In one study of reindeer, animals at [105]70 degrees North showed circadian rhythms in the autumn, winter, and spring, but not in the summer. Reindeer at [106]78 degrees North showed such rhythms only autumn and spring. The researchers suspect that other Arctic animals as well may not show circadian rhythms in the constant light of summer and the constant dark of winter.^[107][13]^[108][14] However, another study in northern Alaska found that [109]ground squirrels and [110]porcupines strictly maintained their circadian rhythms through 82 days and nights of sunshine. The researchers speculate that these two small mammals see that the apparent distance between the sun and the horizon is shortest once a day, and, thus, a sufficient signal to adjust by.^[111][15] [[112]edit] Butterfly migration The navigation of the fall migration of the [113]Eastern North American monarch butterfly (Danaus plexippus) to their overwintering grounds in central Mexico uses a time-compensated sun compass that depends upon a circadian clock in their antennae.^[114][16]^[115][17] [[116]edit] Biological clock in mammals Diagram illustrating the influence of light and darkness on circadian rhythms and related [117]physiology and behaviour through the [118]suprachiasmatic nucleus in humans. The primary circadian "clock" in [119]mammals is located in the [120]suprachiasmatic nucleus (or nuclei) ([121]SCN), a pair of distinct groups of [122]cells located in the [123]hypothalamus. Destruction of the SCN results in the complete absence of a regular sleep-wake rhythm. The SCN receives information about illumination through the eyes. The [124]retina of the eyes contains not only "classical" [125]photoreceptors but also photoresponsive retinal [126]ganglion cells. These cells, which contain a photo pigment called [127]melanopsin, follow a pathway called the [128]retinohypothalamic tract, leading to the SCN. If cells from the SCN are removed and cultured, they maintain their own rhythm in the absence of external cues. It appears that the SCN takes the information on the lengths of the day and night from the retina, interprets it, and passes it on to the [129]pineal gland, a tiny structure shaped like a [130]pine cone and located on the [131]epithalamus. In response the pineal secretes the hormone [132]melatonin. Secretion of melatonin peaks at night and ebbs during the day and its presence provides information about night-length. The circadian rhythms of humans can be entrained to slightly shorter and longer periods than the Earth's 24 hours. Researchers at Harvard have recently shown that human subjects can at least be entrained to a 23.5-hour cycle and a 24.65-hour cycle (the latter being the natural solar day-night cycle on the planet [133]Mars).^[134][18] [[135]edit] Determining the human circadian rhythm The classic phase markers for measuring the timing of a mammal's circadian rhythm are * melatonin secretion by the pineal gland and * core body temperature. For temperature studies, people must remain awake but calm and semi-reclined in near darkness while their rectal temperatures are taken continuously. The average human adult's temperature reaches its minimum at about 05:00 (5 a.m.), about two hours before habitual wake time, though variation is great among normal [136]chronotypes. Melatonin is absent from the system or undetectably low during daytime. Its onset in dim light, dim-light melatonin onset (DLMO), at about 21:00 (9 p.m.) can be measured in the blood or the saliva. Its major [137]metabolite can also be measured in morning urine. Both DLMO and the midpoint (in time) of the presence of the hormone in the blood or saliva have been used as circadian markers. However, newer research indicates that the melatonin offset may be the most reliable marker. Benloucif et al. in Chicago in 2005 found that melatonin phase markers were more stable and more highly correlated with the timing of sleep than the core temperature minimum. They found that both sleep offset and melatonin offset were more strongly correlated with the various phase markers than sleep onset. In addition, the declining phase of the melatonin levels was more reliable and stable than the termination of melatonin synthesis.^[138][19] One method used for measuring melatonin offset is to analyse a sequence of urine samples throughout the morning for the presence of the melatonin [139]metabolite 6-sulphatoxymelatonin (aMT6s). Laberge et al. in Quebec in 1997 used this method in a study that confirmed the frequently found delayed circadian phase in healthy adolescents.^[140][20] [[141]edit] Outside the "master clock" More-or-less independent circadian rhythms are found in many organs and cells in the body outside the suprachiasmatic nuclei (SCN), the "master clock". These clocks, called peripheral oscillators, are found in the [142]oesophagus, [143]lungs, [144]liver, [145]pancreas, [146]spleen, [147]thymus, and the [148]skin.^[149][21] Though oscillators in the skin respond to light, a systemic influence has not been proven so far.^[150][22]^[151][23] There is some evidence that also the olfactory bulb and prostate may experience oscillations when cultured, suggesting that also these structures may be weak oscillators. Furthermore, liver cells, for example, appear to respond to feeding rather than to [152]light. Cells from many parts of the body appear to have freerunning rhythms. [[153]edit] Light and the biological clock Light resets the biological clock in accordance with the [154]phase response curve (PRC). Depending on the timing, light can advance or delay the circadian rhythm. Both the PRC and the required [155]illuminance vary from species to species and lower light levels are required to reset the clocks in nocturnal rodents than in humans. Lighting levels that affect circadian rhythm in humans are higher than the levels usually used in artificial lighting in homes. According to some researchers^[156][24] the illumination intensity that excites the circadian system has to reach up to 1000 [157]lux striking the retina. In addition to light intensity, wavelength (or colour) of light is a factor in the entrainment of the body clock. [158]Melanopsin is most efficiently excited by blue light, 420-440 nm^[159][25] according to some researchers while others have reported 470-485 nm. It is thought that the direction of the light may have an effect on entraining the circadian rhythm;^[160][24] light coming from above, resembling an image of a bright sky, has greater effect than light entering our eyes from below. [[161]edit] Enforced longer cycles Modern research under very controlled conditions has shown the human period for adults to be just slightly longer than 24 hours on average. Czeisler et al. at Harvard found the range for normal, healthy adults of all ages to be quite narrow: 24 hours and 11 minutes ± 16 minutes. The "clock" resets itself daily to the 24-hour cycle of the Earth's rotation.^[162][26] The 28-hour day is presented as a concept of [163]time management.^[164][27] It builds on the fact that the week of seven days at 24 hours and a "week" of six days at 28 hours both equal a week of 168 hours. To live on the 28-hour day and six-day week would require staying awake for 19 to 20 hours and sleeping for eight to nine hours. Each "day" on this system has a unique light/dark pattern. Studies by [165]Nathaniel Kleitman^[166][28] in 1938 and by [167]Derk-Jan Dijk and [168]Charles Czeisler^[169][29]^[170][30] in 1994/5 have put human subjects on enforced 28-hour sleep-wake cycles, in constant dim light and with other time cues suppressed, for over a month. Because normal people cannot entrain to a 28-hour day,^[171][31] this is referred to as a forced desynchrony protocol. Sleep and wake episodes are uncoupled from the endogenous circadian period of about 24.18 hours and researchers are allowed to assess the effects of circadian phase on aspects of sleep and wakefulness including [172]sleep latency and other functions.^[173][32] Early research into circadian rhythms suggested that most people preferred a day closer to 25 hours when isolated from external stimuli like daylight and timekeeping. Early investigators determined the human circadian period to be 25 hours or more. They went to great lengths to shield subjects from time cues and daylight, but they were not aware of the effects of indoor electric lights. The subjects were allowed to turn on light when they were awake and to turn it off when they wanted to sleep. Electric light in the evening delayed their circadian phase. These results became well known.^[174][26] Researchers allowed subjects to keep electric lighting on in the evening, as it was thought at that time that a couple of 60W bulbs would not have a resetting effect on the circadian rhythms of humans. More recent research^[[175]citation needed] has shown that adults have a built-in day, which averages just over 24 hours, that indoor lighting does affect circadian rhythms and that most people attain their best-quality sleep during their [176]chronotype-determined sleep periods. [[177]edit] Human health Timing of medical treatment in coordination with the body clock may significantly increase efficacy and reduce drug toxicity or adverse reactions. For example, appropriately timed treatment with [178]angiotensin converting enzyme inhibitors (ACEi) may reduce nocturnal blood pressure and also benefit [179]left ventricular (reverse) remodelling.^[[180]citation needed] A short nap during the day does not affect circadian rhythms. A number of studies have concluded that a short period of sleep during the day, a [181]power-nap, does not have any effect on normal circadian rhythm, but can decrease stress and improve productivity.^[182][33]^[183][34] There are many health problems associated with disturbances of the human circadian rhythm, such as [184]seasonal affective disorder (SAD), [185]delayed sleep phase syndrome (DSPS) and other [186]circadian rhythm disorders.^[187][35] Circadian rhythms also play a part in the [188]reticular activating system, which is crucial for maintaining a state of consciousness. In addition, a reversal in the sleep-wake cycle may be a sign or complication of [189]uremia,^[190][36] [191]azotemia or [192]acute renal failure. [[193]edit] Disruption Disruption to rhythms usually has a negative effect. Many travellers have experienced the condition known as [194]jet lag, with its associated symptoms of [195]fatigue, disorientation and [196]insomnia. A number of other disorders, for example [197]bipolar disorder and some [198]sleep disorders, are associated with irregular or pathological functioning of circadian rhythms. Recent research suggests that circadian rhythm disturbances found in [199]bipolar disorder are positively influenced by [200]lithium's effect on clock genes.^[201][37] Disruption to rhythms in the longer term is believed to have significant adverse health consequences on peripheral organs outside the brain, particularly in the development or exacerbation of cardiovascular disease [202][2] The suppression of melatonin production associated with the disruption of the circadian rhythm may increase the risk of developing cancer.^[203][38]^[204][39] [[205]edit] Effect of drugs Circadian rhythms and clock genes expressed in brain regions outside the SCN may significantly influence the effects produced by drugs such as [206]cocaine.^[207][40]^[208][41] Moreover, genetic manipulations of clock genes profoundly affect cocaine's actions.^[209][42] [[210]edit] See also * [211]Actigraphy (also known as Actimetry) * [212]Advanced sleep phase syndrome * [213]ARNTL * [214]ARNTL2 * [215]Bacterial circadian rhythms * [216]Chronobiology * [217]Chronotype * [218]Circadian oscillator * [219]Circadian rhythm sleep disorders * [220]Cryptochrome * [221]CRY1 and [222]CRY2, the cryptochrome family genes * [223]Delayed sleep phase syndrome * [224]Diurnal cycle * [225]Jet lag * [226]Light effects on circadian rhythm * [227]PER1, [228]PER2, and [229]PER3, the period family genes * [230]Power-nap [[231]edit] References [[232]edit] Bibliography * Aschoff J (ed.) 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[357]doi:[358]10.1038/sj.npp.1300254. [359]PMID [360]12865893. 41. [361]^ Kurtuncu M, Arslan A, Akhisaroglu M, Manev H, Uz T (2004). "Involvement of the pineal gland in diurnal cocaine reward in mice". Eur J Pharmacol 489 (3): 203-5. [362]doi:[363]10.1016/j.ejphar.2004.03.010. [364]PMID [365]15087244. 42. [366]^ McClung C, Sidiropoulou K, Vitaterna M, Takahashi J, White F, Cooper D, Nestler E (2005). [367]"Regulation of dopaminergic transmission and cocaine reward by the Clock gene". Proc Natl Acad Sci USA 102 (26): 9377-81. [368]doi:[369]10.1073/pnas.0503584102. [370]PMID [371]15967985. [[372]edit] External links * [373]Circadian rhythm at the [374]Open Directory Project * Leloup J.C. (2009). "Circadian clocks and phosphorylation: Insights from computational modeling". Cent. Eur. J. Biol. 4 (3): 290-303. [375]doi:[376]10.2478/s11535-009-0025-1. * Rodrigo G, Carrera J, Jaramillo A (2007). "Evolutionary mechanisms of circadian clocks". Cent. Eur. J. Biol. 2 (2): 233-253. [377]doi:[378]10.2478/s11535-007-0016-z. 