Infant-directed speech enhances temporal rhythmic structure in the envelope

2014 ◽  
Author(s):  
Victoria Leong ◽  
Marina Kalashnikova ◽  
Denis Burnham ◽  
Usha Goswami
Keyword(s):  
Rhythmic Structure

The fāṣila in the Qur'an: Word, Context and Meaning

1999 ◽  
Vol 1 (1) ◽  
pp. 264-269 ◽  
Author(s):  
Ahmad Mukhtar Omar
Keyword(s):  
Rhythmic Structure ◽  
Word Context ◽  
The Subject ◽  
Apparent Similarity ◽  
Narrative Account

Fāsila is a termed used to denote the last word in each Qur'anic āya. In this article, we explore this Qur'anic usage, examining in particular the connection between the choice of word, its semantic and rhythmic role in its immediate context, and its wider signification in the narrative. Previous writers on the subject drew attention to the apparent similarity between the fāṣila and the rhythmic schemes of poetry and rhyming prose. We argue that tire fāṣila, while certainly playing a role in the rhythmic structure of the text, has a wider significance, and that an examination of each occurrence underlines the organic connection between the ‘content’ of each sentence and its fāṣila. In a number of instances, it can be shown that the fāṣila and the rhythmic and semantic demands of the narrative account for differences between standard usage and the Qur'anic text. We discuss a number of specific instances of fāṣila, and, examine these in the light of the views of classical exegetes on this feature of the Qur'an.

scholarly journals Ритм и смысл стихотворения Пушкина «Буря» [Pushkin’s “Buria”: The Meaning of Rhythm]

2021 ◽  
Vol 8 ◽  
pp. 48-55
Author(s):  
Sergei Dotsenko
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Rhythmic Structure ◽  
Verse Form

This article addresses the meaning of the verse form of Alexander Pushkin’s poem “Buria” (1825). The poem’s monotonous rhythm corresponds to the theme of waves hitting the seashore and the rock in the same monotonous manner. The rhythmic structure of the poem implies that it can be divided into four three-line sections, each of which alternates between two rhythmic forms of iambic tetrameter (IV—IV—I, IV—IV—I, etc.). The stanzaic structure of the poem, which is a monostrophe, helps one to sense that pattern. KEYWORDS: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Buria (1825), Russian Iambic Tetrameter, Semantics of Rhythm, Verse Theory.

scholarly journals Female indris determine the rhythmic structure of the song and sustain a higher cost when the chorus size increases

2018 ◽  
Vol 65 (1) ◽  
pp. 89-97 ◽  
Author(s):  
Chiara De Gregorio ◽  
Anna Zanoli ◽  
Daria Valente ◽  
Valeria Torti ◽  
Giovanna Bonadonna ◽  
...  
Keyword(s):  
Rhythmic Structure

Pictorial Experience and the Perception of Rhythm

2019 ◽  
pp. 307-330
Author(s):  
Jason Gaiger
Keyword(s):  
Empirical Research ◽  
Attentional Focus ◽  
Abstract Art ◽  
Central Problem ◽  
Picture Perception ◽  
Rhythmic Structure ◽  
Graphic Art ◽  
Temporal Phenomenon ◽  
Or Organization ◽  
Pictorial Experience

Painting, drawings, and engravings are frequently described as rhythmic, or as possessing rhythmic features, but it is far from clear how such observations are to be understood. The central problem here is that rhythm is standardly recognized to be an inherently temporal phenomenon: rhythmic structure or organization unfolds in time. If rhythm is essentially durational, how can a static configuration of marks and lines be rhythmic? Chapter 19 defends the view that although the experience of viewing a picture takes place in time, and thus is successive, it cannot be temporally structured in a sufficiently determinate manner to sustain the attentional focus required for the communication of even simple rhythmic patterns. With reference to examples of both representational and abstract art, and to recent empirical research, the author argues that graphic art is non-sequential and that this has important consequences for picture perception.

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