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82-1 --- Poëzie --- 82-1 Poëzie --- Rhythm --- Poetics --- Rhythm - Congresses --- Poetics - Congresses

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Choreography. --- Dance --- Movement, Aesthetics of. --- Sociological aspects. --- Aesthetics --- Movement, Psychology of --- Rhythm --- Sociology of dance --- Sociology --- Theatrical science --- Choreography --- Movement, Aesthetics of --- Sociological aspects

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This groundbreaking book highlights a phonological preference, the Principle of Rhythmic Alternation, as a factor in grammatical variation and change in English from the early modern period to the present. Though frequently overlooked in earlier research, the phonetically motivated avoidance of adjacent stresses is shown to exert an influence on a wide variety of phenomena in morphology and syntax. Based on in-depth analyses of extensive electronic databases, the book presents 20 exemplary studies from different structural categories. Among them are much-debated as well as novel issues, including the double comparative worser, 'predicative only' a- adjectives, variant past participles, the placement of the degree modifier quite, the order of conjuncts in binomials, the negation of attributive adjectives and sentence adverbs, variable adverbial marking, the use or omission of the infinitive marker, and the a- prefix before - ing forms. The studies provide qualitative and quantitative evidence of the importance of rhythmic alternation in synchronic variation as well as diachronic change, without neglecting interactions with a set of competing functional tendencies. Thus, the book contributes essential aspects to the description and explanation of the phenomena considered, calling for a fundamental revision of current thinking about the interface between phonology and morphosyntax. In addition, the empirical findings are brought to bear on theoretical discussions of more general interest, yielding a critical assessment of the merits and limitations of two nonmodular linguistic theories: Optimality Theory and spreading activation models. The latter type is developed into a comprehensive conception integrating functional factors such as the Principle of Rhythmic Alternation in an overarching framework for language variation and change. The wide range of subject areas covered makes the volume essential reading and a source of inspiration for linguists with interests as diverse as the phonology-morphosyntax interface, English grammar, the history of English, functional linguistics, Optimality Theory, as well as neuro- and psycholinguistics.

English language --- 802.0-4 --- 802.0-56 --- 802.0-56 Engels: syntaxis; semantiek --- Engels: syntaxis; semantiek --- 802.0-4 Engels: fonetiek; fonologie --- Engels: fonetiek; fonologie --- Grammar, Historical --- Rhythm --- Variation --- Dialects --- Metrics and rhythmics --- Versification --- Phonetics --- Grammar --- Rhythm. --- Grammar, Historical. --- Variation. --- Germanic languages --- English /language. --- Phonology. --- language change.

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Organ music --- 17th century --- History and criticism --- Italy --- History --- Canons, fugues, etc. (Organ) --- Scores --- Musical notation --- Ligatures (Music) --- Music --- Music autography --- Music copying --- Music manuscript --- Music notation --- Musical autography --- Notation, Musical --- Staff notation --- Musical meter and rhythm --- Signs and symbols --- Paleography, Musical

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This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.

Memory. --- Composition (Music) --- Music --- Retention (Psychology) --- Intellect --- Psychology --- Thought and thinking --- Comprehension --- Executive functions (Neuropsychology) --- Mnemonics --- Perseveration (Psychology) --- Reproduction (Psychology) --- Composing (Music) --- Music composing --- Music composition --- Musical composition --- Concertante style --- History. --- History and criticism. --- Composition --- antiphons. --- art. --- carolingian modes. --- chant. --- composers. --- composition. --- discant. --- harmony. --- improvisation. --- intervals. --- intonations. --- isorhythmic motets. --- literacy. --- medieval history. --- medieval music. --- melismas. --- memorization. --- memory. --- music history. --- music theory. --- music. --- musicology. --- nonfiction. --- note progression. --- notre dame polyphony. --- oral composition. --- oral transmission. --- orality. --- organum. --- performing arts. --- polyphonic music. --- polyphony. --- psalm tones. --- pseudo chilston. --- religious music. --- rhythm. --- tonaries. --- transmission. --- visualization.