Respiratory rhythms sustain biological life, governing the homeostatic exchange of oxygen and carbon dioxide. Until recently, however, the influence of breathing on the brain has largely been overlooked. Yet new evidence demonstrates that the act of breathing exerts a substantive, rhythmic influence on perception, emotion, and cognition, largely through the direct modulation of neural oscillations. Here, we synthesize these findings to motivate a new predictive coding model of respiratory brain coupling, in which breathing rhythmically modulates both local and global neural (...) gain, to optimize cognitive and affective processing. Our model further explains how respiratory rhythms interact with the topology of the functional connectome, and we highlight key implications for the computational psychiatry of disordered respiratory and interoceptive inference. (shrink)

Rhythm is generally taken to refer to a temporal pattern of events. Yet in recent years, across diverse fields in the arts, humanities, and social sciences, it has come to serve as the conceptual marker for a wide range of new approaches to understanding relations and relationality, following most explicitly from the late work of Henri Lefebvre. This article explores the temporal aspect of such relational thinking, in particular asking how time is implicated in relations, and how it can (...) be meaningful in those relations. The sense of time is surveyed from the perspectives of both cognition and metaphysics as well as with reference to music scholarship and social theory, and key threads are drawn, from the writings of Gaston Bachelard and Charles Sanders Peirce in particular, in order to suggest that time can be a sign, and that the signifying properties of rhythm have critical social consequences. (shrink)

Some proponents of the pro-life movement argue against morning after pills, IUDs, and contraceptive pills on grounds of a concern for causing embryonic death. What has gone unnoticed, however, is that the pro-life line of argumentation can be extended to the rhythm method of contraception as well. Given certain plausible empirical assumptions, the rhythm method may well be responsible for a much higher number of embryonic deaths than some other contraceptive techniques.

Research in basic and clinical neuroscience of music conducted over the past decades has begun to uncover music’s high potential as a tool for rehabilitation. Advances in our understanding of how music engages parallel brain networks underpinning sensory and motor processes, arousal, reward, and affective regulation, have laid a sound neuroscientific foundation for the development of theory-driven music interventions that have been systematically tested in clinical settings. Of particular significance in the context of motor rehabilitation is the notion that musical (...) rhythms can entrain movement patterns in patients with movement-related disorders, serving as a continuous time reference that can help regulate movement timing and pace. To date, a significant number of clinical and experimental studies have tested the application of rhythm- and music-based interventions to improve motor functions following central nervous injury and/or degeneration. The goal of this review is to appraise the current state of knowledge on the effectiveness of music and rhythm to modulate movement spatiotemporal patterns and restore motor function. By organizing and providing a critical appraisal of a large body of research, we hope to provide a revised framework for future research on the effectiveness of rhythm- and music-based interventions to restore and train motor function. (shrink)

_ Source: _Volume 47, Issue 1, pp 60 - 84 This article takes up Heidegger’s commentary on Rimbaud’s _Lettres du voyant_ as the starting point for an exploration of the question of rhythm in Heidegger’s thought, and an attempt to situate it within his understanding of technics and Being. Besides pursuing a historical study of the concept of rhythm in Heidegger’s work, this article proposes to understand rhythm through the concept of individuation. It responds to the French (...) philosopher Jacques Garelli’s critique of Heidegger that the latter ignores the question of individuation and always starts with beings that are already individuated. On the contrary, this article attempts to sketch a theory of individuation of rhythm in Heidegger’s proper thinking through a re-interpretation of the _Fug_—a word he used to translate the Greek word δίκη and words derived from it: joint, structure, submission, etc. (shrink)

Rhythm and Harmony in Poetry and Music is an unchanged, high-quality reprint of the original edition of 1895. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become (...) rare and historical knowledge for the future. (shrink)

Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of ‘Rhythmic Gymnastics’. Bode engages with the work of his contemporaries, such as Emile Jaques-Dalcroze, Karl Buecher and Ludwig Klages, and comes to identify rhythm with a continuum devoid of rationality. The text is unique in its ability to meaningfully (...) connect such diverse fields as philosophy, gymnastics, anthropology and politics and shows, in this way, the potential of ‘rhythmanalysis’. (shrink)

One character in Cortázar's novel truly believes in cosmic rhythm. This belief is characteristic of a magical view of the universe central to 1960s counterculture. The other characters in Los Premios, like the implied narrator, reject Persio's essentialism; they dismiss the notion that there is really any rhythm common to art, humanity, and the universe. However, there are key points in the narrative, inspired by falling in love and by works of art, at which their world does appear (...) patterned by just such a rhythm, a ‘swing cósmico’. The novel itself turns out to depend on the intermittent conviction of this rhythm, not objectively embedded in anything, but always seen, living, and dying in time; the price of art is the acceptance of this rhythmed mortality. (shrink)

Rivers stopped or flowing backward -- Harmony, number, and others --Twentieth-Century measures.

Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought.

Phenomenology's relation to sensation has many facets. Sensation arises in different contexts in Edmund Husserl's work, and receives several reformulations. This causes us to inquire how the sensations that are unified within the temporal flow by time constituting consciousness, in On the Phenomenology of the Consciousness of Internal Time, and that continue to exercise an affective pull even after having passed away, in Analyses Concerning Passive Synthesis, can be related to the bodily sensations which constitute the lived body in Ideas (...) II. What is revealed in a critical study of these texts is the unthematized role that sensation plays in Husserl's writings. Yet sensation is not for that reason less significant, nor could his phenomenological descriptions of experience convincingly forgo this concept. ;What is the concept of sensation which can subtend these different formulations and provide a connecting thread within Husserl's phenomenology? My dissertation is a reply to this question. I argue that the sketches of sensation found in Husserl's works can provide the grounds for a rhythmic and dynamic theory of the lived body---a theory which not only inserts the body into the temporal flow of lived experience, and defines its spatiality as fluid, malleable and affectively charged, but which also opens the body to an intersubjective dimension. In this way, sensation becomes a differentiated and heterogeneous reality. Sensation has the structure of an evolution, the continuity of a rhythm, so that the body that is constituted of sensings secretes time at its joints. This theory frees sensation from Husserl's early hylomorphic schema in Ideas I, and reconnects it to the flow of life, and to bodily experiences of world and others. In the process I also examine alternative views which deal with the role of sensation in the contexts of the body, temporality and otherness. The works of M. Merleau-Ponty, but also of E. Levinas, L. Irigaray, H. Bergson and G. Deleuze are important in this regard. Reading these thinkers in connection to Husserl sheds an unexpected light on their philosophies, while allowing us to challenge Husserl and to propel phenomenology in new directions. (shrink)

The aim of this paper is to present a process-based ontology of art following John Dewey’s concepts of experience and rhythm. I will adopt a pragmatist and embodied point of view within an adverbialist framework. I will defend the idea of an artistic way of experiencing – a subtype of aesthetic experience – as something which allows us to assign the ontological category of art to an object or event. The adverbial features of this artistic way of experiencing will (...) be characterized as being rhythmic in nature. This goal will be achieved in three steps. First, I will explain and elaborate on the concept of adverbialism. Second, the importance of rhythm in experience will be taken into account through a close reading of Dewey’s philosophy and by incorporating the nuances of the Pre-Socratic idea of rhuthmos, as well as some recent findings about brain and bodily oscillations from cognitive science. Third, to conclude I will propose four necessary but not sufficient features of the rhythmic engagement enacted while an artistic way of experiencing takes place: a necessary degree of object or event awareness, a positive feedback dynamic, a loosening of the sense of agency, and being attentionally demanding. (shrink)

Ce texte est l'introduction de Technology's Pulse. Essays on Rhythm in German Modernism, London, Institute of Germanic & Romance Studies, 2012, ouvrage dont on trouvera la présentation ici. Nous remercions Michael Cowan de nous avoir autorisé à le reproduire sur RHUTHMOS. - 1er XXe siècle – Nouvel article.

This chapter proposes a theory of dance rhythm as distinct from rhythm in dance. First, it distinguishes natural and intentional rhythm, constructed from combining theories by Dewey and Margolis. It then defends this account by exploring musical and non-musical connections between rhythm and dance. It argues that dance rhythm can arise in conjunction with music, or that it can – though need not – follow music, or that it can set the musical rhythm, or (...) be completely independent of music, though natural or internal bodily rhythms can underpin both. Finally, it asserts the existence of dance that might be naturally rhythmic, but not in a way essential to dance qua dance. (shrink)

This introduction charts several of rhythm's various returns as a way of laying out the theoretical and methodological field in which the articles of this special issue find their place. While Henri Lefebvre’s rhythmanalysis is perhaps familiar to many, rhythm has appeared in a wide repertoire of guises, in many disciplines over the decades and indeed the centuries. This introduction attends to the particular roles of rhythm in the formation of modernity ranging from the processes of industrialization (...) and the proliferation of new media technologies to film and literary aesthetics as well as conceptualizations of human psychology, social behaviour and physiology. These are some of the historical antecedents to the contemporary understandings of rhythm within body studies to which most of the contributions to this issue are devoted. In this respect, the introduction outlines recent approaches to rhythm as vibration, a force of the virtual, and an intensive excess outside consciousness. (shrink)