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452. http://en.wikipedia.org/wiki/Main_Page 453. http://creativecommons.org/licenses/by-sa/3.0/ [1][dailyomlogo2.gif] Today's DailyOM brought to you by: [2][nav-signup.gif] [nav-line.gif] [3][nav-mydailyom.gif] [nav-line.gif] [4][nav-marketplace.gif] [nav-line.gif] [5][nav-community.gif] [nav-line.gif] [6][nav-courses.gif] [bambooborder2.jpg] [Articles......] _______________ [search.gif]-Submit [7][nav-giftshop.gif] [nav-line.gif] [8][nav-shoppingcart.gif] January 2, 2006 Universal Timing Life's Natural Rhythm Nature's natural rhythms orchestrate when day turns to night, when flowers must bloom, and provides the cue for when it is time for red and brown leaves to fall from trees. As human beings, our own inner rhythm is attuned to this universal sense of timing. Guided by the rising and setting of the sun, changes in temperature, and our own internal rhythm, we know when it is time to sleep, eat, or be active. While our minds and spirits are free to focus on other pursuits, our breath and our heartbeat are always there to remind us of life's pulsing rhythm that moves within and around us. Moving to this rhythm, we know when it is time to stop working and when to rest. Pushing our bodies to work beyond their natural rhythm diminishes our ability to renew and recharge. A feeling much like jet lag lets us know when we've overridden our own natural rhythm. When we feel the frantic calls of all we want to accomplish impelling us to move faster than is natural for us, we may want to breathe deeply instead and look at nature moving to its own organic timing: birds flying south, leaves shedding, or snow falling. A walk in nature can also let us re-attune is to her organic rhythm, while allowing us to move back in time with our own. When we move to our natural rhythm, we can achieve all we need to do with less effort. We may even notice that our soul moves to its own internal, natural rhythm - especially when it comes to our personal evolution. Comparing ourselves to others is unnecessary. Our best guide is to move to our own internal timing, while keeping time with the rhythm of nature. Click to follow DailyOM on [9]Twitter and [10]Facebook What do you think? [11]Discuss this article and share your opinion Want more DailyOM? 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Rhythm (from [9]greek rhuthµo'*s - rhythmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events. Contents * [10]1 Rhythm in linguistics * [11]2 Origins of human appreciation of rhythm * [12]3 Rhythm notation and the oral tradition + [13]3.1 African music + [14]3.2 Indian music + [15]3.3 Western music * [16]4 Types * [17]5 See also * [18]6 Notes * [19]7 Sources * [20]8 Further reading [[21]edit] Rhythm in linguistics The study of rhythm, stress, and [22]pitch in [23]speech is called [24]prosody; it is a topic in [25]linguistics. Narmour (1980, p. 147-53) describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for [26]syncopation and suggests the concept of [27]transformation. A [28]rhythmic unit is a [29]durational pattern which occupies a period of time equivalent to a [30]pulse or pulses on an underlying [31]metric level, as opposed to a [32]rhythmic gesture which does not (DeLone et al. (Eds.), 1975 [[33]edit] Origins of human appreciation of rhythm In his series How Music Works, [34]Howard Goodall presents theories that rhythm recalls how we walk and the heartbeat we heard in the womb. More likely is that a simple pulse or [35]di-dah beat recalls the footsteps of another person. Our sympathetic urge to dance is designed to boost our energy levels in order to cope with someone, or some animal chasing us - a fight or flight response. From a less darwinist perspective, perceiving rhythm is the ability to master the otherwise invisible dimension, time. Rhythm is possibly also rooted in courtship ritual.^[36][1] Neurologist [37]Oliver Sacks posits that human affinity for rhythm is fundamental, so much that a person's sense of rhythm cannot be lost in the way that music and language can (e.g. by [38]stroke). In addition, he states that [39]chimpanzees and other animals show no similar appreciation for rhythm.^[40][2] [[41]edit] Rhythm notation and the oral tradition Worldwide there are many different approaches to passing on rhythmic phrases and patterns, as they exist in traditional music, from generation to generation. [[42]edit] African music In the [43]Griot tradition of Africa everything related to music has been passed on orally. [44]Babatunde Olatunji (1927-2003), a Nigerian drummer who lived and worked in the [45]United States, developed a simple series of spoken sounds for teaching the rhythms of the hand drum. He used six vocal sounds: Goon Doon Go Do Pa Ta. There are three basic sounds on the drum, but each can be played with either the left or the right hand. This simple system is now used worldwide, particularly by [46]Djembe players. [[47]edit] Indian music Indian music has also been passed on orally. Tabla players would learn to speak complex rhythm patterns and phrases before attempting to play them. [48]Sheila Chandra, an English pop singer of Indian descent, made performances based around her singing these patterns. In [49]Indian Classical music, the [50]Tala of a composition is the rhythmic pattern over which the whole piece is structured. [[51]edit] Western music Standard [52]music notation contains rhythmic information and is adapted specifically for drums and percussion instruments. The drums are generally used to keep other instruments in 'time'. They do this by supplying beats/strikes in time at a certain pace, i.e. 70 beats per minute (bpm). In [53]Rock music, a drum beat is used to keep a [54]bass/[55]guitar line in time. [[56]edit] Types In [57]Western music, rhythms are usually arranged with respect to a [58]time signature, partially signifying a meter. The speed of the underlying [59]pulse is sometimes called the [60]beat. The [61]tempo is a measure of how quickly the pulse repeats. The tempo is usually measured in 'beats per minute' (bpm); 60 bpm means a speed of one beat per second. The length of the meter, or metric unit (usually corresponding with [62]measure length), is usually grouped into either two or three beats, being called [63]duple meter and [64]triple meter, respectively. If each beat is divided by two or four, it is [65]simple meter, if by three (or six) [66]compound meter. According to [67]Pierre Boulez, beat structures beyond four are "simply not natural".^[68][3]. His reference is to western European music. Standard notation of a clave pattern on audio clip clave pattern.ogg [69]Syncopated rhythms are rhythms that accent parts of the beat not already stressed by [70]counting. Playing simultaneous rhythms in more than one time signature is called [71]polymeter. See also [72]polyrhythm. In recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by [73]Maury Yeston, [74]Fred Lerdahl and [75]Ray Jackendoff, [76]Jonathan Kramer, Christopher Hasty, William Rothstein, and Joel Lester. Grid notation of single a clave pattern Some [77]genres of music make different use of rhythm than others. Most Western music is based on [78]subdivision, while non-Western music uses more [79]additive rhythm. [80]African music makes heavy use of [81]polyrhythms, and [82]Indian music uses [83]complex cycles such as 7 and 13, while [84]Balinese music often uses complex [85]interlocking rhythms. By comparison, a lot of Western [86]classical music is fairly rhythmically (or metrically) simple; it stays in a [87]simple meter such as 4/4 or 3/4 and makes little use of [88]syncopation. [89]Clave is a common underlying rhythm in [90]African, [91]Cuban music, and [92]Brazilian music. [93]Claves (Submit) Play sound Four beats followed by three Clave patterns __________________________________________________________________ Problems listening to this file? See [94]media help. In the 20th century, [95]composers like [96]Igor Stravinsky, [97]Bela Bartok, [98]Philip Glass, and [99]Steve Reich wrote more rhythmically complex music using [100]odd meters, and techniques such as [101]phasing and [102]additive rhythm. At the same time, modernists such as [103]Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of [104]irrational rhythms in [105]New Complexity. This use may be explained by a comment of [106]John Cage's^[[107]where?] where he notes that regular rhythms cause sounds to be heard as a group rather than individually; the irregular rhythms highlight the rapidly changing pitch relationships that would otherwise be subsumed into irrelevant rhythmic groupings (Sandow 2004, p. 257). [108]LaMonte Young also wrote music in which the sense of a regular beat is absent because the music consists only of long sustained tones ([109]drones). In the 1930s, [110]Henry Cowell wrote music involving multiple simultaneous periodic rhythms and collaborated with [111]Léon Thérémin to invent the [112]Rhythmicon, the first electronic [113]rhythm machine, in order to perform them. Similarly, [114]Conlon Nancarrow wrote for the [115]player piano. [[116]edit] See also * [117]Meter (music) * [118]Prosody (linguistics) * [119]Riddim * [120]Morse Code * [121]Soul (music) * [122]Time scale (music) * [123]Timing (linguistics) [[124]edit] Notes 1. [125]^ [126]Mithen, Steven (2005). [127]The Singing Neanderthals: The Origins of Music, Language, Mind and Body.. London: Weidenfeld & Nicolson.. [128]ISBN [129]0297643177. [130]http://www.epjournal.net/filestore/ep03375380.pdf. 2. [131]^ [132]Jon Stewart, [133]Oliver Sacks. (2009-06-29). [134]The Daily Show with Jon Stewart. [Television production]. Comedy Central. [135]http://www.thedailyshow.com/video/index.jhtml?videoId=231589&t itle=oliver-sacks. "People often tried to teach their dogs to dance--it doesn't work." 3. [136]^ In [137]Discovering Music: Rhythm with [138]Leonard Slatkin at 5:05 [[139]edit] Sources * Hasty, Christopher (1997). Meter as Rhythm. Oxford: Oxford University Press. [140]ISBN 0-19-510066-2. * London, Justin (2004). Hearing in Time: Psychological Aspects of Musical Meter. [141]ISBN 0-19-516081-9. * Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. [142]ISBN 0-335-15275-9. * Narmour (1980). Cited in DeLone et al. (Eds.) (1975). Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall. [143]ISBN 0-13-049346-5. * Sandow, Greg (2004). "A Fine Madness", The Pleasure of Modernist Music. [144]ISBN 1-58046-143-3. * Yeston, Maury (1976). "The Stratification of Musical Rhythm". [[145]edit] Further reading * McGaughey, William (2001). "Rhythm and Self-Consciousness: New Ideals for an Electronic Civilization". Minneapolis: Thistlerose Publications. [146]ISBN 0-9605630-4-0. * Honing, H. (2002). [147]"Structure and interpretation of rhythm and timing." Tijdschrift voor Muziektheorie [Dutch Journal of Music Theory] 7(3): 227-232. * Lewis, Andrew (2005). Rhythm--What it is and How to Improve Your Sense of It. San Francisco: [148]RhythmSource Press. [149]ISBN 978-0-9754667-0-4. * Williams, C. F. A., The Aristoxenian Theory of Musical Rhythm, (Cambridge Library Collection - Music), Cambridge University Press; 1st edition, 2009. * Toussaint, G. T., "The geometry of musical rhythm," In J. Akiyama, M. Kano, and X. Tan, editors, Proceedings of the Japan Conference on Discrete and Computational Geometry, Vol. 3742, Lecture Notes in Computer Science, Springer, Berlin/Heidelberg, 2005, pp. 198-212. [150]v o [151]d o [152]e [153]Musical notation and [154]development [155]Staff [156]Bar & Bar line · [157]Clef · [158]Da capo · [159]Dal segno · [160]Key signature · [161]Ledger line · [162]Musical mode · [163]Musical scale · [164]Rehearsal letter · [165]Repeat sign · [166]Time signature · [167]Transposition · [168]Transposing instrument [169]G (treble) clef symbol [170]Notes [171]Accidental ([172]Flat · [173]Natural · [174]Sharp) · [175]Dotted note · [176]Grace note · [177]Note value ([178]Beam · [179]Note head · [180]Stem) · [181]Pitch · [182]Rest · [183]Interval · [184]Letter notation [185]Articulation [186]Dynamics · [187]Ornament ([188]Trill · [189]Mordent · [190]Grace note) · [191]Ossia · [192]Portato · [193]Accent · [194]Legato · [195]Tenuto · [196]Marcato · [197]Staccato · [198]Staccatissimo · [199]Tie · [200]Slur · [201]Fermata [202]Development [203]Coda · [204]Exposition · [205]Harmony · [206]Melody · [207]Motif · [208]Recapitulation · Rhythm ([209]Beat · [210]Meter · [211]Tempo) · [212]Theme · [213]Tonality · [214]Atonality Related [215]Chord chart · [216]Figured bass · [217]Graphic notation · [218]Lead sheet · [219]Eye music · [220]Modern musical symbols · [221]Neume · [222]Tablature Retrieved from "[223]http://en.wikipedia.org/wiki/Rhythm" [224]Categories: [225]Rhythm | [226]Greek loanwords Hidden categories: [227]Vague or ambiguous geographic scope Views * [228]Article * [229]Discussion * [230]Edit this page * [231]History Personal tools * [232]Try Beta * [233]Log in / create account Navigation * [234]Main page * [235]Contents * [236]Featured content * [237]Current events * [238]Random article Search ____________________ Go Search Interaction * [239]About Wikipedia * [240]Community portal * [241]Recent changes * [242]Contact Wikipedia * [243]Donate to Wikipedia * [244]Help Toolbox * [245]What links here * [246]Related changes * [247]Upload file * [248]Special pages * [249]Printable version * [250]Permanent link * [251]Cite this page Languages * [252]Bosanski * [253]Catalŕ * [254]Dansk * [255]Deutsch * [256]Eesti * [257]Espańol * [258]Esperanto * [259]f+a+r+s+ * [260]Français * [261]­´ * [262]Hrvatski * [263]Bahasa Indonesia * [264]Íslenska * [265]Italiano * [266]E+B+R+J+T+ * [267]Ą Ł * [268]Latviesu * [269]Líguru * [270]Makedonski * [271]®˛Żľł * [272]Nederlands * [273]Ą¬ * [274]ŞNorsk (bokmĺl) * [275]ŞNorsk (nynorsk) * [276]Polski * [277]Portuguęs * [278]Russkij * [279]Simple English * [280]Slovencina * [281]Slovenscina * [282]Suomi * [283]Svenska * [284]Türkçe * [285]Ukrayins'ka * [286]­ [287]Powered by MediaWiki [288]Wikimedia Foundation * This page was last modified on 19 January 2010 at 00:26. * Text is available under the [289]Creative Commons Attribution-ShareAlike License; additional terms may apply. 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http://en.wikipedia.org/wiki/Rhythmic_gesture 33. http://en.wikipedia.org/w/index.php?title=Rhythm&action=edit§ion=2 34. http://en.wikipedia.org/wiki/Howard_Goodall 35. http://en.wikipedia.org/wiki/Di-dah 36. http://en.wikipedia.org/wiki/Rhythm#cite_note-0 37. http://en.wikipedia.org/wiki/Oliver_Sacks 38. http://en.wikipedia.org/wiki/Stroke 39. http://en.wikipedia.org/wiki/Chimpanzee 40. http://en.wikipedia.org/wiki/Rhythm#cite_note-1 41. http://en.wikipedia.org/w/index.php?title=Rhythm&action=edit§ion=3 42. http://en.wikipedia.org/w/index.php?title=Rhythm&action=edit§ion=4 43. http://en.wikipedia.org/wiki/Griot 44. http://en.wikipedia.org/wiki/Babatunde_Olatunji 45. http://en.wikipedia.org/wiki/United_States 46. http://en.wikipedia.org/wiki/Djembe 47. http://en.wikipedia.org/w/index.php?title=Rhythm&action=edit§ion=5 48. http://en.wikipedia.org/wiki/Sheila_Chandra 49. http://en.wikipedia.org/wiki/Indian_Classical_music 50. http://en.wikipedia.org/wiki/Tala_(music) 51. 