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بحر الطويل والقلب - ذات الإيقاع

http://ajpheart.physiology.org/content/277/5/H1762

لقد تملك مني العروض الرقمي الذهن والوجدان، وكلما ازددت فيه تأملا اتسعت أمامي مجالات تداخله في مجالات شتى خارج إطار اللغة ، وكلها متواشج بطريقة أو أخرى مع إيقاع الشعر العربي. وتؤسس للانطلاق في دراسة جماليات هذه اللغة وتميزها وآيات الله فيها في سياق الإيقاع الكوني فاتحة لذلك مجالا جديدا في الدراسات العربية . ولا ينبغي أن يغيب عن البال في هذه المسيرة أننا إنما نطبق منهج الخليل وعبقرية تصويره للذائقة العربية والثراء الباذخ لهذه الذائقة ولهذه اللغة.

هذا الموضوع موجه بشكل خاص للأطباء العرب الذين يتقنون العروض العربي وفي مقدمتهم أستاذي د. ضياء الدين الجماس. ويظهر الشكل أدناه في جزئية التمثيل البياني 3 2 3 2 2 = 1 1 ه 1 ه 1 1 ه 1 ه 1 ه = فعولن مفاعيلن

مع ملاحظة عكس الرموز بحيث يكون رمز المتحرك ه ورمز الساكن 1 لمضاهاة الشكل الأصلي للتدوين بالنوتة الموسيقية.

والأصل في الموضوع هو دراسة لإيقاع القلب وربط ذلك بالإيقاع الموسيقي. والأشكال هي لوزن بحر الطويل.

ألهذا يا ترى تقدم الطويل عند العرب على سواه من البحور ؟

http://ajpheart.physiology.org/content/277/5/H1762

Musical rhythms in heart period dynamics: a cross-cultural and interdisciplinary approach to

H. Bettermann , D. Amponsah , D. Cysarz , P. van Leeuwen

American Journal of Physiology - Heart and Circulatory Physiology Published 1 November 1999 Vol. 277 no. 5, H1762-H1770 DOI:

Abstract

The purpose of this study was to expand classic heart period analysis methods by techniques from ethnomusicology that explicitly take complex musical rhythm principles into consideration. The methods used are based on the theory of African music, the theory of symbolic dynamics, and combinatorial theory. Heart period tachograms from 192 24-h electrocardiograms of 96 healthy subjects were transformed into binary symbol sequences that were interpretable as elementary rhythmic (percussive) patterns

الغرض من هذه الدراسة هو التوسع في دراسة الطرق الكلاسيكية لتحليل فترات القلب. إنطلاقا من الاعتبار الموسيقي الإثني الذي يأخذ مبادئ الإيقاع الموسيقي المعقدة بعين الاعتبار. تعتمد الطرق المستعملة على نظرية الموسيقى الإفريقية ونظرية الديناميكا الرمزية ونظرية التركيب. وقد استعملت رسوم تحليل القلب من 192 رسما لنشاط القلب لمدة 24 ساعة لدى 96 شخصا في صحة جيدة، وتم تجويلها إلى تتاليات ثنائية يمكن النظر إليها كإيقاع طرْقيٍّ بدائي.

, the time lines in African music. Using a hierarchical rhythm pattern scheme closely related to the Derler Rhythm Classification (from jazz theory), we calculated the predominance and stability of pattern classes. The results show that during sleep certain classes, specific to individuals, occurred in a cyclically recurrent manner and many times more often than expected. Simultaneously, other classes disappeared more or less completely. Moreover, the most frequent classes obviously originate from phase-locking processes in autonomic regulation (e.g., between respiratory and cardiac cycles). In conclusion, the new interdisciplinary method presented here demonstrates that heart period patterns, in particular those occurring during night sleep, can be interpreted as musical rhythms. This method may be of great potential use in music therapy research.

FOR MANY YEARS rhythm perception and the ability to reproduce musical rhythms have been a main topic in music psychology research (10, 16, 18, 23, 27-29, 34, 36). One question was, How are musical rhythms represented internally? Even electroencephalogram (25) or positron emission tomography (40) registrations have been used to discover structures of perceived music in the mind.

On the other hand, physiologists are confronted with a huge variety of complex rhythms in physiological time series, which have often been compared with music but only to underline the high-dimensional complexity in physiological time series (4). However, as yet no investigation has revealed the link between complex physiological and musical rhythms. Only entrainment phenomena (15) or the physiological response to auditory stimuli (31, 37) have been reported. The question remains unanswered: Are complex musical rhythms represented physiologically?

Apart from various definitions of “rhythm” in different disciplines, the term “musical rhythm” has a totally different significance cross-culturally with respect to its role in musical compositions. In particular, in many regions of the less industrialized world, the relationship between rhythms of life and music is much closer than that in the western world.

وبغض النظر عن تعدد تعريفات الإيقاع في المجالات المختلفة، فإن " الإيقاع الموسيقي " ذو أهمية خاصة عابرة للثقافات فيما يخص دوره في التأليف الموسيقي. إن الوشائج بين الإيقاعات الحياة والموسيقى أقوى في المناطق الأقل تصنيعا من العالم من نظائرها في العالم الغربي.