In the healthy state, both circadian rhythm and mood are stable against perturbations, yet they are capable of adjusting to altered internal cues or ongoing changes in external conditions. The dual demands of stability and flexibility are met by the collective properties of complex neural networks. Disruption of this balance underlies both circadian rhythm abnormality and mood disorders. However, we do not fully understand the network properties that govern the crosstalk between the circadian system and mood regulation. This (...) puzzle reflects a challenge at the center of neurobiology, and its solution requires the successful integration of existing data across all levels of neural organization, from molecules, cells, circuits, network dynamics, to integrated mental function. This essay discusses several open questions confronting the cross‐level synthesis, and proposes that circadian regulation, and its role in mood, stands as a uniquely tractable system to study the causal mechanisms of neural adaptation.Also watch the Video Abstract.Editor's suggested further reading in BioEssays Major depressive disorder: A loss of circadian synchrony? Abstract. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of (...) Rhythm opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

This article has already been published in, and is available in open access from Time and Society, 0, 2017, pp. 1-29. We thank Stanley Blue for his permission to republish it here.: The practice turn in social theory has renewed interest in conceptualising the temporal organisation of social life as a way of explaining contemporary patterns of living and consuming. As a result, the interest to develop analyses of time in both practice theories and practice theory-based - Sur le concept (...) de rythme. (shrink)

Mr. Shewring's recent articles on ‘Prose-rhythm and the Comparative Method’ are gratifying in that they betoken a growing interest in the problems of a comparatively modern and fascinating study, and also an appreciation of the methods followed by different investigators. His estimate, however, of De Groot's services seems to me somewhat extravagant; his estimate of Zielinski's contributions unduly belittling ; while his references to my own work cause me to doubt whether he has grasped even the main contention of (...) my book. I shall deal with all these points presently. (shrink)

This innovative study argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance.

The Enneagram opens a remarkable window into the truth about us, but simply diagnosing our number doesn't do justice to who we are. Transformation happens as we grow in awareness and learn how to apply Enneagram insights to the rhythms of our daily lives. Filled with exercises to engage, challenge, encourage, and sustain, this handbook will help us grow in greater awareness and lead us to spiritual and relational transformation.

This paper advocates the main ideas of the interactive model of representation of Mark Bickhard and the assimilation/accommodation framework of Jean Piaget, through a rhythm recognition demonstration program. Although completely unsupervised, the program progressively learns to recognize more and more complex rhythms struck on the user's keyboard. It does so without any recording of the input flow, and without any pattern matching in the usual sense. On the contrary, internal processes are dynamically constructed to follow and anticipate the user's (...) actions. We show that these processes are representations of the rhythms in the interactivist sense, and that they emerge from non representational grounds, avoiding the symbol‐grounding problem. They are not copies or transductions of reality, but ideal internal constructions of the agent, avoiding the circularity pointed out by Piaget. In practice, the active nature of this recognition process allows it to work even with noisy and complex input flows. (shrink)

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment‐by‐moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music‐theoretically (...) motivated grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic‐processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof‐of‐concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small‐scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large‐scale and ecological testing. (shrink)

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or which are the sociocultural processes that underlie this phenomenon. We review (...) the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that the complexity of group dynamics can lead to temporal regularities that cannot be predicted from the individual periodicities: an emergent collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics. (shrink)

The present article proposes a reflection on the relation between music and language setting out from the experience of listening to words and listening to music. It relies to a certain extent upon an existential-phenomenological approach and develops the distinction between the sounding of sounds and the sound of sounding. From this distinction, a redefinition of rhythm is suggested based on the experience of listening and on the close listening to some pieces of music.

In this chapter, DeYoung looks at the concept of practices and goes on to argue why they are needed and how they can be useful. Beginning with the past traditions of practices and reflection on practices of the Desert Fathers and their followers, DeYoung takes the conversation to the classroom to discuss how such traditionally embedded practices can still be used. She emphasizes the cycle of doing practices and reflecting upon practices within the regular rhythm of the classroom.