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http://en.wikipedia.org/wiki/Brazil 93. http://en.wikipedia.org/wiki/File:Clave_pattern.ogg 94. http://en.wikipedia.org/wiki/Wikipedia:Media_help 95. http://en.wikipedia.org/wiki/Composers 96. http://en.wikipedia.org/wiki/Igor_Stravinsky 97. http://en.wikipedia.org/wiki/Bela_Bartok 98. http://en.wikipedia.org/wiki/Philip_Glass 99. http://en.wikipedia.org/wiki/Steve_Reich 100. http://en.wikipedia.org/wiki/List_of_works_in_unusual_time_signatures 101. http://en.wikipedia.org/wiki/Phasing 102. http://en.wikipedia.org/wiki/Additive_rhythm 103. http://en.wikipedia.org/wiki/Olivier_Messiaen 104. http://en.wikipedia.org/wiki/Irrational_rhythm 105. http://en.wikipedia.org/wiki/New_Complexity 106. http://en.wikipedia.org/wiki/John_Cage 107. http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Countering_systemic_bias 108. http://en.wikipedia.org/wiki/LaMonte_Young 109. http://en.wikipedia.org/wiki/Drone_(music) 110. http://en.wikipedia.org/wiki/Henry_Cowell 111. 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http://en.wikipedia.org/wiki/Special:BookSources/0297643177 130. http://www.epjournal.net/filestore/ep03375380.pdf 131. http://en.wikipedia.org/wiki/Rhythm#cite_ref-1 132. http://en.wikipedia.org/wiki/Jon_Stewart 133. http://en.wikipedia.org/wiki/Oliver_Sacks 134. http://www.thedailyshow.com/video/index.jhtml?videoId=231589&title=oliver-sacks 135. http://www.thedailyshow.com/video/index.jhtml?videoId=231589&title=oliver-sacks 136. http://en.wikipedia.org/wiki/Rhythm#cite_ref-dmb_2-0 137. http://www.bbc.co.uk/radio3/discoveringmusic/ram/cdm0401slat1of4.ram 138. http://en.wikipedia.org/wiki/Leonard_Slatkin 139. http://en.wikipedia.org/w/index.php?title=Rhythm&action=edit§ion=10 140. http://en.wikipedia.org/wiki/Special:BookSources/0195100662 141. http://en.wikipedia.org/wiki/Special:BookSources/0195160819 142. http://en.wikipedia.org/wiki/Special:BookSources/0335152759 143. http://en.wikipedia.org/wiki/Special:BookSources/0130493465 144. 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183. http://en.wikipedia.org/wiki/Interval_(music) 184. http://en.wikipedia.org/wiki/Letter_notation 185. http://en.wikipedia.org/wiki/Articulation_(music) 186. http://en.wikipedia.org/wiki/Dynamics_(music) 187. http://en.wikipedia.org/wiki/Ornament_(music) 188. http://en.wikipedia.org/wiki/Trill_(music) 189. http://en.wikipedia.org/wiki/Mordent 190. http://en.wikipedia.org/wiki/Grace_note 191. http://en.wikipedia.org/wiki/Ossia 192. http://en.wikipedia.org/wiki/Portato 193. http://en.wikipedia.org/wiki/Accent_(music) 194. http://en.wikipedia.org/wiki/Legato 195. http://en.wikipedia.org/wiki/Tenuto 196. http://en.wikipedia.org/wiki/Marcato 197. http://en.wikipedia.org/wiki/Staccato 198. http://en.wikipedia.org/wiki/Staccatissimo 199. http://en.wikipedia.org/wiki/Tie_(music) 200. http://en.wikipedia.org/wiki/Slur_(music) 201. http://en.wikipedia.org/wiki/Fermata 202. http://en.wikipedia.org/wiki/Musical_development 203. http://en.wikipedia.org/wiki/Coda_(music) 204. 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http://en.wikipedia.org/wiki/Category:Rhythm 226. http://en.wikipedia.org/wiki/Category:Greek_loanwords 227. http://en.wikipedia.org/wiki/Category:Vague_or_ambiguous_geographic_scope 228. http://en.wikipedia.org/wiki/Rhythm 229. http://en.wikipedia.org/wiki/Talk:Rhythm 230. http://en.wikipedia.org/w/index.php?title=Rhythm&action=edit 231. http://en.wikipedia.org/w/index.php?title=Rhythm&action=history 232. http://en.wikipedia.org/w/index.php?title=Special:UsabilityInitiativeOptIn&from=Rhythm 233. http://en.wikipedia.org/w/index.php?title=Special:UserLogin&returnto=Rhythm 234. http://en.wikipedia.org/wiki/Main_Page 235. http://en.wikipedia.org/wiki/Portal:Contents 236. http://en.wikipedia.org/wiki/Portal:Featured_content 237. http://en.wikipedia.org/wiki/Portal:Current_events 238. http://en.wikipedia.org/wiki/Special:Random 239. http://en.wikipedia.org/wiki/Wikipedia:About 240. http://en.wikipedia.org/wiki/Wikipedia:Community_portal 241. 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http://fa.wikipedia.org/wiki/%D8%B1%DB%8C%D8%AA%D9%85 260. http://fr.wikipedia.org/wiki/Rythme 261. http://ko.wikipedia.org/wiki/%EB%A6%AC%EB%93%AC 262. http://hr.wikipedia.org/wiki/Ritam 263. http://id.wikipedia.org/wiki/Ritme 264. http://is.wikipedia.org/wiki/Taktur 265. http://it.wikipedia.org/wiki/Ritmo_(musica) 266. http://he.wikipedia.org/wiki/%D7%A7%D7%A6%D7%91_(%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%94) 267. http://ka.wikipedia.org/wiki/%E1%83%A0%E1%83%98%E1%83%A2%E1%83%9B%E1%83%98 268. http://lv.wikipedia.org/wiki/Ritms 269. http://lij.wikipedia.org/wiki/Ritmo 270. http://mk.wikipedia.org/wiki/%D0%A0%D0%B8%D1%82%D0%B0%D0%BC 271. http://ml.wikipedia.org/wiki/%E0%B4%A4%E0%B4%BE%E0%B4%B3%E0%B4%82 272. http://nl.wikipedia.org/wiki/Ritme 273. http://ja.wikipedia.org/wiki/%E3%83%AA%E3%82%BA%E3%83%A0 274. http://no.wikipedia.org/wiki/Rytme 275. http://nn.wikipedia.org/wiki/Rytme 276. http://pl.wikipedia.org/wiki/Rytm 277. http://pt.wikipedia.org/wiki/Ritmo 278. http://ru.wikipedia.org/wiki/%D0%A0%D0%B8%D1%82%D0%BC 279. http://simple.wikipedia.org/wiki/Rhythm 280. http://sk.wikipedia.org/wiki/Rytmus_(hudba) 281. http://sl.wikipedia.org/wiki/Ritem 282. http://fi.wikipedia.org/wiki/Rytmi 283. http://sv.wikipedia.org/wiki/Rytm 284. http://tr.wikipedia.org/wiki/Ritim 285. http://uk.wikipedia.org/wiki/%D0%A0%D0%B8%D1%82%D0%BC 286. http://zh.wikipedia.org/wiki/%E8%8A%82%E5%A5%8F 287. http://www.mediawiki.org/ 288. http://wikimediafoundation.org/ 289. http://en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_Attribution-ShareAlike_3.0_Unported_License 290. http://wikimediafoundation.org/wiki/Terms_of_Use 291. http://www.wikimediafoundation.org/ 292. http://en.wikipedia.org/wiki/Wikipedia:Contact_us 293. http://wikimediafoundation.org/wiki/Privacy_policy 294. http://en.wikipedia.org/wiki/Wikipedia:About 295. http://en.wikipedia.org/wiki/Wikipedia:General_disclaimer Liens cachĂ©s : 296. http://en.wikipedia.org/wiki/File:Clavepattern.svg 297. http://en.wikipedia.org/wiki/File:Clavepattern.svg 298. http://en.wikipedia.org/wiki/File:Clavepatterngrid.gif 299. http://en.wikipedia.org/wiki/File:Clavepatterngrid.gif 300. http://en.wikipedia.org/wiki/Main_Page 301. http://creativecommons.org/licenses/by-sa/3.0/ [1]Daniel Laberge music Rhythm explained including 27 rhythm exercises by Daniel Laberge Rhythm figure Hi rhythm lovers, I've devised these exercises in the early seventies while teaching music. I could not find any existing book that saw rhythm the way I did. This method is based on "rhythmic figures" or rhythm possibilities. Each one lasts one beat. I simply counted the rhythmic possibilities one could encounter for each type of beat divisions. There are: o Four rhythmic possibilities if the beat is divided by two o Eight rhythmic possibilities if the beat is divided by three o Sixteen rhythmic possibilities if the beat is divided by four I composed the exercises back then and used them for my teaching, but I only wrote the theory that goes along in 2002. The book is called "Rhythm explained" and I am gradually placing its content here. Each exercise is preceded by a lesson, with graphic representations, and includes an audio rendition to help you. You can choose between three speeds. For jazz musicians, the binary exercises also have a swing or double swing performance. Go to the bottom of the page for a link to the swing version. Choose among the following exercises: Beat exercises [2]Rhythm exercise 1-1 Featured figures [3][onequarternote1.gif] [4] [onehalfnote1.gif] [5] [dottedhalfnote1.gif] [6] [wholenote1.gif] [7]Rhythm exercise 1-2 Featured figures [8][quarternoterest1.gif] [9] [halfnoterest1.gif] [10] [wholenoterest1.gif] [11]Rhythm exercise 1-3 Featured figures [12][quarternoterest1.gif] [13] [halfnoterest1.gif] [14] [dottedhalfnoterest1.gif] [15] [wholenoterest1.gif] Binary beat division The binary family is large as it includes: o Division by two o Division by four o Part of division by six o Division by eight This section is concerned with the simple division by two. Any binary beat has two alternating parts: the downbeat and the upbeat. Binary beat [binarybeat1.gif] As you can see, there are only two places in a beat where events or notes can be positioned or played: o The downbeat o The upbeat How rhythmic possibilities work This means that for any given beat you can have any of the four following possibilities: 1 o Only one event on the downbeat. 2 o Events on both the downbeat and the upbeat. 3 o No event at all. 4 o Only one event on the upbeat. [possibilitiesbytwosimple1.gif] The rhythmic figure used to represent a binary beat is called: TWO EIGHTH NOTES [masterfigurebinary1.gif] Binary master rhythmic figure Simple binary rhythmic figures 4 possibilities: o 2 Primary o 2 Secondary [possibilitiesbytwo1.gif] Secondary rhythmic figures lack the event that falls on the beat. There is a secondary figure for each primary one. Because the beat is so important, secondary figures have appeared after the primary ones had been well established. The absence of event falling on the beat can be due to a silence or a sound that is held over from the preceding beat. Because of this, there are two ways to notate secondary figures: o With a rest o With a tie [primarysecondary1.gif] Primary and secondary rhythmic figures Choose among the following exercises: Binary exercises PRIMARY [16]Rhythm exercise 2-1 Featured figure [17][twoeighthnotes2.gif] [18]Rhythm exercise 2-2 Featured figures [19][twoeighthnotes2.gif] [20] [quarternoterest2.gif] SECONDARY [21]Rhythm exercise 2-3 Featured figure [22][dottedquarternoteeighth2.gif] [23]Rhythm exercise 2-4 Featured figure [24][eighthnotesyncopationa2.gif] [25]Rhythm exercise 2-5 Featured figure [26][twoeighttieonequarter2.gif] MULTIPLE SYNCOPATIONS [27]Rhythm exercise 2-6 Featured figure [28][doublesyncopationa2.gif] Ternary beat division The ternary family is small as it includes: o Division by three o Part of division by six Everything goes in thirds in ternary music. Any ternary beat has one downbeat and two upbeats. Ternary beat [ternarybeat1.gif] The rhythmic figure used to represent a ternary beat is called: THREE EIGHTH NOTES [masterfigureternary1.gif] Ternary master rhythmic figure Writing ternary rhythm In ternary music writing, each eighth note is worth one third of a beat. Since two eighth notes always equal one quarter note, these now equal two thirds of a beat. It takes a dotted quarter note to represent one beat. [ternarywriting1.gif] Ternary rhythmic figures 8 possibilities: o 4 Primary o 4 Secondary [possibilitiesbythree1.gif] Choose among the following exercises: Ternary exercises PRIMARY [29]Rhythm exercise 3-1 Featured figure [30][threeeighth2.gif] [31]Rhythm exercise 3-2 Featured figure [32][onequarteroneeighth2.gif] [33]Rhythm exercise 3-3 Featured figure [34][oneeighthonequarter2.gif] SECONDARY [35]Rhythm exercise 3-1s Featured figure [36][8threst2eighth2.gif] OR [37] [tie3eighth2.gif] [38]Rhythm exercise 3-2s Featured figure [39][quarternoterestoneeighth2.gif] OR [40] [tiequarternote1eighth.gif] [41]Rhythm exercise 3-3s Featured figure [42][8threst1quarternote2.gif] OR [43] [tie1eighth1quarter2.gif] Division by four Beats divided by four are part of the binary family. Everything goes in quarters in this feel. Beat divided by four [binarybeat2.gif] The rhythmic figure used to represent a beat divided by four is called: FOUR SIXTEENTH NOTES [masterfigurebyfour1.gif] Division by four master rhythmic figure Binary rhythmic figures 16 possibilities: o 8 Primary o 8 Secondary [possibilitiesbyfour1.gif] Choose among the following exercises: Division by four exercises PRIMARY [44]Rhythm exercise 4-1 Featured figure [45][foursixteenth2.gif] [46]Rhythm exercise 4-2 Featured figure [47][oneeighthtwosixteenth2.gif] [48]Rhythm exercise 4-3 Featured figure [49][twosixteenthoneeighth2.gif] [50]Rhythm exercise 4-4 Featured figure [51][dottedeighthonesixteenth2.gif] [52]Rhythm exercise 4-5 Featured figure [53][onesixteenthdottedeighth2.gif] [54]Rhythm exercise 4-6 Featured figure [55][16th8th16th2.gif] SECONDARY [56]Rhythm exercise 4-1s Featured figure [57][16threst3sixteenth2.gif] OR [58] [tiefoursixteenth2.gif] [59]Rhythm exercise 4-2s Featured figure [60][8threst2sixteenth2.gif] OR [61] [tie1eighth2sixteenth2.gif] [62]Rhythm exercise 4-3s Featured figure [63][16threst1sixteenth1eighth2.gif] OR [64] [tie2sixteenth1eighth2.gif] [65]Rhythm exercise 4-4s Featured figure [66][dotted8threst1sixteenth2.gif] OR [67] [tiedottereight1sixteenth2.gif] [68]Rhythm exercise 4-5s Featured figure [69][16threstdotted8th.gif] OR [70] [tie16thdotted8th2.gif] [71]Rhythm exercise 4-6s Featured figure [72][16threst1eighth1sixteenth2.gif] OR [73] [tieone16thone8thone16th2.gif] [74]Bugs, problems and comments [75]Daniel Laberge music RĂ©fĂ©rences Liens visibles 1. http://www.daniellaberge.net/index.htm 2. http://www.daniellaberge.net/music/rhythm/exercises/1-1.html 3. http://www.daniellaberge.net/music/rhythm/exercises/1-1.html 4. http://www.daniellaberge.net/music/rhythm/exercises/1-1.html 5. http://www.daniellaberge.net/music/rhythm/exercises/1-1.html 6. http://www.daniellaberge.net/music/rhythm/exercises/1-1.html 7. http://www.daniellaberge.net/music/rhythm/exercises/1-2.html 8. http://www.daniellaberge.net/music/rhythm/exercises/1-2.html 9. http://www.daniellaberge.net/music/rhythm/exercises/1-2.html 10. http://www.daniellaberge.net/music/rhythm/exercises/1-2.html 11. http://www.daniellaberge.net/music/rhythm/exercises/1-3.html 12. http://www.daniellaberge.net/music/rhythm/exercises/1-3.html 13. http://www.daniellaberge.net/music/rhythm/exercises/1-3.html 14. http://www.daniellaberge.net/music/rhythm/exercises/1-3.html 15. http://www.daniellaberge.net/music/rhythm/exercises/1-3.html 16. http://www.daniellaberge.net/music/rhythm/exercises/2-1.html 17. http://www.daniellaberge.net/music/rhythm/exercises/2-1.html 18. http://www.daniellaberge.net/music/rhythm/exercises/2-2.html 19. http://www.daniellaberge.net/music/rhythm/exercises/2-2.html 20. http://www.daniellaberge.net/music/rhythm/exercises/2-2.html 21. http://www.daniellaberge.net/music/rhythm/exercises/2-3.html 22. http://www.daniellaberge.net/music/rhythm/exercises/2-3.html 23. http://www.daniellaberge.net/music/rhythm/exercises/2-4.html 