In classical Greek poetry there is a familiar distinction between verse which repeats line upon line, and that which forms patterns liable to closure at intervals, in stanzas or lyric sections. This is often equated with the distinction between spoken and sung verse, but the equation is only approximate. At an earlier stage all verse had some musical accompaniment—so much can be deduced from a number of passages in Homer, and is in any case implicit in the nature of quantitative (...) verse. By Hellenistic times it seems that, in new composition, the more complex lyric structures had died out, while of the simpler ones more and more were being taken over as spoken verse. In the fifth century—and this can probably be extended to at least the late sixth and most of the fourth—only two kinds of verse are known to have dispensed with music altogether in performance: the heroic hexameter and the iambic trimeter. (shrink)

In classical Greek poetry there is a familiar distinction between verse which repeats line upon line, and that which forms patterns liable to closure at intervals, in stanzas or lyric sections. This is often equated with the distinction between spoken and sung verse, but the equation is only approximate. At an earlier stage all verse had some musical accompaniment—so much can be deduced from a number of passages in Homer, and is in any case implicit in the nature of quantitative (...) verse. By Hellenistic times it seems that, in new composition, the more complex lyric structures had died out, while of the simpler ones more and more were being taken over as spoken verse. In the fifth century—and this can probably be extended to at least the late sixth and most of the fourth—only two kinds of verse are known to have dispensed with music altogether in performance: the heroic hexameter and the iambic trimeter. (shrink)

Text, interpretation and metre present a tangled problem in this threnody, and the solutions of editors differ widely. The chief function of detailed metrical study in such corrupt passages of lyric is to weight the scales in favour of—or more often against—certain methods of handling the text. The positive results of this present attempt to apply metrical criteria are necessarily modest and tentative; negatively they are, I think, sometimes decisive.

What kind of Theory of Music and Theory of Metric was taught to the young Pindar or the young Sophocles? So far are we from an answer to this question that we do not even know how far extra study was necessary, or usual, for the professional poet as compared with the ordinary educated Greek citizen. The interdependence of music and metric in lyric poetry gave complexity to the word-rhythms but kept the study of music, the subordinate partner, theoretically simple. (...) Doubtless by the time the young poet had learnt by heart the words of past masters of lyric verse, sung or accompanied them on the lyre, and danced them in choir or κ⋯μος, he had absorbed by practice and somewhat rule-of-thumb methods of training a great deal of the τ⋯χενη which his calling would require. He would have to learn, in common with the χοροδιδ⋯σκαλος, how to read and write a simple score, and so he must know the symbols of pitch in such scales as were then in use. The notation of arsis and thesis may have been required too, and if we knew that this was so, and how he was taught to apply it, we might be in a much better position to assess the kind of theory he learnt. But of one thing we may be sure: genius apart, it was his practical training, as performer and spectator, rather than theoretical teaching which gave his ear its cunning and technical skill to compose new rhythms. (shrink)

Dactylo-Epitrite has established itself in a privileged position among choral lyric metres, since the greater volume of material and the greater regularity of its component units have encouraged a more careful study, and closely reasoned controversies have arisen and been resolved over its structure. Other kinds of Pindaric metre have for the most part been analysed in a hit-or-miss spirit, and arbitrary schemes have been produced of which rarely are two alike for the same poem, yet little attempt has been (...) made to base any preference upon a theory. (shrink)

I Am not proposing in this essay to treat at length and in detail of the metric of other lyric poets. In most cases questions of metre are intimately involved with questions of text, into which so many other considerations enter that in dealing with them proportion would be lost, while metrical analysis of such material would still remain largely speculative. What follows is therefore little more than a general account of the principles of composition which these poets appear to (...) me to follow; I have, however, indicated a few passages where emendations made purely on metrical grounds and widely accepted seem to me, in the absence of responsion, based on too ready a desire to reduce all poems to the best-known formulas of versification. (shrink)

I Am not proposing in this essay to treat at length and in detail of the metric of other lyric poets. In most cases questions of metre are intimately involved with questions of text, into which so many other considerations enter that in dealing with them proportion would be lost, while metrical analysis of such material would still remain largely speculative. What follows is therefore little more than a general account of the principles of composition which these poets appear to (...) me to follow; I have, however, indicated a few passages where emendations made purely on metrical grounds and widely accepted seem to me, in the absence of responsion, based on too ready a desire to reduce all poems to the best-known formulas of versification. (shrink)

A variety of theoretical frameworks predict the resemblance of behaviors between two people engaged in communication, in the form of coordination, mimicry, or alignment. However, little is known about the time course of the behavior matching, even though there is evidence that dyads synchronize oscillatory motions (e.g., postural sway). This study examined the temporal structure of nonoscillatory actions—language, facial, and gestural behaviors—produced during a route communication task. The focus was the temporal relationship between matching behaviors in the interlocutors (e.g., facial (...) behavior in one interlocutor vs. the same facial behavior in the other interlocutor). Cross-recurrence analysis revealed that within each category tested (language, facial, gestural), interlocutors synchronized matching behaviors, at temporal lags short enough to provide imitation of one interlocutor by the other, from one conversational turn to the next. Both social and cognitive variables predicted the degree of temporal organization. These findings suggest that the temporal structure of matching behaviors provides low-level and low-cost resources for human interaction. (shrink)

This is a description of an avian-shaped feature that rests below a network of cellular structures found on a mound within the Argyre Basin of Mars in Mars Global Surveyor image M14-02185, acquired on April 30, 2000, and released to the public on April 4, 2001. The area examined is located near 48.0° South, 55.1° West. The formation is approximately 2,400 meters long from the tip of its beak to the tip of its farthest tail feather. There is a minimum (...) of six different variations in appearance of the surface material over this small area. Utilizing the public targeting request form provided on the Mars Global Surveyor (MGS) website, co-author Miller secured a second image of the area that was obtained on July 3, 2006, showing this feature under different conditions S20-00165. The new image was then released to the public on August 11, 2006. A third image of the formation identified as MGS S13-01480 was acquired on December 15, 2005, and although officially processed on June 20, 2006, it was not made available to the public until August 22, 2009, on NASA’s Planetary Data System (PDS) website. All three of the MGS images reveal defining aspects of this avian feature, including a head, beak, body, eye, leg, foot, toes, wing, and feathers. When taken together, these components induce the visual impression of an avian-shaped formation that exhibits a unique set of proportional features. Adjoining this formation is a composite of complex cellular features that form a compartmentalized infrastructure. The three authors who are veterinarians provide a critical analysis of the avian features, and the geologist and geoscientist authors examine natural mechanisms that could contribute to the formation of this feature. An extensive search of comparable regions within and beyond the area of the Argyre Basin was conducted. A list of these sites is provided, and terrestrial comparisons are also offered. (shrink)

No consensus yet exists on how to handle incidental fnd-ings in human subjects research. Yet empirical studies document IFs in a wide range of research studies, where IFs are fndings beyond the aims of the study that are of potential health or reproductive importance to the individual research participant. This paper reports recommendations of a two-year project group funded by NIH to study how to manage IFs in genetic and genomic research, as well as imaging research. We conclude that researchers (...) have an obligation to address the possibility of discovering IFs in their protocol and communications with the IRB, and in their consent forms and communications with research participants. Researchers should establish a pathway for handling IFs and communicate that to the IRB and research participants. We recommend a pathway and categorize IFs into those that must be disclosed to research participants, those that may be disclosed, and those that should not be disclosed. (shrink)