Genetic Study of Rhythm

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Cornell University, 1901 - Rhythm - 99 pages
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Page 64 - This is in perfect accord with the results of the experiments on the motor rhythm, in which intensive and pitch differences were nearly always correlated. Pitch, then, is a constituent and constant factor in the spoken rhythm, but not necessarily as a qualitative determinant. Because of physical and physiological conditions it is an accompaniment of any intensive change. It is only an intensification of the intensive factor. In the sensory rhythm, the criteria of the spoken rhythm (strain sensations...
Page 47 - ARRANGEMENT AND ITS SIGNIFICANCE. To the mooted question of the importance of a temporal factor in rhythm, Lanier1 replied that " primordial temporalness is always necessary," and again: " the office of accent cannot begin until after rhythm is established: when accent maybe used to suggest various secondary arrangements of the primary rhythmic material; but this office is still absolutely dependent upon time or duration, the sole use of accent being that it recurs at stated intervals of time." Certain...
Page 94 - Groos,* emphasize the associative factor. But such explanations make the affective tone arise from factors extraneous to the rhythm. Though the associative feelings are no doubt often present, they do not explain the strong feelings that the perception of rhythm is often able to produce; for example, the cases of ecstacy in the rhythmic dancing of the primitive peoples and in the religious services of the Southern negroes. We must look for feelings which arise from the very nature of rhythm. These...
Page 42 - 2 2 3 failures. 6 5 " 7 " to the present day, every long poem and nearly every important short poem in the English language has been written in some form of the three rhythm " [the two-group].1 There can be no question but that the two-group is psychologically prior to the three-group. Why should this be the case? Numerous answers are given. Some explain that the two-group falls within the bounds of the natural period of attention. But the three-group has a shorter duration than the two, and would...
Page 89 - ... emotion" its name. And even this distinction is by no means fixed, for when the feelings produced by rhythmical impressions become somewhat more intense, as is usually the case, especially when the rhythm is connected with sensational contents that arouse the feelings greatly, the feelings of rhythm become in fact emotions.
Page 91 - ... attempt to define rhythm has been that of Miss Smith4 who in the main follows Meumann and Wundt. She defines it as an emotion, " dessen motorischen (und damit zum Theil auch die vasomotorischen) Aeusserungen und Entladungen sich nicht vollkommen frei ergeben konnen, wie beim gewohnlichen Affectverlauf, sondern dessen Ausdrucksbewegungen nach einem bestimmten Schema zeitlich und intensiv geregelt sind.
Page 81 - ... the first and second tests. The subject reacts to the auditory sensations as they are given. The reaction in this case is registered upon the drum for comparison with the objective rhythm given by the disc. § 4. How DOES PERCEPTION OF RHYTHM DIFFER FROM ANY OTHER PERCEPTION OF SUCCESSIVE STIMULI? i. It appears to be a phenomenon characteristic of but two modalities, audition and movement. 2. The sensations must follow one another regularly and within certain time limits, the upper of which,...
Page 78 - Rhythmische am frühcsten finden, nennen wir daher den Rhythmus überhaupt eine nach genau bestimmtem Mass fortschreitende Bewegung. Aber in der Feinheit, mit der es die Schritte der rhythmischen Bewegung auffasst, übertrifft dann unser Ohr weit die ursprünglichen Bewegungsempfindungen.
Page 94 - The great pleasure which children find in rhythm is due to the efficacy of rhythm to set up vibrations in other organs of the body, and the consequent harmonious activity of the several bodily organs. The affective tone increases in proportion as the summation of excitation increases, till a state bordering on ecstacy may be reached."1 MacDougall suggests that we take greater pleasure in certain rhythms because of the ' coincidence of subjective and objective change.
Page 50 - ... accordance with Mach's statement:1 " So far as I am able to judge, we recognize the identity of time ratios of two rhythms only when they are capable of being represented by very small numbers. Thus we really notice, immediately, only the identity or non-identity of the two times, and in the latter case recognize the ratio of the two only by the fact that one part is exactly contained in the other. Herewith we have an explanation of the fact that, in marking time, the time is always divided into...

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