24. http://www.daniellaberge.net/music/rhythm/exercises/2-4.html 25. http://www.daniellaberge.net/music/rhythm/exercises/2-5.html 26. http://www.daniellaberge.net/music/rhythm/exercises/2-5.html 27. http://www.daniellaberge.net/music/rhythm/exercises/2-6.html 28. http://www.daniellaberge.net/music/rhythm/exercises/2-6.html 29. http://www.daniellaberge.net/music/rhythm/exercises/3-1.html 30. http://www.daniellaberge.net/music/rhythm/exercises/3-1.html 31. http://www.daniellaberge.net/music/rhythm/exercises/3-2.html 32. http://www.daniellaberge.net/music/rhythm/exercises/3-2.html 33. http://www.daniellaberge.net/music/rhythm/exercises/3-3.html 34. http://www.daniellaberge.net/music/rhythm/exercises/3-3.html 35. http://www.daniellaberge.net/music/rhythm/exercises/3-1s.html 36. http://www.daniellaberge.net/music/rhythm/exercises/3-1s.html 37. http://www.daniellaberge.net/music/rhythm/exercises/3-1s.html 38. http://www.daniellaberge.net/music/rhythm/exercises/3-2s.html 39. http://www.daniellaberge.net/music/rhythm/exercises/3-2s.html 40. http://www.daniellaberge.net/music/rhythm/exercises/3-2s.html 41. http://www.daniellaberge.net/music/rhythm/exercises/3-3s.html 42. http://www.daniellaberge.net/music/rhythm/exercises/3-3s.html 43. http://www.daniellaberge.net/music/rhythm/exercises/3-3s.html 44. http://www.daniellaberge.net/music/rhythm/exercises/4-1.html 45. http://www.daniellaberge.net/music/rhythm/exercises/4-1.html 46. http://www.daniellaberge.net/music/rhythm/exercises/4-2.html 47. http://www.daniellaberge.net/music/rhythm/exercises/4-2.html 48. http://www.daniellaberge.net/music/rhythm/exercises/4-3.html 49. http://www.daniellaberge.net/music/rhythm/exercises/4-3.html 50. http://www.daniellaberge.net/music/rhythm/exercises/4-4.html 51. http://www.daniellaberge.net/music/rhythm/exercises/4-4.html 52. http://www.daniellaberge.net/music/rhythm/exercises/4-5.html 53. http://www.daniellaberge.net/music/rhythm/exercises/4-5.html 54. http://www.daniellaberge.net/music/rhythm/exercises/4-6.html 55. http://www.daniellaberge.net/music/rhythm/exercises/4-6.html 56. http://www.daniellaberge.net/music/rhythm/exercises/4-1s.html 57. http://www.daniellaberge.net/music/rhythm/exercises/4-1s.html 58. http://www.daniellaberge.net/music/rhythm/exercises/4-1s.html 59. http://www.daniellaberge.net/music/rhythm/exercises/4-2s.html 60. http://www.daniellaberge.net/music/rhythm/exercises/4-2s.html 61. http://www.daniellaberge.net/music/rhythm/exercises/4-2s.html 62. http://www.daniellaberge.net/music/rhythm/exercises/4-3s.html 63. http://www.daniellaberge.net/music/rhythm/exercises/4-3s.html 64. http://www.daniellaberge.net/music/rhythm/exercises/4-3s.html 65. http://www.daniellaberge.net/music/rhythm/exercises/4-4s.html 66. http://www.daniellaberge.net/music/rhythm/exercises/4-4s.html 67. http://www.daniellaberge.net/music/rhythm/exercises/4-4s.html 68. http://www.daniellaberge.net/music/rhythm/exercises/4-5s.html 69. http://www.daniellaberge.net/music/rhythm/exercises/4-5s.html 70. http://www.daniellaberge.net/music/rhythm/exercises/4-5s.html 71. http://www.daniellaberge.net/music/rhythm/exercises/4-6s.html 72. http://www.daniellaberge.net/music/rhythm/exercises/4-6s.html 73. http://www.daniellaberge.net/music/rhythm/exercises/4-6s.html 74. javascript:; 75. http://www.daniellaberge.net/index.htm Liens cachĂ©s : 76. http://www.daniellaberge.net/music/rhythm/exercises/3-3s.html #[1]ORGY IN RHYTHM - Atom [2]ORGY IN RHYTHM - RSS IFRAME: [3]http://www.blogger.com/navbar.g?targetBlogID=23242779&blogName=ORGY+ IN+RHYTHM&publishMode=PUBLISH_MODE_BLOGSPOT&navbarType=BLACK&layoutType =LAYOUTS&searchRoot=http%3A%2F%2Forgyinrhythm.blogspot.com%2Fsearch&blo gLocale=en_US&homepageUrl=http%3A%2F%2Forgyinrhythm.blogspot.com%2F [4]skip to main | [5]skip to sidebar ORGY IN RHYTHM [6]JAZZ HIP TRIO - JAZZ EN RELIEF Jazz Hip Trio for Riviera France from 1967. Jean-Bernard Eisinger Piano ; Roger Luccioni Bass ;Daniel Humair Drums. More beautiful music from France on this the first Jazz Hip Trio LP. "Orange Boom" was the big tune back in the day but the rest is just fabulous. Needless to say.....All Killer No Filler Another first in public blogland here at OIR. [7]17 comments made-how about you? 12.1.10 [8]MAL WALDRON - TOKYO BOUND Mal Waldron for RCA Victor Japan from 1970. Mal Waldron-Piano;Takeshi Inomata-Drums;Yasuo Arakawa-Bass Tremendous all killer trio date with Waldron joined by a top flight Japanese rhythm section on four original compositions which only saw a release in Japan.Check out the rocking intensity of "Rock One For Jimbo San" and "Japanese Island" which builds from an ominous brooding intro into a marvellous modal waltz."Atomic Energy" blows up with a headlong banging vamp from Waldron's left hand while the right runs all over the keys and then to close "Mount Fujiyama" a more introspective rumination and dissection of the tune's theme. Inomata's drumming is a revelation throughout the session intricate yet swinging with fantastic use of cymbals.(Don't forget to check out Inomata's Sound of Sounds lp also recorded in 1970 which I posted [9]here during the summer) Respect to El Goog for introducing me to this great album.I finally picked a copy up from Japan via ebay last month - not cheap but worth every penny. Very highly recomnmended. [10]37 comments made-how about you? 20.12.09 [11]THE HERBIE HANCOCK TRIO Herbie Hancock for Sony Japan from 1977. Herbie Hancock-Piano;Ron Carter-Bass;Tony Williams-Drums The big three keep it strictly acoustic for this Japanese only release from CBS Sony. 4 originals from Herb plus a rapid romp through "Milestones"...tough stuff. The first V.S.O.P. tour triggered a flood of recording activity in July 1977, but only a fraction of it was released in the U.S. This session, recorded in San Francisco just days before the Quintet concerts in Berkeley and San Diego, finds Herbie Hancock, Ron Carter and Tony Williams mixing it up sans the horns and the results are more reflective and cerebral than the full Quintet concerts. Hancock is thoroughly in control of the agenda while Williams throws in those meter-fracturing flurries that keep everyone on their toes. There is a startling re-interpretation of "Speak like a Child" which is significantly tougher and busier than the wistful Blue Note version, as well as challenging Hancock originals like "Watcha Waiting For" and "Watch It." This is uncompromising acoustic jazz, commercial anathema in the electronic '70s -and thus, only Japan got to hear it. Richard S. Ginell. [12]16 comments made-how about you? 13.12.09 [13]JAZZ HIP TRIO - PORTRAITS Jazz Hip Trio for Riviera France from 1968. Jean-Bernard Eisinger Piano ; Roger Luccioni Bass ;Daniel Humair Drums. Piano trios are the theme for my the next few posts and what better way to start than with some beautiful music from France on it's first time out in blogland here at OIR. 10 original compositions which grow and grow on repeated listening - get past the "Sidewinder" influenced dance floor intro tune "Bat Rock" and you're in for a swinging set of subtle trio sounds.Of course it's gotta be...... All Killer No Filler [14]23 comments made-how about you? 6.12.09 [15]THE DIAMOND FIVE - BRILLIANT ! The Diamond Five for Fontana from 1964. Personnel: Cees Slinger: piano; Harry Verbeke: tenor sax; Cees Smal: trumpet, cornet and valve trombone; Jacques Schols: bass; Johnny Engels: drums. Please check the comments as Chazz has also ripped The Five Diamonds-Finally After Forty Years cd reissue from Japan and will be posting the link shortly.Over to you Chazz! I don't post donations at OIR but just had to make an exception when this was winged across the pond to me from Chazz Katz.It's a very rare piece of hard bop from Holland which made a blink and miss it reissue on cd some years ago in Japan (original vinyl goes for silly money anywhere between $600-$1000) and has never appeared in blogland before.Here's the notes and cheers to Chazz for his rip! Nice work chap - All Killer No Filler! The Diamond Five, a Dutch quintet led by pianist Cees Slinger, was founded in 1959 and lasted until 1965. They were based at the Sheherazade Club in Amsterdam and were quite popular, playing all over Holland and accompanying expatriate American musicians on their visits to Amsterdam. However, when the club closed its doors due to a shift in popular interest from jazz to rock music, the quintet disbanded. This 1964 recording is their only session available on CD. The music is hard bop on the surface, but is neither formulaic nor a copy of the genres imported from the U.S. The musicians are quite unique in their style. Slinger plays sparse notes on his solos, utilizing well-placed pauses in the music to create melodic hard bop with hints of more forward-looking styles. The other outstanding soloist is tenor saxophonist Harry Verbeke, whose solos (in contrast to that of the leader) are filled with a multitude of notes played in the modal vein. The others are also quite stellar, the bass and the drums providing a loose bluesy support and horn man Cees Smal adding something unique with the sounds of his different horns, switching between valve trombone, cornet and trumpet. [16]26 comments made-how about you? 26.11.09 [17]BOBBY HUTCHERSON - CIRRUS Bobby Hutcherson for Blue Note from 1974. Hutch is playing four sets in London this weekend so Katonah from Private Press and I will be propping up the bar for his late spot at Scotts tomorrow night. So here's a 3rd repost for his evergreen "Cirrus" ....All Killer No Filler. This was my very first Bobby Hutcherson post here at OIR back in may 2006.It was ripped from my vinyl copy @192 in those days-I've reupped it @320 this time and taken it from the superb Mosaic Select box set.Here's my original narrative: Cirrus finds Bobby Hutcherson resuming his partnership with tenor saxophonist Harold Land, and the results are marvellous. The pair work with pianist Bill Henderson, trumpeter Woody Shaw, bassist Ray Drummond, drummer Larry Hancock, saxophonist/flautist Emmanuel Boyd and percussionist Kenneth Nash on this set of originals.The album starts with a great version of Woody Shaw's "Rosewood" while the rest of the set is written by Hutcherson and includes "Even Later".Highlight of the lp for me is the atmospheric and brooding "Zuri Dance" - what a corker ! [18]36 comments made-how about you? 13.11.09 [19]DAVE PIKE - LET THE MINSTRELS PLAY ON Dave Pike for Muse from 1978. Vibraphone - Dave Pike / Bass - Luther Hughes / Cello - Luther Hughes / Drums - Ted Hawkes / Guitar - Ron Eschete / Keyboards , Sax - Tom Ranier / Vocals - Carol Eschete. KGML has just posted "Spirits Samba" so dug the lp out for those who would like to hear more. Picked this up in Tony Monson's Disc Empire in the early 80s after hearing Chris Bangs spinning "Swan Lake" and found it had yet another bona fide jazz dance classic to be featured in the shape of "Spirits Samba". Here's an apathetic review from amg: Some Afro-Latin, some fusion and things in between from vibist Dave Pike. Pike is a good player, but sometimes his arrangements bog down between pop and jazz. His style is more remniscent of Red Norvo, with its lighter, less aggressive and flowing lines. [20]12 comments made-how about you? 12.11.09 [21]RANDY WESTON - BLUE MOSES Randy Weston For CTI from 1972. Arranged By - Don Sebesky;Bass - Bill Wood (2) (tracks: B1) , Ron Carter ;Drums - Bill Cobham ;English Horn, Clarinet, Flute - George Marge ;Flugelhorn - Alan Rubin , John Frosk , Marvin Stamm ;Flute - Hubert Laws ;French Horn - Brooks Tillotson , James Buffington ;Oboe, Clarinet, Flute - Romeo Penque ;Piano - Randy Weston Saxophone [Tenor] - Grover Washington, Jr ;Synthesizer [Moog] - David Horowitz Trombone - Garnett Brown , Warren Covington , Wayne Andre ;Trombone - Paul Faulise Trumpet - Freddie Hubbard ;Vocals - Madasme Meddah Super heavyweight banger from CTI - trust Randy Weston to dispense with Creed Taylor's saccharine stylings.All Killer blah blah blah.... Another underwhelming review from Mr Yannow: Randy Weston's most popular record, this Lp (which he had mixed feelings about) features Weston not only on piano but electric keyboards. Backed by Don Sebesky arrangements and assisted by trumpeter Freddie Hubbard and tenor-saxophonist Grover Washington Jr., Weston plays quite well on four of his compositions; best-known are "Ganawa (Blue Moses)" and "Marrakesh Blues." The music retains the African feel of most of Weston's latter-day playing but also has some commercial touches that do not hurt the performances. This rewarding date has not yet been reissued on CD. ~ Scott Yanow, All Music Guide Fantastic cover art from Pete Turner - I highly recommend his book[22] here. [23]16 comments made-how about you? 7.11.09 [24]BLACKCLASSICAL - 1ST BIRTHDAY MEGAMIX Blackclassical has taken off his flat cap ,put the racing pigeons away and is celebrating his first year on t'interwebs with a mighty mp3 mash up of spiritual jazz goodness[25] here.Proof indeed that it's not all grim up north. Happy Birthday you old bastard - now get the lagers in and make sure they've got vodka tops you tightarse. [26]3 comments made-how about you? 6.11.09 [27]TUBBT HAYES - TUBBS IN N.Y. Tubby Hayes for Fontana from 1961. Saxophone [Tenor] - Tubby Hayes; Bass - George Duvivier; Drums - Dave Bailey ;Piano - Horace Parlan ; Trumpet - Clark Terry;Vibraphone - Eddie Costa Another first in blogland for this British vinyl rarity at OIR with Tubbs keeping heavy company in NYC . Apparently there was legal wrangling about who owns the masters so don't hold your breath waiting for a cd issue.The last one got pulled pronto upon release in 1990. The swaggering "A Pint Of Bitter" was my very first exposure to Hayes back in the early 80s - I just love that tune - but the rest is just as good with flat out romps through "Opus Ocean" and "Airegin" plus a wonderfuly swinging "Soon" . Nice! [28]26 comments made-how about you? 31.10.09 [29]TUBBY HAYES QUARTET - TUBBY'S GROOVE Tubby Hayes for Tempo from 1960. Tubby Hayes (ts), Terry Shannon (p), Phil Bates (b), Phil Seamen (d). "Tin Tin Deo" killin' it every time for me on this rare piece of British wax from 50 years ago. Simon Spillet has written a fascinating piece on Tubby