This paper explores how phenomenological notions of rhythm might accommodate a richer description of preverbal infant-caregiver dialogue. Developmental psychologists have theorized a crucial link between rhythm and intercorporeality in the emergence of intersubjectivity and self. Drawing on the descriptions of rhythm in the phenomenology of Maurice Merleau-Ponty, Erwin Straus, Henri Maldiney and Maxine Sheets-Johnstone, the paper emphasizes the role of art and aesthetic processes proposing that they not only be considered as metaphorical or representational aspects of (...) class='Hi'>rhythm but as primary resources that can enrich and deepen our understanding of self-emergence and intercorporeality in preverbal infant-caregiver dialogue. (shrink)

Early twentieth-century Italian poetry experiences a crisis in confidence concerning the expressibility of rhythm. Dino Campana's writings exemplify the processes the poet goes through in order to write rhythm. Rhythm is difficult to deal with because it is both sacred and tired. These two incarnations of rhythm lead Campana to different modes of expression; from more traditional definitions through to more fluid definitions. Two strands of analysis reveal themselves as central to understanding Campana's theoretical stance, namely (...) fluidity and movement. These point to a careful veiling of rhythm which opens up new spaces for the articulation of something that, whilst difficult, remains the essence of poetry. (shrink)

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, (...) against Scruton, that music literally and not merely metaphorically moves. (shrink)

can highlight how everyday rhythms complicate chronological orderings of past and present and how what appears 'utterly changed' repeats in fascinating ways ...

This text is the introduction of the special issue “Rhythm in social interaction” edited by Chiara Bassetti and Emanuele Bottazzi in Etnografia e Ricerca Qualitativa, vol. 8, n. 3, December 2015. We thank Chiara Bassetti, Emanuele Bottazzi and the journal Etnografia e Ricerca Qualitativa for the permission to republish it. But, friend, when you grasp the number and nature of the intervals of sound, from high to low, and the boundaries of those intervals, and how many scales arise from (...) them, - Anthropologie – Nouvel article. (shrink)

It remains a dogma in cognitive neuroscience to separate human attention and memory into distinct modules and processes. Here we propose that brain rhythms reflect the embedded nature of these processes in the human brain, as evident from their shared neural signatures: gamma oscillations (30–90 Hz) reflect sensory information processing and activated neural representations (memory items). The theta rhythm (3–8 Hz) is a pacemaker of explicit control processes (central executive), structuring neural information processing, bit by bit, as reflected in (...) the theta-gamma code. By representing memory items in a sequential and time-compressed manner the theta-gamma code is hypothesized to solve key problems of neural computation: (1) attentional sampling (integrating and segregating information processing), (2) mnemonic updating (implementing Hebbian learning), and (3) predictive coding (advancing information processing ahead of the real time to guide behavior). In this framework, reduced alpha oscillations (8–14 Hz) reflect activated semantic networks, involved in both explicit and implicit mnemonic processes. Linking recent theoretical accounts and empirical insights on neural rhythms to the embedded-process model advances our understanding of the integrated nature of attention and memory – as the bedrock of human cognition. (shrink)

Movement, Velocity, and Rhythm from a Psychoanalytic Perspective: Variable Speed(s) explores philosophical and psychoanalytic theories, as well as artworks, that show sensible bodily rituals for reviving our social and subjective lives. With a wide range of contributors from interdisciplinary backgrounds, it informs readers on how to find rituals for syncing ourselves with others and world rhythms. It will be essential reading for Lacanian psychoanalysts in practice and in training, as well as anyone interested in rhythm at the intersection (...) of Lacanian psychoanalysis and continental philosophy. (shrink)

Ce texte a déjà paru dans la revue October, N° 131, Winter 2010, p. 23–50. Nous remercions Michael Cowan de nous avoir autorisé à le reproduire ici. In September of 1925, readers leafing through Der Kinematograph or Lichtbildbühne or another such film journal might have encountered a strangely familiar sight : in an advertisement for a major exhibition of the German film and photography industries entitled “Kipho” (“Kino und Photo”), which was to be held in Berlin from September 25th to (...) (...) - Cinéma, animation et vidéo – GALERIE – Nouvel article. (shrink)

The first study of Plutarch's prose-rhythm was made by Dr. A. W. de Groot, whose results were published in certain preliminary articles and in his Handbook of Greek Prose Rhythm, a work which is one of the landmarks in the history of its subject. In it he insisted that to discover which forms of clausula were favoured or avoided by any author it was not sufficient to make a count and discover which were frequent, which infrequent; for a (...) form may be frequent not because an author feels it suitable for the end of a sentence, but because he likes it at any point in his sentence, or even because we should find it frequent if we picked out words by chance from the dictionary. To discover which rhythms are specially sought or avoided at the end of a sentence we must compare the ends with the sentence as a whole. This Dr. de Groot did for a number of texts, included in which were selections from Plutarch's Lives. (shrink)