Ethnological studies have revealed these relationships in detail (7). A better understanding of rhythm perception and rhythm cognition has been an important key to time perception (11) as well as to the complex inner dynamic of humans. In nonwestern cultures, time is often more personal than public (1, 2): time perception is polychronic and closely linked with the complexity of “internal clocks.” People are less determined by the need to synchronize with external clocks, which can result in time uniformity and monochronicity of time perception. This can be one reason why musical rhythms, which are the creative expressions of time, are traditionally more complex in nonwestern cultures. They are often polymetric, polyrhythmic, and asymmetric instead of monometric, monorhythmic, and symmetric like the bar-orientated European music. For further reading, the reader is referred to the relevant literature (20,21, 24).

In this paper, we apply the compositional rhythm principles of African music to the analysis of cardiac time series.

طبقنا في هذه الورقة مبادئ التأليف الموسيقة الإفريقي لتحليل الرسم البياني الزمني للقلب

The fundamentals of these principles, which have also largely influenced the development of contemporary rhythm-oriented music in the Americas (e.g., Latin or jazz music), reach back several thousand years and are consequently a main issue in ethnomusicological research (20, 21). Unfortunately, in most of today's popular music, the huge variety of African music styles and their compositional principles have been lost.

Particularly in many African cultures, the relation between music and the human heartbeat is emphasized, and very often music is symbolically called the heartbeat of Africa. This analogy is not far-fetched, because African music is like the heartbeat, pulsating and characterized by cyclically repeated complex rhythm patterns. (A single “African music” actually does not exist. We use this term solely to delimit most common African music styles from the most common styles in European classical and contemporary music.) From the point of view of African cultures, music rises directly from the inner dynamic of human beings, which is symbolized and brought forth by the human heartbeat.1African music would seem to provide a good basis for a novel approach to the analysis and better understanding of cardiac rhythms. We therefore first focus on some simple basic principles of African musicology (21).

Theory of African music.

Rhythm complexity, contrast, and cyclicity are the most important principles in African music compositions. European music theory is not suited to take these phenomena of African music into account. Thus new terms and a different notation were needed to accommodate polyrhythmic African music. Among others, some of these terms are elementary pulse, cycle (also pulse amount or cyclic pattern), pulse number (also form number), and impulse number, as well as pattern, time line pattern (also time line or set span; Ref. 3), beat, off-beat phrasing, cross rhythm, and interlocking. Only some of these terms can be explained briefly; this explanation is provided without the claim of being exhaustive. Figure 1 illustrates the definitions used.

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Fig. 1.

Three alternative musical notations of the inyimbo rhythm (1st, 3rd, and 4th rows), which is performed by cyclic repetition of this asymmetric pattern, consisting of 12 elementary pulses (= pulse number) including 5 beats (= impulse number) plus 7 rests. In this example, the pulses correspond to 16th notes. The complementary 12-pulse pattern with 7 impulses in 2nd row is called omele and is also a popular time line pattern in African music.

The elementary pulse is the basic and smallest, i.e., nondivisible time unit of musical rhythm consisting of actions and nonactions/beats and rests. Rhythm cycles are multiples of the elementary pulses, usually 8, 12, 16, or 24 pulses (cf. 12-pulse example in Fig. 1). The number of pulses in one cycle is termed the pulse number. All beats, accents, or, more generally, impulses in one cycle fall on the elementary pulses, and their sum total in one cycle is called the impulse number. Cycles can consist of one or more patterns, the latter being indivisible autonomic elements that can be found on several levels or timescales in music compositions. In general, patterns are perceived as a whole and are the rhythm units in African music. In this paper, we adapt these terms to demonstrate the possible similarity of African musical and physiological temporal structures.

Symbolic dynamics.

With its concept of symbolic dynamics (14), nonlinear dynamics theory provides a tool for musical rhythm analysis of cardiac time series. For this kind of application the heart period tachogram must be transformed into symbol sequences that can be interpreted as either musical notes or rhythmic (percussive) patterns. We decided to apply the latter.

The transformation of heart rate or heart period series into symbolic sequences is not new. Kurths et al. (22, 39) used this instrument with various transformation techniques to facilitate heart period analysis. Each of their symbolization techniques was implemented for a particular approach. The main difference from our approach is that they constructed and analyzed the symbolic sequences solely from the point of view of complexity analysis (e.g., using renormalized entropy). Musical rhythmic aspects were not taken into consideration.

Rhythm patterns with pulse numbers from 3 to 8: the Derler Rhythm Classification.

In our approach, the pattern analysis is restricted to a maximum pulse number of eight heartbeats. Longer cycles were ignored because they are largely affected by external modulations and their cyclic character is generally significantly disturbed and difficult to recognize.

Table 1 summarizes all binary patterns with pulse numbers from 3 to 8. For computational use and to identify patterns that belong to the same pattern class, it is more practical to use their decimal (code) rather than binary representation. The rhythm scheme is closely related to the Derler Rhythm Classification, which was developed further by Thomas Pfob and Alfons Dauer and published by Alfons Dauer in 1988 (9). Because we developed the rhythm scheme independently, a slightly different notation is used.

لقائل أن يقول فيما يخص الشكل أن اتجاه الشكل يفترض أن يكون من اليسار لليمين فيما رمز الطويل من اليمين لليسار. وإن كان الأمر كذلك، فإن معكوس الإيقاع هو ذات وزن الطويل وهذا أيضا أمر يدعو للتأمل.

وقبل هذا وبعده يبقى الربط بين القلب والنفس والموسيقى والشعر مثيرا.