at[30] Jazzscript and here's his take on this album: I think it's one of Tubby's best ever studio recordings and catches him very much in his prime. I suppose that the stand-out track for me has to be Sunny Monday with its unaccompanied tenor choruses. The tone is big, the rhythmic delivery is full of confidence and the sheer enthusiasm shines through half a century on. [31]23 comments made-how about you? 30.10.09 [32]STAFFAN ABELEEN QUINTET -PERSEPOLIS Staffan Abeleen for Philips Sweden from 1964. Staffan Abeleen-Piano ; Lasse Farnlof - Trumpet ; Bjorn Netz - Tenor ; Bjorn Alke - Bass ; Bosse Skoglund - Drums More top draw business from Sweden making a first appearance in blogland.Modal to bossa to ballads this one's got the lot: ALL KILLER NO FILLER [33]15 comments made-how about you? 15.10.09 [34]BERNT ROSENGREN BIG BAND - FIRST MOVES Bernt Rosengren for EMI Sweden from 1977. Bassoon, Horn - Lars Bagge/Clarinet, Clarinet [Bass], Saxophone [Soprano, Alto, Baritone] - Lennart Jansson /Congas - Johnny Martinez , René Martinez , Sabu Martinez Cornet , Flugelhorn - Lars Färnlöf /Drums - Leif Wennerström/Flute, Saxophone -Bernt Rosengren /Horn [English], Saxophone - Tommy Koverhult / Percussion - Okay Temiz / Piano - Claes-Göran Fagerstedt / Piano, Piano [Electric] - Bobo Stenson / Saxophone [Baritone] - Gunnar Bergsten / Saxophone [Tenor] - Anders Lindskog / Trombone - Jan Jansson , Janus Miezek , Lars Olofsson , Lennart Löfgren / Trombone [Bass] - Sven Larsson /Trumpet - Björn Borg /Trumpet , Flugelhorn - Bertil Lövgren , Maffy Falay / Bass - Torbjörn Hultcrantz Back over to Sweden for this killer big band session led by Bernt Rosengren and featuring some big names such as a pre-ECM Bobo Stenson,the wonderful Lars Farnlof and none other than the mighty Sabu Martinez. Check out the percussion destruction of "Felicidade" with Sabu plus sons Johnny and Rene Martinez beating the crap out of the Jobim bossa standard... Murdah!!! [35]19 comments made-how about you? 1.10.09 [36]JAZZ QUINTET 60 Jazz Quintet 60 from 1962 for Metronome Denmark. Allan Botschinsky (tp), Niels Husum (ts), Bent Axen (p), Niels-Henning Orsted Pedersen (b), Bjarne Rostvold (ds). Legendary Scandinavian rarity (Check the second mortgage prices on [37]Popsike) from Denmark featuring a who's who of the Danish Jazz scene from the past 50 years. First time it's has been posted in public blogland so don't sleep on this one : ALL KILLER NO FILLER ! [38]27 comments made-how about you? 27.9.09 [39]STAFFAN ABELEEN QUINTET - DOWNSTREAM Staffan Abeleen Quintet for Philips Sweden from 1966. Staffan Abeleen - Piano ; Lasse Farnlof - Trumpet ; Bjorn Netz - Sax ; Bosse Skugland - Drums ; Paul Danielsson - Bass. All compositions by Lars Farnlof Scandinavia is the destination for my next batch of posts and what better way to start than with this superb album by The Staffen Abeleen Quintet playing the compositions of the wonderful Lars Farnlof. Another first appearance in blogland but let the music do the talking ... ALL KILLER NO FILLER [40]15 comments made-how about you? 19.9.09 [41]ARCHIE SHEPP & THE FAMILY OF PERCUSSION - HERE COMES THE FAMILY I have had lots of requests for a repost of this bomb from Archie Shepp and The Family of Percussion - so here it is. First posted at OIR september 2006. The Family of Percussion (Peter Giger,Trilok Gurtu,Doug Hammond and Tom Nicholas)are joined by Archie Shepp on this hard to find 1980 release from Nagara in Germany. On "Here Comes the Family"the Family establish the basic form of the piece with their rhythmic and vocal opening with Shepp's flute fluttering above it all.Then he lets rip with what the liner notes call 'Poetic Recitation'but would probably be called rapping these days over a funky percussive backdrop .This tune is why the lp remains in such demand - a big play list favourite of djs world wide. Next up is Shepp's "Street Song" the best cut on the lp for me,on which he blows his tenor freely over the drums,congas,bells and gongs.The piece ends in a crescendo of percussion culminating in a gong crash which fades into silence."Euterpe's Favorit"has Shepp back on flute with the family weaving a mystical feel behind him on bells,whistles,water pipes,gongs,rattles and drums. "Ardopetori"starts side 2 with a mid tempo infectious rhythm established by shakers and log drum which builds slowly with Shepp soloing freely again on tenor. "For Ti Roro"wraps it up and begins with the gentle,caribean sounds of steel drums until Shepp's soprano bursts in with a frenzy of excitement.This is the most free track with all the musicians reacting to each otherboth collectively and singularly until it finishes fittingly with the sound of the congas. This came out on lp and cd but quickly dissapeared without trace.if you want a copy you gonna have to dig hard and have deep pockets! [42]18 comments made-how about you? [43]HIROSHI SUZUKI - CAT Hiroshi Suzuki for Columbia Japan from 1975. Hiroshi Suzuki-Trombone ; Hiromasa Suzuki-Keyboards ; Akira Ishikawa-Drums ; Takeru Muraoka-Sax ; Kunimitsu Inaba-Bass More super rare J Jazz making a first appearance in blogland and this is an absolute beauty made up of 5 long cuts that hit the perfect balance between jazz and fusion.Acoustic bass meshed with subtle funky drums topped with lashings of Rhodes,trombone and sax deliver a really stretched out understated rolling groove. The album just grows and grows with repeated listening and it's a big favourite over here at Bacoso's Big Top - no surprise that it's ALL KILLER NO FILLER ! [44]34 comments made-how about you? 7.9.09 [45]T. INOMATA & SOUND L.T.D. - SOUNDS OF SOUND L.T.D. Takeshi Inomata for Columbia Japan from 1970. Takeshi Inomata (Drums & Percussion) Jun Suzuki (Electric Bass) Shigetok Kamiya (Electric Guitar) Ryo Kawasaki (Electric Guitar) Sho Imai (Trombone & Bass Trombone) Shigemichi Dohmoto (Trombone & Bass Trombone) Takao Uematsu (Tenor Sax & Soprano Sax) Fantastic lp of funky jazz from the Columbia issued Groovy Sound Series. No idea who plays on it as the credits are all in Japanese but it's a monster session. Check out "Mustache" and "Tak's Tune" for some severe beats from drummer/leader Takeshi Inomata. All Killer No Filler - Highly Recommended! [46]22 comments made-how about you? 29.8.09 [47]HIDEO SHIRAKI - IN FIESTA Hideo Shiraki for Teichiku Japan from 1961. Rare super tough hard bop session from Japan featuring the killer koto led and drum driven bomb "In Fiesta". Reissued in Japan by Kyoto Jazz Massive for Think in a blink and miss it moment back in 2005 but now out of print. The old Dusty Groove blurb: A brilliant early album from Japanese drummer Hideo Shiraki a jazz session that bristles with the same intensity as key late 50s work by Benny Golson or Gigi Gryce! Although Hideo's leading the group on drums, his work on the kit is remarkably subtle done with the snappingly rhythmic style that marked some of Golson's best modern experiments of a few years before not nearly as bombastic as his stint with Art Blakey, and more in the rhythmically stepping quality of his work with Art Farmer in the Jazztet. Key players on the session include Hidehiko Matsumoto on tenor and flute and Yuzuru Sera on piano both of whom give the album a fluid grace that's really beautiful soulful edges that allow the record to stand equally next to anything coming out of the US at the time. One track features a bit of koto at the start -- echoing Shiraki's later world jazz experiments but most of the set is straight modern hardbop, with tracks that include "Blue Romeo", "Etude No 1", "Just One Or Eight", "You Don't Know What Love Is", and Benny Golson's "Five Spot After Dark". [48]14 comments made-how about you? 18.8.09 [49]LLOYD MCNEILL - TREASURES Lloyd McNeill for Baobab from 1976. Lloyd McNeill-Flute ; Dom Salvador-Piano ; Cecil McBee-Bass ; Portinho , Brian Brake-Drums ; Ray Armando-Percussion. One for the flute freaks on a private press out of NYC. Heavy Brazilian infuences at work on this wonderful spiritual jazz session from the great Lloyd McNeill.Two originals,one standard and a cracking version of Salvador's "Salvation Army" which featured on Dom's '76 Muse debut "Minha Familia"(Available at [50]Ile Oxumare). Here's some info on Lloyd McNeill from the excellent [51]Hipwax: The first thing to know about Lloyd McNeill is that his are the very best soul-jazz flute LPs, and each is first-rate, a masterpiece of self-direction. The second thing to know is there is much more to him than his recorded legacy. He is one of those incredible, super-sensitive people who excels at every artistic idiom and endeavor; making wonderful music is just part of his flowing creativity. A professor (at Rutgers University, earlier Dartmouth), he has much to say about music and creativity as well as an impeccable gift for saying it...sensibly. McNeill's writings on his musical experiences provide invaluable documents of "the period" (late 1960s-1970s) as well as a rare glimpse at the joy of a relatively unsung master. McNeill has played with jazz legends --Andrew White (his longtime collaborator/producer), Eric Dolphy, Sabu Martinez, Mulatu Astatke, among many others-- and he has had a significant hand in the arts scene of Washington, D.C. The major galleries of art, including those of the Smithsonian, sponsored multi-media "happenings" that soared far above the hippie caricature of acid rock with light show. During the first flowering of post-Civil Rights, African-American culture, the Lloyd McNeill Quartet's improvisitory, simultaneuous jazz and large-scale painting "happened" while a lucky, perhaps unsuspecting public drank it in. McNeill believes his influences and their results in his art, music, and poetry are inseparable and mutually reinforcing. Time spent with Picasso in Cannes, 1965 led to new expressions in all three, for instance. And when one brushes against a force such as Picasso, just the idea of "meeting Picasso" has a certain momentum, never mind the inevitable casting of rays of a different kind of light. Canvas, vinyl, the stage, paper, and books of poetry offer a few key imprints of McNeill, and McNeill consistently pays tribute to many illustrious peers. There are six albums, all produced and entirely under the artist's control. Each title surpasses anything comparable on the major labels, even Blue Note. The Black Jazz label may be roughly similar in style, but Asha and Baobab are wholly Lloyd McNeill. The records reflect none of the usual external trends from the decade in which they were recorded; all sound like 1971 rather than 1979. The final record even reprises the first (the exotic, broodingly moody "Asha"), and the sound throughout remains somewhat interchangeable and timeless. But each record has its own themes and currents, and even improvisation has its signatures and fingerprints. Buying: Long out of print, collectors items, Lloyd McNeill records should be snapped up on sight. Hip Wax is pleased to offer two titles for which limited stock remains [52]here. Warning - McNeill lps can be damaging to the [53]wallet. [54]29 comments made-how about you? 14.8.09 [55]If Spike Lee Did Movies In Audio... Greg's back on the mix with his old mucker Monohub - another mashed up bomb in memory of Coltrane and the late,great George Russell.Grab it [56]HERE. Here's the blurb from big daddy himself: I did a version of this a while back and was planning to publish on July 17th as a memorial to the day that John Coltrane died, but, a combination of lack of time, work commitments and other things got in the way... Anyway I redid it and am glad that i did as it's much better than the original. This one strictly for the heads... and defo not for the feint hearted. If you liked the Black State of Vietnam mix then this is for you... So as i said; In respect of John Coltrane and George Russell. Much thanks to Monohub too although he plays down his part in this, his genius did have a lot to do with it... [57]1 comments made-how about you? 3.8.09 [58]SADAO WATANABE AND CHARLIE MARIANO - IBERIAN WALTZ Sadao and Charlie for Tact Japan from 1967. Sadao Watanabe (as) , Charlie Mariano (as) , Masabumi Kikuchi (p) , Masanaga Harada (b) , Masahiko Togashi (ds) , Fumio Watanabe (ds) This received a "Japan Jazz Award" on release. Some severe blowing on this double alto led sextet featuring a young band of soon to be Japanese jazz luminaries. The fast and furious "Palisades" was comped on the Sleepwalker Shibuya Jazz Classics.However the 16 minute title cut is the stand out tune an intense modal waltz with a Spanish tinge featuring coruscating solos from Mariano and Watanabe - hard core stuff. Recommended. [59]16 comments made-how about you? 28.7.09 [60]JAMES MARENTIC SEXTET - NIMBUS James Marentic for Discovery from 1982. James Marentic-Sax/Flute; Tom Harrell -Trumpet/Flugelhorn; Slide Hampton-Trombone; Larry Willis-Piano; Anthony Cox-Bass; Victor Lewis-Drums. Storming post hard bop outing for Mr Marentic and his all star band. Check out the banging latin romp "Baile de las Cucharachas " which kicks off the lp in fine style and the Coltrane inspired "Nimbus". "Aphrodesia" has the inspiration of Kenny Dorham stamped all over it and no prizes for guessing who "Mr Silver I Presume" is aimed at If you enjoyed Tom Harrell's "Aurora" post then this should be right up your street,round your corner and down your block! [61]8 comments made-how about you? 23.7.09 [62]CARTER JEFFERSON - THE RISE OF ATLANTIS Carter Jefferson for Timeless from 1978. Terrific post bop album with latin influences -All Killer No Filler! John Hicks (Piano), Terumasa Hino (Trumpet), Woody Shaw (Producer), Clint Houston (Bass), Victor Lewis (Drums),Carter Jefferson (Sax ), Lani Groves (Vocals), Shunzo Ohno (Trumpet), Steve Thornton (Percussion), Harry Whitaker (Piano) Here's the customary underwhelming AMG review : Tenor saxophonist Carter Jefferson made somewhat of a name for himself when trumpeter Woody Shaw chose him as a member of his first working quintet. Shaw is the producer of this album, Jefferson's fine debut (and evidently only) recording as a leader. Taking a cue from Shaw, the saxophonist sticks essentially to a quintet of trumpet and sax backed by all-star rhythm sections. Three of the tracks include hard