Rhythm

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Rhythm *

  1. Olatunji, B., Atkinson, R., & Akiwowo, A. A. (2005). The beat of my drum: An autobiography. Temple University Press. p. 43.

  2. Ibid. p. 31

  3. Ibid. p. 32

  4. Ibid. p. 19

  5. Ibid. p. 29

  6. If you are not sure what a one octave is or what it sounds like, then ask the internet.

  7. Audiation is a term coined by Edwin Gordon who was a music educator that developed Music Learning Theory. To audiate is to accurately hear music in your head while looking at notation, just as if you hear words in hear head as you read. https://giml.org/aboutgiml/gordon/

  8. Feldman, E., Contzius, A., & Lutch, M. (2011). Instrumental music education: Teaching with the musical and practical in harmony. Routledge. p 18.

  9.  Langer, S. (1950). The Primary Illusions and the Great Orders of Art. The Hudson Review, 3(2), 219-233. doi:10.2307/3856641

  10. Thaut, M. H. (2008). Rhythm, music, and the brain: Scientific foundations and clinical applications. Routledge. p. 4.

  11. Dahlhaus, C. (1989). The idea of absolute music. University of Chicago Press. p. 3.

  12. Copland, A. (1952). Music and imagination. Harvard University Press. p. 7.

  13. Ibid. p. 7.

  14. Stomp! Retrieved in July of 2021. https://www.youtube.com/watch?v=9mtdEH43r2s

  15. Salliou performing on the Cas-Cas. Retrieved in July of 2021. https://www.youtube.com/watch?v=zwEDOWZ6w5c&t=38s

  16. Jaques-Dalcroze, É., & Rubinstein, H. F. (1921). Rhythm, music and education. G. P. Putnam's sons. p. 101.

  17. Nola.com Interview with Brian Blade. Retrieved in August, 2021. https://www.nola.com/entertainment_life/music/article_2fd39e3b-0633-53a4-a602-7057a184ff78.html

  18. Reitz, C. L. (2018). Jennifer Higdon: Composing in color. McFarland & Company, Inc., Publishers. p. 19.

  19. Thaut, M. H. (2008). Rhythm, music, and the brain: Scientific foundations and clinical applications. Routledge. p. 153.

  20. Austin, L., & Clark, T. (1989). Learning to compose: Modes, materials, and models of musical invention. Wm. C. Brown. p. 131.

  21. Ibid.

  22. Retrieved in August, 2021. https://www.pianotv.net/2017/07/the-baroque-dance-suite/

  23. Retrieved in August, 2021. https://www.youtube.com/watch?v=mg824E6K7nI. The entire interview is worth watching but the description of the Gladiator’s Waltz begins around the 3-minute mark.

  24. Schumann published several articles from 1952-1954 in multiple German journals including Technische Physik, Zeitschrift für Naturforschung.

  25. Konig, H. L., Kruger, A.P., Lang S., & Sonning, W. (1981) Biologic effects of environmental electromagnetism. Springer, Berlin. https://doi.org/10.1016/0300-9629(82)90300-0

  26. Pobachenko, S.V., Kolesnik, A.G., Borodin, A.S., Kalyuzhin, V.V. (2006). The contingency of parameters of human encephalograms and Schumann resonance electromagnetic fields revealed in monitoring studies. Complex Syst. Biophys. 2006, 51, 480–483.

  27. Salk, L. (1973). The role of the heartbeat in the relations between mother and infant. Scientific American, 228(5), p. 24.