Music rhythm detection and tracking is an important part of the music comprehension system and visualization system. The music signal is subjected to a short-time Fourier transform to obtain the frequency spectrum. According to the perception characteristics of the human auditory system, the spectrum amplitude is logarithmically processed, and the endpoint intensity curve and the phase information of the peak value are output through half-wave rectification. The Pulse Code Modulation characteristic value is extracted according to the autocorrelation characteristic of (...) the endpoint intensity curve. This article proposes a rhythm detection algorithm based on multipath search and cluster analysis; that is, based on the clustering algorithm, it absorbs the idea of multipath tracking and proposes its own detection and tracking algorithm. It overcomes the weakness of the clustering algorithm that needs to use Musical Instrument Digital Interface auxiliary input to achieve the desired effect. This algorithm completely uses the PCM signal as the input, which is more robust than the clustering algorithm. The whole process is carried out in the time domain, and the amount of calculation is much smaller than the frequency domain calculation of multipath tracking, and the linear relationship with the rhythm of the music is much better than the filter bank algorithm. This algorithm can successfully detect the rhythm of the music with a strong sense of rhythm and can track the specific position of the rhythm point. (shrink)

The paper focuses on concerns and legal challenges brought on by the use of algorithms. A particular class of algorithms that augment or replace analysis and decision-making by humans, i.e. data analytics and machine learning, is under scrutiny. Taking into account Balkin’s work on “the laws of an algorithmic society”, attention is drawn to obligations of transparency, matters of due process, and accountability. This US-centric analysis on drawbacks and loopholes of current legal systems is complemented with the analysis of norms (...) and principles of the EU data protection law, or “GDPR”. The aim is twofold. On the one hand, the intent is to shed light on some crucial differences between the US and EU law on the regulation of algorithmic operators, both public and private. Whereas, in the USA, scholars debate whether and to what extent new duties and responsibilities of algorithmic operators, e.g. information fiduciaries, have to amend the current framework of self-regulation and light government—as shown by the White House’s Office of Science and Technology Policy report from November 2016—in EU law much of the new duties and responsibilities of algorithmic operators have been passed upon them as data controllers. Whether such approaches will successfully tackle the normative challenges of the algorithmic society is, on the other hand, an open issue that will likely represent the main topic of debate over the next years. Disagreement may concern: the terms framing the legal question in e.g. statistical purposes of the data processing; how such terms are related to each other in legal reasoning ; and legal hard cases that will increasingly have to do with the principles that are at stake also but not only in data protection. By entrusting such legal hard cases to algorithms, or some sort of smart artificial agent, humans still bear full responsibility for the judgment of what is socially, ethically, and legally “plain” and “hard” in social affairs. The balance between delegation of decisions to algorithms and non-delegation will be the leitmotiv of the algorithmic society. Since the devil is in the detail, the current paper is devoted to some of them. (shrink)

"In thinking about music it is difficult to avoid representing any concrete instance as if it were a stable and essentially pre-formed entity composed of fully determinate and ultimately static objects or relations. Certainly, in the actual performance of music there is no escaping the contingency and indeterminacy that inhere in every temporal act. When we attempt to analyze the musical event, however, it is most convenient to imagine that the intricate web of relationships that comes into play on such (...) an occasion has already been woven in a prior compositional act or in a determinate and determining order of values and beliefs. We can, for example, point to the score as a fixed set of instructions for the recreation of an essentially self-same work or as a repository wherein the traces of a composer's thought lie encoded awaiting faithful decoding by a receptive performer/listener. Or, with even greater abstraction, we can point to the presence of an underlying tonal system, the governing rules of a style or "common practice," the reflection of a set of existing social relations, or the role of hardened ideologies in music's production and reception. It must be said that there is some truth in the variety of determinacies that intellectual analysis would ascribe to music (if little truth in the claims of any one perspective to speak for the whole). But it must also be said that, to the extent the abstractions of analysis deny or suppress the creativity, spontaneity, and novelty of actual musical experience, analysis will have misrepresented music's inescapably temporal nature. The challenge of taking this temporal nature into account lies in finding ways of speaking of music's very evanescence and thus of developing concepts that would capture both the determinacy and the indeterminacy of events in passage. Stated in this way, such an enterprise appears to be loaded with paradox. However, much of the paradox disappears if we can shift our attention from objects or products to process and from static being to dynamic becoming. Indeed, such a shift might provide a perspective from which the great variety of determinacies we ascribe to music could be seen as inseparable components of musical communication. ". (shrink)

Cutting Rhythms is about rhythm in film editing. It breaks down the issue of rhythm in an accessible way that allows filmmakers to apply the principles to their own work and film scholars access to creative practice principles. This book offers possibilities rather than prescriptions. It presents questions editors or filmmakers can ask themselves about their work, or that scholars can pose in the analysis or evaluations of work.