bop trumpeter Terumasa Hino while the other three feature little-known Japanese trumpeter Shunzo Ono. Most of the tunes are firmly in the school of hard bop, the sort of music that Woody Shaw played so well. While there is not any new ground broken, it is all performed competently enough. While not as emotionally charged as his work with Shaw, Jefferson impresses with a fluid, mobile attack that shows a solid grasp of his material. If the groups seem to be sometimes merely going through the motions, there are nonetheless enough fine moments to make this a worthwhile purchase.AMG. A reliable and advanced soloist who spent most of his career as a sideman, Carter Jefferson is best-remembered for his association with Woody Shaw during 1977-1980. Jefferson started on clarinet and played alto before settling on tenor, going on tour early in the backup bands of the Temptations, the Supremes, and Little Richard. In 1971, he moved to New York to attend New York University and soon spent two years with Mongo Santamaria and a period in 1973 as a member of Art Blakey's Jazz Messengers. After his important stint with Woody Shaw (with whom he recorded several times), Jefferson worked with many top players, including Elvin Jones, Roy Haynes, Cedar Walton, Jerry Gonzalez & the Fort Apache Band, Malachi Thompson, and Jack Walrath's Masters of Suspense. His premature death in Poland after emergency surgery was a major loss. Carter Jefferson only led one record, The Rise of Atlantis, on the Timeless label in 1978. AMG. [63]33 comments made-how about you? 10.7.09 [64]JULIO GUTIERREZ - PROGRESSIVE LATIN Julio Gutierrez for Gema from 1960. The title says it all for this groundbreaking heavyweight descarga session...Highly recommended. Has anyone out there got a copy of Gutierrez's "Havana BC" they want to sell me?If so leave me a message in the comments. Progressive Latin should be considered a classic of Latin jazz if it isn't already. "Cosa Buena" cooks, and "Closing Time" is a slower bossa nova with flute and horns that captures the mood of a good night out at its end. "Yambambe," an Afro rhythm behind mostly piano, sounds more sophisticated than its simple construction. "El Altiplano" is supposed to be an Incan melody with Afro elements. In any case, vocal interjections pave the way for a longer descarga where a variety of intriguing elements (horns, flute piano, even organ) work together in their own weird ways and combinations. The "Route 66" theme arrangement is a coup; the sax and flute are recorded gorgeously, and the piano and conga pace it ideally, with brief drum solo breaks. "Sad City" is a haunting flute piece, while "Guantanamera" has an interesting change but there is only so much one can expect from this tune. "Malaguena" is another long descarga that gets a little wild. Progressive Latin is something of a masterpiece from the great arranger Julio Gutierrez. Tony Wilds What impressed me most about this album is Julio's use of space and the length of the tunes, considering that in the era when it was recorded, 2 1/2 minute tunes were standard. Great musicians like El Negro Vivar (trumpet) and Chombo Silva (sax) were able to beautifully stretch out over an almost post-bop/Afro-Cuban jazz setting. There is some serious blowing on this disc. This is another essential Latin jazz gem from the late 50s/early 60s. Jose Rizo [65]22 comments made-how about you? 4.7.09 [66]Older Posts Subscribe to: [67]Posts (Atom) JAZZ - LATIN - SOUNDTRACKS . RARE - OBSCURE -DELETED . ALL RIPS @ 320 FROM ORIGINAL VINYL OR CD. JAZZ - LATIN - SOUNDTRACKS . RARE - OBSCURE -DELETED . ALL RIPS @ 320 FROM ORIGINAL VINYL OR CD. 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http://www.blogger.com/post-edit.g?blogID=23242779&postID=275976701608321186 194. http://www.blogger.com/rearrange?blogID=23242779&widgetType=Image&widgetId=Image1&action=editWidget 195. http://www.blogger.com/rearrange?blogID=23242779&widgetType=Profile&widgetId=Profile1&action=editWidget 196. http://www.blogger.com/rearrange?blogID=23242779&widgetType=BlogList&widgetId=BlogList1&action=editWidget 197. http://www.blogger.com/rearrange?blogID=23242779&widgetType=BlogArchive&widgetId=BlogArchive1&action=editWidget [spacer1.gif] [blackrainbowhdr01.jpg] IFRAME: [1]http://rcm.amazon.com/e/cm?t=rhythmweb&o=1&p=48&l=ur1&category=instr uments&banner=0JB0A4VDS5FZSF8J66G2&f=ifr About Rhythmweb A Grassroots Network [dada01a.jpg] (at left: World Unity Drum Festival, Club Dada, Dallas, August 1994. My son Jules, shown at age 12 at left) Rhythmweb started in December of 1996, as a reflection of my virtual search for music and musicians on the Web, and as an excuse to woodshed web design. Since then we have been amazed by the reponse we have recieved, from all corners of the globe. From the Mid-East to Australia, and from South Africa to Europe to New Orleans to Brazil to Papua, NewGuinea, musicians are connecting. Truly, rhythm is a universal language, love of music a universal love. Thanks to all our new friends for connecting with us. Our mission is to further the use of rhythm, music, and percussion & related arts as a healing tool. We LOVE music. We LOVE the Web. When our schedule permits, we surf several [kids097.jpg] hours a night, then we post the fruits of our travels... Every time we meet someone interesting with a rhythm related website, we post a link. Some very worthwhile friendships have evolved along the way, and we've discovered lots of good music. We have since integrated affiliate links to CDs, books, and so forth, but our basic mission remains the same. We are NOT a bunch of suits, drooling e-commerce. We're musicians, artists. We believe it's important for people at the grassroots level to network during this crucial moment in history. If you'll notice, the vast majority of links on rhythmweb are GRASSROOTS musicians, trying to get over in this new economy. You will see no big over-rated stars from the conglomerate record companies. Plenty of that elsewhere. [eric_october03-01b-225.jpg] There are also fan pages and correspondent pages here, on a large number of working musicians. Thanks very much to all for your help. We are actively seeking musicians in various parts of the world to drop us a line now and then, and let us know what the percussion scene is like in your area. If you have a drum lesson you'd like to share with our readers, please let us know, and perhaps we can steer you some traffic in return. If you have an instrument, a CD, or a DVD you'd like for us to review, we may do that too, time permitting; please drop us a line about it. And to the thousands of hobbyist , semi-pro and professional percussionists who come seeking info, and bringing life and enthusiasm, welcome. Don't hesitate to introduce yourself, and send us some feedback, and some links. Drum on, Stu IFRAME: [2]http://rcm.amazon.com/e/cm?t=rhythmweb&l=st1&search=drumming%20rhyth m&mode=books&p=13&o=1&f=ifr [3]Shop at Amazon.com [4]Previous Page | [5]Contact | [6]Home [7][clown.gif] © 1996-2008 Eric Stuer All rights reserved RHYTHMWEB P.O. Box 836711 Richardson TX 75083 RHYTHM WEB(TM); and RHYTHMWEB(TM); are trademarks, and any unauthorized use of the names is a violation of applicable law. RĂ©fĂ©rences 1. http://rcm.amazon.com/e/cm?t=rhythmweb&o=1&p=48&l=ur1&category=instruments&banner=0JB0A4VDS5FZSF8J66G2&f=ifr 2. http://rcm.amazon.com/e/cm?t=rhythmweb&l=st1&search=drumming%20rhythm&mode=books&p=13&o=1&f=ifr 3. 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ABSTRACT FULL TEXT FULL-TEXT PDF (2346 KB) CITATION ALERT CITED BY RELATED ARTICLES EXPORT CITATION EMAIL TO A COLLEAGUE RIGHTS/PERMISSIONS [37]Standard image available [38]DOWNLOAD IMAGES NEED REPRINTS? BOOKMARK ARTICLE RR-interval irregularity precedes ventricular fibrillation in ST elevation acute myocardial infarction [39]Miguel E. Lemmert, MD[40]a[41] Corresponding Author Information [42]email address , [43]Mohamed Majidi, MD[44]a, [45]Mitchell W. Krucoff, MD[46]*, [47]Sebastiaan C.A.M. Bekkers, MD[48]a, [49]Harry J.G.M. Crijns, MD, PhD, FHRS[50]a, [51]Hein J.J. Wellens, MD, PhD, FHRS[52]a, [53]Andrzej S. Kosinski, PhD[54]*, [55]Anton P.M. Gorgels, MD, PhD, FHRS[56]a Received 9 August 2009; accepted 15 September 2009. published online 22 September 2009. Background Sudden cardiac arrest is a leading cause of death in industrialized countries, and ischemic ventricular fibrillation (VF) is a frequent cause. Objective The purpose of this study was to determine whether patients with ST elevation myocardial infarction (STEMI) who develop ischemic VF show more overall RR-interval irregularity (RRI) than do STEMI patients without ischemic VF. Methods Ischemic VF was identified in 41 patients from 1,473 digital 12-lead Holter recordings from three separate STEMI studies. Continuous 3-lead and 12-lead electrocardiogram (ECG) snapshots recorded every minute were compared between all ischemic VF patients and 123 random patients without ischemic VF. Time intervals from start of Holter to ischemic VF and equivalent intervals in the controls were used for calculations. ECG variables related to conduction intervals and severity of ischemia were measured using the most ischemic 12-lead ECG. RRI was calculated as the square root of the mean squared differences of successive RR intervals. For RRI, all QRS complexes, including ventricular ectopic beats, were used. Results No baseline differences were observed between the study and control groups, except for male preponderance among ischemic VF patients (90% vs 72%, P = .019). QRS interval, ECG ischemia severity, RRI, and number of ventricular ectopic beats were significantly associated with ischemic VF. Multivariate analysis revealed RRI (odds ratio 1.006, 95% confidence interval 1.001-1.010, P = .016) and ST deviation score (odds ratio 1.073, 95% confidence interval 1.041-1.106, P <.001) as the only statistically significant predictors of ischemic VF. Conclusion In the period before ischemic VF, RRI and ST deviation score are associated with ischemic VF in STEMI patients. These findings could have important pathophysiologic and clinical implications. Keywords: [57]Cardiac arrest, [58]Electrocardiography, [59]Myocardial infarction, [60]Sudden death, [61]Ventricular fibrillation Abbreviations: [62]AUC, [63]area under receiver operating characteristic curve, [64]AV, [65]atrioventricular, [66]ECG, [67]electrocardiogram, [68]HRV, [69]heart rate variability, [70]IQR, [71]interquartile range, [72]ROC, [73]receiver operating characteristic, [74]RRI, [75]RR-interval irregularity, [76]STEMI, [77]ST elevation myocardial infarction, [78]VF, [79]ventricular fibrillation Article Outline o [80]Abstract o [81]Introduction o [82]Methods o [83]Patient population o [84]ECG data o [85]RRI and ventricular ectopic beats o [86]Twelve-lead ECG measurements o [87]Statistical analysis o [88]Results o [89]Baseline characteristics and laboratory values o [90]ECG characteristics o [91]Cutoff values o [92]Discussion o [93]Baseline characteristics o [94]Single 12-lead ECG measurements o [95]Continuous ECG measurements o [96]RRI and total number of ventricular ectopic beats o [97]Heart rate variability o [98]Study limitations o [99]Clinical implications and future research o [100]Conclusion o [101]Acknowledgment o [102]References o [103]Copyright Introduction [104]return to Article Outline Sudden cardiac arrest is one of the leading causes of death in industrialized countries, and ischemic ventricular fibrillation (VF) is one of the most frequent causes.[105]1, [106]2 To date, research aimed at predicting VF has predominantly focused on the postmyocardial infarction stage and nonischemic conditions. Familial history of sudden death recently was demonstrated to be an important risk factor for VF in an ST elevation myocardial infarction (STEMI) population,[107]3 suggesting that genetic factors are involved and that predisposition to ischemic VF differs among patients. Inhomogeneity of intramyocardial conduction velocity plays a role as a substrate for reentrant ventricular arrhythmias and sudden death during acute ischemia.[108]4, [109]5, [110]6, [111]7, [112]8 In the current study, we introduce the novel electrocardiographic (ECG) parameter of overall RR-interval irregularity (RRI), which is measured by taking all QRS complexes into account, irrespective of their origin. A greater RRI could lead to increased inhomogeneity of conduction velocities and refractory periods, facilitating ischemic VF. Using single 12-lead ECGs, our group recently demonstrated longer PR and QRS conduction intervals in first STEMI patients developing ischemic VF.