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Libros sobre el tema "Rhythm"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 28 de julio de 2024

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1

Kunsthaus, Aargauer, ed. Rhythm in it: Vom Rhythmus in der Gegenwartskunst = On rhythm in contemporary art. Luzern: Edizioni Periferia, 2013.

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2

Deffaa, Chip. Blue rhythms: Six lives in rhythm and blues. Urbana: University of Illinois Press, 1996.

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3

Deffaa, Chip. Blue rhythms: Six lives in rhythm and blues. Urbana: University of Illinois Press, 1996.

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4

Rhythm & light. Cambridge, Mass: Rounder Books, 2005.

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5

Richards, Christine. Exploring rhythm. [s.l.]: [s.n.], 1989.

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6

(Organization), Exploratorium, ed. Exploring rhythm. San Francisco, CA: Exploratorium, 1991.

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7

Woods, Howard B. Rhythm & unstress. [Gatineau, Québec]: Canada School of Public Service, 2005.

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8

Mangini, Mike. Rhythm knowledge. San Diego, CA: FrantiGraf Pub., 1996.

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9

Public Service Commission of Canada. Language Training Program., ed. Rhythm & unstress. Ottawa: Language Training Canada, 1992.

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10

Rhythm tide. Tallahassee, Fla: Naiad Press, 1998.

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11

Archer, Nick y Nicky Manning. Fetal cardiac rhythm. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780198766520.003.0017.

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12

VIKRAMADITYA, Kumar. Rhythm and Rhythm. Independently Published, 2020.

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13

Archer, Nick y Nicky Manning. Fetal cardiac rhythm. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780199230709.003.0013.

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Introduction 166Identification of cardiac rhythm 168Normal rhythms 172Fast abnormal rhythms 184Slow abnormal rhythms 194Irregular rhythms 200Normal cardiac rhythm originates in the sinus node, a RA structure. Atrial electrical depolarization is manifest on the electrocardiogram (ECG) by a P wave and is followed by atrial contraction....
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14

Hurley, Michael D. Rhythm. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199576463.013.001.

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15

Bontemps, Arna. Rhythm. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0029.

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This chapter discusses the history of ragtime, blues, boogie woogie, jazz, and gospel music in Illinois. Itinerant Negro musicians considered Chicago a good town on the circuit. The district which welcomed them first was located on State Street between the edge of the Loop and 35th Street. The two biggest places in the district were Pony Moore's and the Everleigh Club. In 1911, Emanuel Perez's Creole Band came to town. This chapter considers three occurrences that highlight the story of jazz in Chicago: King Oliver's arrival, Louis Armstrong's origination of “Scat” singing, and the recording of Clarence “Pine Top” Smith's Boogie Woogie piano, in March 1928. It also looks at other Negro musicians who performed in Chicago and other parts of Illinois during the period, including Cab Calloway, Sidney Bechet, Jimmy Noone, Erskine Tate, Charley Cook, Clarence Jones, Sammy Stewart, Willie Bryant, Earl “Fatha” Hines, Lionel Hampton, Jack Ellis, and Johnny Dodds.
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16

Eikelboom, Lexi. Rhythm. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828839.001.0001.

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This book argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on rhythm—patterned movements of repetition and variation—to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. This book brings those implications into the open, using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm—observing the whole at once and considering how various dimensions of a rhythm hold together harmoniously—and a diachronic approach—focusing on the ways in which time unfolds as the subject experiences it. The text engages with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, and proposes an approach to rhythm that serves the concerns of theological conversation. It demonstrates the difference that including rhythm in theological conversation makes to how we think about questions such as “what is creation?” and “what is the nature of the God–creature relationship?” from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.
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17

Fiske, John. Rhythm. Kessinger Publishing, 2005.

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18

Ricardi, Bill y Natalie Marten. Rhythm. Nielsen UK, 2018.

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19

Dee, Sheryl. Rhythm. Independently Published, 2018.

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20

Willis, Jennifer S. Rhythm. Booklocker.com, 2001.

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21

Rhythm. Auckland, N.Z: Penguin, 2004.

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22

Tew, Chloe. Rhythm. Independently Published, 2019.

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23

Thean, Patrick. Rhythm. River Grove Books, 2022.

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24

Dalcroze, E. Jacques. Rhythm. Library Reprints, 2001.

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25

Lipscomb, Marie. Rhythm. Marie Lipscomb, 2021.

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26

Sueta, Ed. Rhythm spectrum: For effective rhythmic development. Macie Pub. Co, 1987.

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27

Blue rhythms: Six lives in rhythm and blues. [Boulder, Co.?]: Da Capo Press, 2000.

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28

Tan, Cecilia. Hard rhythm. 2017.

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29

Britt, Dan y Dr Shahmir Kamalian. Rhythm 101. lulu.com, 2018.