  28. Ibid. p. 28.

  29. Honing, H., & Annals NY Acad Sci. (2012). Without it no music: Beat induction as a fundamental musical trait. Annals of the New York Academy of Sciences, 1252(1), 85-91. https://doi.org/10.1111/j.1749-6632.2011.06402.x

  30. Honing, H., Bouwer, F. L., & Háden, G. P. (2014). Perceiving temporal regularity in music: The role of auditory event-related potentials (ERPs) in probing beat perception. Advances in Experimental Medicine and Biology, 829, 305. https://doi.org/10.1007/978-1-4939-1782-2_16

  31. Honing, H., & Ploeger, A. (2012). Cognition and the evolution of music: Pitfalls and prospects. Topics in Cognitive Science, 4(4), 513-524. https://doi.org/10.1111/j.1756-8765.2012.01210.x

  32. Jaques-Dalcroze, É., & Rubinstein, H. F. (1921). Rhythm, music and education. G. P. Putnam's sons. p. 82.

  33. Repp, B. H. (2010). Sensorimotor synchronization and perception of timing: Effects of music training and task experience. Human Movement Science, 29(2), 200-213. https://doi.org/10.1016/j.humov.2009.08.002

  34. Repp, B. H. (2005). Sensorimotor synchronization: A review of the tapping literature. Psychonomic Bulletin & Review, 12(6), 969-992. https://doi.org/10.3758/BF03206433

  35. Janata, P., Tomic, S. T., & Haberman, J. M. (2012). Sensorimotor coupling in music and the psychology of the groove. Journal of Experimental Psychology. General, 141(1), 54-75.

  36. Keller, P. E., & Rieger, M. (2009). Special Issue—Musical movement and synchronization. Music Perception, 26(5), 397-400.

  37. Lesaffre, M., Voogdt, L. D., Leman, M., Baets, B. D., Meyer, H. D., & Martens, J. (2008). How potential users of music search and retrieval systems describe the semantic quality of music. Journal of the American Society for Information Science and Technology, 59;51;(5;14;), 695-707.

  38. Levitin, D., & Cook, P. (1996). Memory for musical tempo: Additional evidence that auditory memory is absolute. Perception & Psychophysics, 58(6), 927-935. https://doi.org/10.3758/BF03205494

  39. Godøy, R. I., Song, M., Nymoen, K., Haugen, M. R., & Jensenius, A. R. (2016). Exploring sound-motion similarity in musical experience. Journal of New Music Research, 45(3), 210-222. https://doi.org/10.1080/09298215.2016.1184689

  40. As quoted in Casey, J. L. (1991). Teaching techniques and insights for instrumental music educators. GIA Publications. p. 342.

  41. Olatunji, B., Atkinson, R., & Akiwowo, A. A. (2005). The beat of my drum: An autobiography. Temple University Press. p. 31.

  42. As described by Wiggins, T. Teaching and Learning in Ghanaian drumming. Cited by Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy. Ashgate.

  43. As described by Dunbar-Hall, P. (2000). Concept or context? Teaching and learning Balinese gamelan and the universalist-pluralist debate. Music Education Research, 2(2), 127-139. https://doi.org/10.1080/14613800050165604. Cited by Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy. Ashgate.

  44. Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy. Ashgate. p. 55-56.

  45. Ester, D. P. (2010). Sound connections: A comprehensive approach to teaching music literacy. Self Published. p. 12.

  46. Karpinski, G. S. (2000). Aural skills acquisition: The development of listening, reading, and performing skills in college-level musician. New York, NY: Oxford University Press. p. 80

  47. You can find a plethora of videos simply by searching Konnakol on YouTube. This link will introduce you to Somashekar Jois, an absolute master of Konnakol. Retrieved 2.25.25 https://www.youtube.com/watch?v=ZuZF8BaOt58

  48. Hoffman, R., Pelto W., and White, J. W. (1996). Takadimi: A beat-oriented system of rhythm pedagogy. Journal of Music Theory Pedagogy, 10, 7-30.

  49. Stars and Stripes Forever. Performed by the Presidents Own. Retrieved 2.28.2025 https://www.youtube.com/watch?v=a-7XWhyvIpE.

  50. The Blue Danube Waltz. Performed by the Vienna Philharmonic Orchestra. Retrieved 2.28.2025. https://www.youtube.com/watch?v=mou5WYwGWlg

  51. Fantasía: Tocata y Fuga. Retrieved 12.15.2021. https://www.youtube.com/watch?v=z4MQ7GzE6HY

  52. Stomp plungers. Retrieved in July of 2021. https://www.youtube.com/watch?v=9mtdEH43r2s