[113]9 This finding supports the concept of increased inhomogeneity in conduction velocity and calls upon further elucidation of the concept. Thus, we tested the hypothesis that cardiac rhythm characteristics preceding ischemic VF are different from those in ischemic patients without VF, particularly with regard to the novel ECG parameter RRI. Methods [114]return to Article Outline Patient population A retrospective database consisting of 1,473 24-hour Holter recordings was retrieved from the ECG core laboratory of the Duke Clinical Research Institute (Durham, NC, USA). The database consists of Holter recordings from STEMI patients who were included in three separate safety-efficacy STEMI studies between April 2002 and November 2003. The database includes all analyzable Holter recordings from two cohorts (CASTEMI[115]10 and EMERALD,[116]11 n = 1,031) treated with direct percutaneous coronary intervention and one cohort treated with thrombolytic therapy (RAPSODY, n = 442). All of these patients were older than 18 years, had presented with diagnostic ST elevation on standard ECG, and had symptom duration <= 6 hours. As part of the study protocols, all patients were connected to 24-hour digital 12-lead Holter recorders immediately after hospital admission, prior to any therapeutic intervention in the hospital. For the current study, all 1,473 Holter recordings were examined for ischemic VF. Ischemic VF was defined as irregular undulations of varying shape and amplitude on ECG without discrete QRS or T waves. To ensure the ischemic nature of the VF, only patients with VF that occurred before percutaneous coronary intervention and/or in the presence of persisting ST deviation were included in the study. Patients in whom VF occurred in conjunction with ECG signs of reperfusion were considered to have reperfusion VF rather than ischemic VF and were not included in the study (n = 5). Patients who showed regular monomorphic ventricular tachycardias rather than VF also were excluded from the study (n = 19). Forty-one patients (2.8%) with ischemic VF were identified (study group). For comparison, for each VF patient, three patients without ischemic VF (control group) were selected, only matched for the original study cohort. Selection was done randomly using the statistical software SPSS for Windows (release 12.0.1, SPSS, Inc., Chicago, IL, USA), providing a total of 123 control patients. Clinical descriptors noted include baseline characteristics (gender, age, diabetes mellitus, hypertension, hypercholesterolemia, current smoking, and history of acute myocardial infarction), coronary angiographic data (culprit lesion), and plasma levels of cardiac enzymes. ECG data Holter recordings (DR180+, NorthEast Monitoring, Maynard, MA, USA) consisted of digital 24-hour 3-lead recordings (leads V5, V1, and III), with a complete Mason-Likar 12-lead ECG (calibration 10 mm/mV, speed 25 mm/s) available every minute and featured designated analysis software (Holter 5 LX Analysis version 5.2, NorthEast Monitoring). For each VF patient, the time interval from start of recording to onset of ischemic VF and the equivalent time interval in the three matched controls were used for analysis, disregarding the residual recording time. Computerized labeling of QRS complexes and RR intervals on Holter recordings was reviewed and corrected on a beat-to-beat basis by a trained physician (M.E.L.). RRI and ventricular ectopic beats For this analysis, we introduce RRI as a novel parameter. RRI was calculated using the designated software's capability to calculate heart rate variability (HRV). HRV is the variation in heart rate resulting from sympathetic and vagal influences on the sinus node. HRV disregards all ECG complexes other than sinus beats. Using continuous 3-lead Holter recordings, the software is capable of several HRV measurements within the time domain. Similar to standard HRV measurements, RRI calculations were performed using the three leads of the Holter recordings. Contrary to standard HRV measurements, RRI takes all ECG complexes, irrespective of their origin, into account, including (episodes of) atrial fibrillation or atrial flutter, paced rhythms, and supraventricular and ventricular complexes. To enable RRI measurements by the software, all ECG complexes were manually labeled as sinus beats. Time intervals before onset of ischemic VF frequently were short. Therefore, the square root of the mean squared differences of successive RR intervals method was used because it reflects short-term variations in RR intervals, as previously described in detail.[117]12 For the software to perform HRV measurements and thus RRI measurements, a minimum of 5 minutes of recording time is required. The total number of ventricular ectopic beats was counted for each patient, again during the time interval from start of recording to onset of ischemic VF and the equivalent time interval in the control patients. Twelve-lead ECG measurements Our group recently showed significant differences in PR and QRS conduction intervals as well as severity of ischemia between VF patients and control patients. For this reason, similar measurements were made in the current study using the designated software, which features electronic calipers for 12-lead ECGs. For each patient, one 12-lead ECG showing the most pronounced ST-segment deviation was used because these ECGs are expected to be the best representation of ischemia-induced conduction defects. The measurements have been described previously,[118]9 with the difference that, because of the digital ECG data and the accompanying Holter software, the measurements were done using the electronic calipers of the analysis software instead of manually. Statistical analysis Data analysis and case-control randomization were performed using SPSS for Windows (release 12.0.1). Continuous variables are expressed as median and interquartile range (IQR) and categorical variables as percentages. For comparison of continuous variables, a Student's t-test for normally distributed data or a Mann-Whitney test or Wilcoxon signed-rank test for non-normally distributed data was used. For comparison of categorical variables, a Pearson chi-square test or Fisher exact test was used. All statistical tests were two-tailed, and P <.05 was considered significant. ECG characteristics showing a significant univariate relation with the occurrence of VF but lacking multicollinearity (defined as r > 0.4) were included in multivariate logistic regression. Variables were removed stepwise from the model when P was >.10. Variables with P <.05 in the final model were considered independent contributors and are reported in the results. In the final model, tests were done for interactions between main predictors. The predictive accuracy of the final model is reported as the area under the receiver operating characteristic (ROC) curve (AUC). Cutoff values for ECG characteristics by which most VF patients can be correctly classified are identified by applying the Pythagorean theorem to ROC curves, which is a mathematical determination of the cutoff value with the graphically shortest distance to a sensitivity and specificity of 1. Results [119]return to Article Outline Baseline characteristics and laboratory values No statistically significant differences regarding baseline characteristics and laboratory values were found between the VF patients and the controls, except for a significantly higher percentage of males among the VF patients (90% vs 72%, P = .019; [120]Table 1). Table 1. Baseline characteristics of the study population Ischemic VF (n = 41) No ischemic VF (n = 123) P value Age (years) 61 (54-71) 59 (52-71) .54 Male 90 72 .019 Anterior wall infarction 31 29 .84 Culprit artery .32 Left anterior descending branch 20 21 Right coronary artery 77 66 Left circumflex branch 3 13 Comorbidity/risk factor Diabetes mellitus 10 18 .32 Hypertension 39 42 .71 Hypercholesterolemia 33 26 .41 Smoking 38 38 1 Prior myocardial infarction 11 11 1 Original study cohort .30 CASTEMI[121]10 3 97 EMERALD[122]11 3 97 RAPSODY 2 98 Laboratory values Initial CK 1.6 (0.3-10.3) 2.6 (0.7-6.9) .70 Post PCI CK 8.1 (5.6-21.9) 10.1 (5.0-14.5) .75 Initial CK-MB 3.1 (1.7-7.7) 4.2 (0.6-7.6) .77 Post PCI CK-MB 6.9 (2.0-11.0) 8.5 (4.1-13.1) .41 Post PCI troponin-T 50.9 (27.5-74.2) 15.4 (8.2-61.8) 1 Note: Information on the culprit artery was available for 127 patients from the PCI cohorts (CASTEMI and EMERALD). For the thrombolytics cohort (RAPSODY), the distinction between anterior wall infarctions and nonanterior wall infarctions was available. Values are given as median (interquartile range) or percent. CK = creatine kinase; CK-MB = creatine kinase-MB isoenzyme; PCI = percutaneous coronary intervention; VF = ventricular fibrillation. ECG characteristics ECG characteristics are listed in [123]Table 2. All patients were in sinus rhythm, except for six (four VF patients, two controls) with atrial fibrillation, which precluded assessment of sinus rate and PR interval. One VF patient had a paced rhythm during part of the Holter recording. One VF patient and two control patients showed atrioventricular (AV) nodal escape rhythms. Two additional control patients had high-degree AV block. Table 2. ECG characteristics of the study population Ischemic VF (n = 41) No ischemic VF (n = 123) P value Sinus rate (min-1) 74 (62-85) 73 (65-85) .719 PQ (ms) 177 (160-216) 164 (153-181) .055 QRS (ms) 103 (88-115) 93 (83-104) .018 QTc Bazett (ms) 417 (390-446) 414 (396-414) .822 Peak ST deviation (mm) 7 (5-10) 4 (2-7) <.001 Grade of ischemia 3 (2-3) 2 (2-3) .004 No. of leads with ST deviation 10 (9-11) 7 (4-10) <.001 STdev (mm) 36 (26-50) 20 (11-30) <.001 Measuring time (minutes) 29 (16-57) 29 (16-57) N/A Total no. of ventricular ectopic beats 73 (19-268) 19 (2-106) .006 RRI (ms) 132 (100-197) 73 (39-122) <.001 RRI-5 min (ms) 186 (97-237) 44 (22-101) <.001 Values are given as median (interquartile range). RRI = RR-interval irregularity; RRI-5 min = RR-interval irregularity in the last 5 minutes of measuring time; STdev = ST deviation score, the sum of all ST deviations on 12-lead ECG; VF = ventricular fibrillation. With regard to measurements using single 12-lead ECGs, VF patients showed a longer QRS interval [103 ms (IQR 88-115 ms) vs 93 ms (IQR 83-104 ms), P = .018] and a larger amount of ischemia, as measured by peak ST deviation, grade of ischemia,[124]13 total number of leads with ST deviation, and ST deviation score. With regard to continuous ECG measurements, the median measuring time was 29 minutes (IQR 16-57 minutes). Because the requirement of at least 5 minutes of recording time prior to ischemic VF could not be met, the computer software did not allow RRI measurement in three VF patients and subsequently nine control patients. VF patients showed a higher RRI [132 ms (IQR 100-197 ms) vs 73 ms (IQR 39-122 ms), P <.001] and more ventricular ectopic beats [73 (IQR 19-268) vs 19 (2-106), P = .006]. Excluding the recordings with atrial fibrillation from the analysis, did not affect the results regarding the RRI measurements. Logistic regression was applied, with presence of ischemic VF as the dependent variable and variables showing univariate significance (QRS interval, ST deviation score, total number of ventricular ectopic beats, RRI) as the independent variables. Because we recently showed ST deviation score to be an independent predictor of ischemic VF[125]9 and we wanted to correct for multicollinearity between the variables measuring the amount of ischemia, ST deviation score was the only ischemia parameter entered in the logistic regression. This multivariate analysis revealed that only a higher RRI (odds ratio 1.006, 95% confidence interval 1.001-1.010, P = .016) and a higher ST deviation score (odds ratio 1.073, 95% confidence interval 1.041-1.106, P <.001) were independently associated with an increased chance of ischemic VF ([126]Table 3). The interpretation of these odds ratios is that an increase in RRI of 1 ms corresponds to an increased chance of ischemic VF of 0.6%. Table 3. Multivariate analysis of the study population Odds ratio 95% Confidence interval P value RR-interval irregularity (ms) 1.006 1.001-1.010 .016 STdev (mm) 1.073 1.041-1.106 <.001 Area under the receiver operating characteristic curve is 0.835. STdev = ST deviation score, the sum of all ST deviations on 12-lead ECG. For our study population, this means that, based on only RRI measurements, patients who developed VF had a 41.5% (1.006 ^ [132 ms - 73 ms] = 1.415) more chance of doing so than the patients who did not develop VF. Similarly, an increase in ST deviation score of 1 mm implies an increased chance of ischemic VF of 7.3%. The predictive accuracy of this model assessed by the AUC was 0.835. In addition, to examine a fixed and shortest possible time frame prior to ischemic VF, RRI was measured in the last 5 minutes of measuring time. This showed an even more marked difference in RRI between VF and control patients [186 ms (97-237 ms) vs 44 ms (22-101 ms), P <.001]. Multivariate analysis using this RRI of the last 5 minutes yielded an RRI odds ratio of 1.012 (95% confidence interval 1.007-1.018, P <.001), with a predictive model accuracy (AUC) of 0.896 (not shown in [127]Table 3). Of note, measurement of RRI in the last 5 minutes was not possible in 7 VF patients and 27 controls because occasional artifact during this time period in these patients reduced the analyzable recording time to less than the required 5 minutes. Cutoff values Based on the optimal (mathematical) balance between sensitivity and specificity, cutoff values for RRI and the ST deviation score were identified. According to these criteria, the cutoff value for RRI is 110 ms, with sensitivity of 74% and specificity of 75%. The cutoff value for the ST deviation score is 27 mm, yielding sensitivity of 74% and specificity of 70%. Discussion [128]return to Article Outline To the best of our knowledge, this study is the first to show that heart rate irregularity, measured as the novel parameter RRI, plays a significant role preceding ischemic VF on continuous ECG recordings retrieved from a large STEMI database. Baseline characteristics No differences in baseline characteristics were found, except for male preponderance in the VF patients. This is not in accordance with previous research in which no gender difference with regard to ischemic VF or sudden cardiac arrest was found.[129]9, [130]14, [131]15, [132]16, [133]17, [134]18 Our finding could be an observation by chance, due to multiple exploratory tests that in no way are related to any hypothesis tested in this study. Single 12-lead ECG measurements The significantly longer QRS interval and the larger amount of ischemia in the VF patients are in agreement with our previous findings on single 12-lead STEMI ECGs.[135]9 Briefly, in that study we found longer conduction intervals in VF patients that may, depending on the site of the occlusion and amount of ischemia, indicate an inhomogeneity in conduction velocity providing the substrate for ischemic VF. The current study adds a continuous aspect to the period preceding ischemic VF. In a multivariate regression model including continuous ECG measurements, only RRI and the amount of ischemia appear to be independently associated with the occurrence of ischemic VF. Continuous ECG measurements The parameters related specifically to the continuous ECG measurements are RRI and total number of ventricular ectopic beats. RRI and total number of ventricular ectopic beats RRI is a novel and unique ECG parameter that combines into a single parameter the multitude of ECG complexes and rhythms occurring in the acute phase of a STEMI by measuring RRI resulting from all such complexes. Examples of large and small RRIs are shown in [136]Figure 1. [137]View full-size image. [138]View Large Image [139]Download to PowerPoint [140]Standard image available Figure 1. RR-interval irregularity (RRI) in ventricular fibrillation (VF) patient (A) and matched control patient (B). Primarily due to irregular runs of ventricular ectopic beats, the VF patient had an RRI of 257 ms prior to the ischemic VF (red arrow), whereas the control patient had an RRI of 20 ms in the equivalent time interval. Green complexes indicate sinus beats; red complexes indicate ventricular ectopic beats; blue complexes indicate artifact (not used for any calculations). To our knowledge, the only continuous ECG parameter suggested to be associated with ischemic VF occurring in the acute phase of a STEMI is an increased number of ventricular ectopic beats prior to ischemic VF.