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30

Brown, Sue. Rhythm Chant. Verve Poetry Press, 2019.

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31

Cable, Thomas. Restoring Rhythm. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190611040.003.0003.

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Students taking the History of the English Language (HEL) may find old texts in strange writing or phonological charts less engaging than the language’s sounds. This chapter explains the pedagogical value of the “verbal music” of the English language at various periods. With particular attention to the language’s rhythms, the author argues for the value of oral performances to the “auditory imagination” that can be developed in a HEL classroom. Historical reconstructions of the language’s earlier sounds may not be perfect. But as a pedagogical device, performances of earlier Englishes convey a fact about language that charts and diagrams do not: its use by living speakers.
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32

Browning, Barbara. Infectious Rhythm. Routledge, 2013. http://dx.doi.org/10.4324/9780203611074.

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33

Rhythm Set. Rhythm Band Instruments, 1993.

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34

Emeritus, Anne Carothers Hall Professor y Timothy P. Urban. Studying Rhythm. Pearson, 2018.

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35

Richards, Christine. Exploring rhythm. 2a ed. Christine Richards, 1989.

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36

Rhythm & Blues. Random House, 2010.

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37

Rhythm Set. Rhythm Band Instruments, 1993.

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38

Rhythm & percussion. Chessington, Surrey: Castle Communications, 1995.

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39

Rhythm & blues. [Italy]: Musica Jazz, 1986.

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40

Russell, Tony. Rural Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.001.0001.

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Music historian Tony Russell explores a collection of records of early country music from the 1920s and ’30s, unlocking and revealing their hidden stories. The seventy-eight essays on selected 78rpm discs explain what they tell us about the musicians who sang and played the songs and tunes, the listeners who absorbed them, and the development of the genre—old-time music—in which they found a home. To illuminate their world, the author details how they were recorded, the intentions and interventions of the companies that made the recordings, and their fates once they were issued. There are songs, and stories of songs, about home and family, love and courtship, marriage and separation, childhood and schooldays, old age and death, crime and punishment, farms and floods, chain gangs and chain stores, wagons and automobiles, dogs and mules, drink, disasters, jokes, journeys, money, memories, and much more. Drawing on new research, contemporary newspapers, and previously unpublished interviews, Rural Rhythm charts the tempos and styles of rural and small-town music-making, and the gearshift that accelerated country music from the barndance pace of the 1920s to the hyperdrive of late-’30s proto-bluegrass and Western Swing: from “The Little Old Log Cabin in the Lane” to “New San Antonio Rose.” At the same time, it notates the larger rural rhythm of life in these years in the South, Southwest, and Midwest, with its recreations, its rituals, and its oddities, to produce a narrative that blends the musical and social history of the era.
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41

Attridge, Derek, Jonathan Culler, Ben Glaser, Simon Jarvis, David Nowell Smith, Haun Saussy, Tom Cable et al. Critical Rhythm. Editado por Ben Glaser y Jonathan Culler. Fordham University Press, 2019. http://dx.doi.org/10.1515/9780823282067.

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42

Critical Rhythm. Fordham University Press, 2019. http://dx.doi.org/10.1353/book.63126.

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43

Benari, Naomi. Inner Rhythm. Routledge, 2014. http://dx.doi.org/10.4324/9781315077475.

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44

Glaser, Ben y Jonathan Culler, eds. Critical Rhythm. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282043.001.0001.

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This collection intervenes in recent debates over formalism, historicism, poetics, and lyric by focusing on one of literary criticism’s most important, most vested, and perhaps least well-defined or definable terms. Rhythm in these essays is at once a defamiliarizing aesthetic force and an unstable concept. It is a key term through which Romantic, Modern, and contemporary literary theory define form, either in conversation with or opposition to meter. It has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice if not identity as such. Through their exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form sorted out through scansion, description, and taxonomy and roped back into interpretation. Pressing beyond the poetry handbook’s isolated descriptions of technique as well as inductive declarations of what rhythm “is,” each essay builds toward methodological inquiry about what it means to think rhythm. With contributions from many of the foremost scholars in the fields of prosody and poetics, Critical Rhythm develops new critical models for understanding how rhythm, in light of its historicity and generic functions, permeates poetry’s composition, formal objectivity, circulation in national and other publics, performances, and present critical horizons.
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45

McLeod, James y Norman Staska. Rhythm Etudes. Alfred Publishing Company, 1985.

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46

Rhythm Set. Rhythm Band Instruments, 1991.

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47

Rhythm Primer. Muse Eek Publishing Company, 2001.

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48

Lowry, Alison. Natural Rhythm. William Heinemann Ltd, 1993.

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49

Chaffee, Clark. Rhythm Workshop. J Weston Walch Pub, 1998.

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50

Rhythm Workshop. J Weston Walch Pub, 1992.

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