See P. Kiparsky and G. Youmans, ed., Rhythm and Meter (1989).
See G. G. Luce, Biological Rhythms in Human and Animal Physiology (1971); J. Brady, ed., Biological Timekeeping (1982); L. Glass and M. C. Mackey, From Clocks to Chaos: The Rhythms of Life (1988).
Poetic rhythm designed to approximate the natural rhythm of speech. It is characterized by the frequent juxtaposition of single accented syllables and by the occurrence of feet with varying numbers of syllables whose sequence is interrupted by unstressed syllables that are not counted in the scansion. Because stressed syllables often occur sequentially, the rhythm is said to be “sprung.” This system of prosody was developed by Gerard Manley Hopkins, who saw it as the basis of such early English poems as William Langland's Piers Plowman.
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Periodic biological fluctuation in an organism corresponding to and in response to periodic environmental change, such as day and night or high and low tide. The internal mechanism that maintains this rhythm even without the apparent environmental stimulus is a “biological clock.” When the rhythm is interrupted, the clock's adjustment is delayed, accounting for such phenomena as jet lag when traveling across time zones. Rhythms may have 24-hour (circadian rhythm), monthly, or annual cycles. Seealso photoperiodism.
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Any of several closely related musical styles developed by African American artists. The various styles were based on a mingling of European influences with jazz rhythms and tonal inflections, particularly syncopation and the flatted blues chords. They grew out of the blues of the rural South, which blended work chants with songs of deep emotion, and were greatly influenced by gospel music. Three major forms were distinguishable. The earliest, called race, was the style of the “jump” band, which emphasized strong rhythm, solo work (especially by saxophones), and vocals in a shout-blues manner. A second form, often called Chicago blues, was exemplified by performers such as Muddy Waters and was typically played by a small group with amplified instruments. The third major form was primarily vocal, featuring close, gospel-influenced harmonies often backed by an orchestra. In the mid-1950s the term rhythm and blues was adopted by the music industry for music intended for the African American audience; with the gradual disappearance of racial barriers, the Chicago blues style began to seem less a vital form than a folk tradition, while the gospel style was transformed into the soul music of vast appeal. Rhythm and blues was the chief antecedent of rock music.
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Inherent cycle of approximately 24 hours in length that appears to control or initiate various biological processes, including sleep, wakefulness, and digestive and hormonal activity. The natural signal for the circadian pattern is the change from darkness to light. The controlling mechanism for these cyclic processes within the body is thought to be the hypothalamus. Any change in the circadian cycle (such as jet lag and other conditions associated with travel) requires a certain period for readjustment.
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Rhythm (from Greek ῥυθμός - rhythmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events.
A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975,
In his series How Music Works, Howard Goodall presents theories that rhythm recalls how we walk and the heartbeat we heard in the womb. However neither would seem to have any survival value in Man's evolution. More likely is that a simple pulse or 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. It is possibly also rooted in courtship ritual.
Syncopated rhythms are rhythms that accent parts of the beat not already stressed by counting. Playing simultaneous rhythms in more than one time signature is called polymeter. See also 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 Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, William Rothstein, and Joel Lester.
Some genres of music make different use of rhythm than others. Most Western music is based on divisive rhythm, while non-Western music uses more additive rhythm. African music makes heavy use of polyrhythms, and Indian music uses complex cycles such as 7 and 13, while Balinese music often uses complex interlocking rhythms. By comparison, a lot of Western classical music is fairly rhythmically simple; it stays in a simple meter such as 4/4 or 3/4 and makes little use of syncopation.
Clave is a common underlying rhythm in African, Cuban music, and Brazilian music.
In the 20th century, composers like Igor Stravinsky, Philip Glass, and Steve Reich wrote more rhythmically complex music using odd meters, and techniques such as phasing and additive rhythm. At the same time, modernists such as Olivier Messiaen and his pupils used increased complexity to disrupt the sense of a regular beat, leading eventually to the widespread use of irrational rhythms in New Complexity. This use may be explained by a comment of John Cage's 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). LaMonte Young also wrote music in which the sense of a regular beat is absent because the music consists only of long sustained tones (drones). In the 1930s, Henry Cowell wrote music involving multiple simultaneous periodic rhythms and collaborated with Léon Theremin to invent the Rhythmicon, the first electronic rhythm machine, in order to perform them. Similarly, Conlon Nancarrow wrote for player piano.
RHYTHMS INVESTMENT HURT ENRON ENERGY COMPANY SOUGHT TO SHIELD ITSELF FROM LOSSES IN COLORADO WEB PROVIDER.(Business)
Feb 05, 2002; Byline: David Milstead and M.E. Sprengelmeyer News Staff Writers Enron Corp.'s road to ruin leads directly through Colorado and a...