[141]19 However, the predictive value of these so-called warning arrhythmias has been questioned by other researchers.[142]20, [143]21 In our study population, we were able to reproduce the finding that frequent ventricular ectopic beats represent a harbinger of ischemic VF. These previously reported contradictory results may be explained by our additional finding that the total number of ventricular ectopic beats was not an independent predictor of ischemic VF. RRI was the only independent continuous ECG predictor of ischemic VF, suggesting that the mere presence of ventricular ectopic beats is less important than rhythm irregularity. The manner in which RRI is associated with ischemic VF could be as follows. RRI leads to inhomogeneity in conduction velocity and refractory periods. Beat-to-beat changes in refractoriness, induced by RRI, may become pronounced in ischemic areas due to ischemia-related postrepolarization refractoriness, an effect suggested by our data to be even more pronounced in the final 5 minutes preceding ischemic VF. Subsequent, relatively shortly coupled beats may block or conduct slowly in these areas and instantaneously create a substrate vulnerable to ischemic VF. Shortly coupled beats do not necessarily induce reentry and VF; rather, they set the stage. The finding that the number of leads showing ST deviation was associated with ischemic VF might indicate a role for more widespread myocardial ischemia rather than merely local severity of ischemia. This could add to the heterogeneity of postrepolarization refractoriness. Although not an independent predictor, this concept is supported by a larger region at risk associated with VF found in a previous study using coronary angiography.[144]16 Heart rate variability The RRI measurements were performed using the software's mathematical capabilities to calculate HRV. Although technically possible, actual HRV measurements are not reported here. HRV has been recognized as a marker of the relationship between the autonomic nervous system and cardiac mortality. A decreased HRV has been proposed as a predictor of ventricular arrhythmias and sudden death in different patient populations, mostly consisting of patients in the postmyocardial infarction phase or with nonischemic cardiac diseases.[145]12, [146]22, [147]23, [148]24, [149]25 Most studies attributing a predictive role to HRV were specifically designed to measure this parameter for sufficiently long periods of sinus rhythm in a chronic care setting. The current study relates to a completely different clinical situation, not only because of its acutely ischemic population but also because of the relatively short measuring times with frequent ventricular ectopy. Thus, the clinical meaning of standard HRV measurements would be questionable in our study population. Study limitations The population studied was a selected population because all patients survived until hospital admission. Therefore, whether our findings can be generalized to the situation outside the hospital is not known. The study variables were derived from three separate studies, so possibly the study population was not homogeneous. In spite of this, the association we found between RRI, amount of ischemia, and ischemic VF was very consistent across studies. All patients were derived from STEMI intervention trials who met certain ST-segment criteria for inclusion. Therefore, whether the results are applicable to non-STEMI patients or patients with demand ischemia rather than supply ischemia is not known. Finally, we have no information on use of medication. However, in a previous study we found no influence of any type of medication on development of ischemic VF.[150]9 Furthermore, it is more likely that medications such as beta-blocking agents would influence RR-interval duration rather than RRI. In this regard, it should be noted that there was no difference in sinus rate between VF patients and control patients. However, it should be taken into account that the current database of Holter recordings prior to ischemic VF is unique in its size and possibly the best available. Clinical implications and future research The results of this study are important for a better understanding of ischemic VF. Moreover, it provides simple variables with possible implications for clinical use. There is an increased need for monitoring high-risk cardiac patients outside the hospital setting, and the development of monitoring devices with alarm features has been advocated by our group and others.[151]26, [152]27, [153]28 When incorporated within the algorithms of arrhythmia sensing devices, a warning predictor of ischemic VF could lead to improved early identification of individuals at risk. The predictive accuracy of 0.835 by multivariate analysis was high ([154]Table 3). This indicates that RRI and the ST deviation score may be useful as predictors of ischemic VF in STEMI patients. The cutoff value for RRI is 110 ms, with sensitivity of 74% and specificity of 75%. The cutoff value for the ST deviation score is 27 mm, yielding sensitivity of 74% and specificity of 70%. Because false-positive identification of STEMI patients at risk for ischemic VF is preferable to false-negative failure to identify, it could be speculated that different (ranges of) cutoff values with higher sensitivities at the cost of lower specificities should be chosen. Sensitivities of (approximately) 80% and 90% and corresponding cutoff values for RRI and the ST deviation score are shown in [155]Figure 2, [156]Figure 3. [157]View full-size image. [158]View Large Image [159]Download to PowerPoint [160]Standard image available Figure 2. Sensitivity and specificity for all cutoff values for RR-interval irregularity (RRI). [161]View full-size image. [162]View Large Image [163]Download to PowerPoint [164]Standard image available Figure 3. Sensitivity and specificity for all cutoff values for the ST deviation score (STdev). This study was aimed at STEMI patients who suffer from supply ischemia. One could speculate whether the results can be extrapolated to patients suffering from demand ischemia due to a severe stenosis. In that case, RRI could play a similar role in these patients, leading to ischemic VF (e.g., during exercise or diminished blood supply during sleep). Because the majority of sudden cardiac arrests occurs outside the hospital, a warning predictor of ischemic VF could be useful in patients with known coronary artery disease. The model proposed in the current study could serve as an ischemia model that could be used in future research studying patients who are potential victims of ischemic VF due to demand ischemia. Such populations are currently being studied by our group. Conclusion [165]return to Article Outline Overall RRI and the amount of ischemia are suggested to be useful predictors of ischemic VF occurring in the acute phase of STEMI. Acknowledgments [166]return to Article Outline We thank W.R. Dassen, PhD, for statistical advice. 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Real-time detection and alerting for acute ST-segment elevation myocardial ischemia using an implantable, high-fidelity, intracardiac electrogram monitoring system with long-range telemetry in an ambulatory porcine model. J Am Coll Cardiol. 2006;11:2306-2314. [201]a Department of Cardiology, Maastricht University Medical Center, Maastricht, The Netherlands [202]* Duke University Medical Center/Duke Clinical Research Institute, Durham, North Carolina, USA [203]Corresponding Author Information Address reprint requests and correspondence: Dr. Miguel E. Lemmert, Maastricht University Medical Center, Department of Cardiology, PO Box 5800, 6202 AZ Maastricht, The Netherlands This research was supported by an unrestricted grant from Philips Healthcare, Seattle, Washington. PII: S1547-5271(09)01043-1 doi:10.1016/j.hrthm.2009.09.024 © 2010 Heart Rhythm Society. Published by Elsevier Inc. All rights reserved. [204]View previous. 12 of 28 [205]View next. [206]Copyright © 2010 Elsevier, Inc. 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http://www.heartrhythmjournal.com/article/S1547-5271(09)01044-3/fulltext 205. http://www.heartrhythmjournal.com/article/S1547-5271(09)01143-6/fulltext 206. http://www.elsevier.com/ 207. http://www.heartrhythmjournal.com/misc/privacy 208. http://www.heartrhythmjournal.com/article/S1547-5271(09)01043-1/fulltext 209. http://www.heartrhythmjournal.com/article/S1547-5271(09)01043-1/fulltext 210. http://www.heartrhythmjournal.com/article/S1547-5271(09)01043-1/fulltext 211. http://www.heartrhythmjournal.com/webfiles/helpfiles/periodicals_help.htm 212. http://www.heartrhythmjournal.com/contact Liens cachĂ©s : 213. http://ad.uk.doubleclick.net/jump/elsevierperiodicals.rbi/article.fulltext;abr=!webtv;cou=-1;spec=-1;cstr=phoenix;jrn=hrthm;ptile=1;sz=734x105,728x90;ord=6614263039? 214. http://www.heartrhythmjournal.com/article/S1547-5271(09)01043-1/fulltext#article-footnote-1 Wheeler English Lines & Rhymes: Rhythm from The teachers and Writers Handbook of Poetic Forms, edited by Ron Padgett. and your text, Elements of Literature, Second Course (Holt, Rinehart) Rhythm is a musical quality produced by the repetition of stressed and unstressed syllables. Rhythm occurs in all forms of language, both written and spoken, but is particularly important in poetry The most obvious king of rhythm is the regular repetition of stressed and unstessed syllables found in some poetry. Writers also create rhythm by repeating words and phrases or even by repeating whole lines and sentences, as Walt Whitman does in "Song of Myself": I hear the sound I love, the soung of the hyman voice, I hear all sounds running together, combined, fused, or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals... [yellowrose_l.jpg] [whitedaisy1_l.jpg] People often use a combination of two words to describe regular rhythm or meter. For example, you might refer to the meter of a sonnet as iambic pentameter The first word, such as iambic, refers to the beat pattern, in this case an unaccented syllable followed by an accented syllable (the most common in English). The second refers to the length of the line. In the case of pentameter we mean five feet (or ten syllables, long. Below are some commonly used words to describe the meter of regular poetry. The most common units ("feet") of rhythm in English are: The iamb, consisting of two syllables, only the second accented (as in "good-bye") The trochee, two syllables, only the first accented (as in "awful") The anapest, three syllables, with only the third stressed (as in "Halloween") The dactyl, one stressed syllable followed by two unstressed (as in "wonderful") The spondee, two consecutive syllables that are both stressed (as in "big deal") Many American poets in the past thirty years have written poetry using everyday language, and because much American speech is iambic in pattern, the poetry shows a lot of iambic rhythm. [golddaisy_l.jpg] Rhythm (or "measure") in writing is like the beat in music. In poetry, rhythm implies that certain words are produced more force- fully than others, and may be held for longer duration. The repetition of a pattern of such emphasis is what produces a "rhythmic effect." The word rhythm comes from the Greek, meaning "measured motion." In speech, we use rhythm without consciously creating recognizable patterns. For example, almost every telephone conversation ends rhythmically, with the conversants understanding as much by rhythm as by the meaning of the words, that it is time to hang up. Frequently such conversations end with Conversant A uttering a five- or six-syllable line, followed by Conversant B's five to six syllables, followed by A's two- to four-syllable line, followed by B's two to four syllables, and so on until the receivers are cradled. Well I gotta go now. Okay, see you later. Sure, pal. So long. See you. Take care. Bye bye. Bye bye. In poems, as in songs, a rhythm may be obvious or muted. A poem like Vachel Lindsay's "The Congo" consciously recreates the rhythms of a tribal dance: Fat black bucks in a wine-barrel room Barrel-house kings, with feet unstable, Sagged and reeled and pounded on the table, Pounded on the table, Beat an empty barrel with the handle of a broom, Hard as they were able Boom, boom, BOOM, With a silk umbrella and the handle of a broom, Boomlay, boomlay, boomlay, BOOM. On the other hand, some "free verse" has underlying rhythmical patterns that, while variable and not "regular" like Vachel Lindsay's, do nonetheless give a feeling of unity to the work. For example, read aloud the following lines a few times: A chimney, breathing a little smoke. The sun, I can't see making a bit of pink I can't quite see in the blue. The pink of five tulips at five P.M. on the day before March first. -From "February" by James Schuyler [1]suggested assignments [2]project [3]rhythm [4]rhyme [5]repetition [6]figures of speech [7]schoolnotes [8]home RĂ©fĂ©rences Liens visibles 1. http://www.angelfire.com/ct2/evenski/poetry/assignments.html 2. http://www.angelfire.com/ct2/evenski/poetry/finalproject.html 3. http://www.angelfire.com/ct2/evenski/poetry/rhythm.html 4. http://www.angelfire.com/ct2/evenski/poetry/rhyme.html 5. http://www.angelfire.com/ct2/evenski/poetry/repetition.html 6. http://www.angelfire.com/ct2/evenski/poetry/figuresofspeech.html 7. http://schoolnotes.com/06359/gr8english.html 8. http://www.angelfire.com/ct2/evenski/home.html Liens cachĂ©s : 9. http://www.angelfire.com/index.html