Sentence examples similar to rhythmic explorations from inspiring English sources

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Saturday's lineup had a handful of bands more interested in rhythmic exploration than songwriting.

It is also a rhythmic exploration of the entire cultural world Dante had inherited".

The slow component of the ongoing oscillations is likely to be related to a centrally generated rhythmic exploration process defining the sequence of saccades and microsaccades thereby providing an optimal discrete sampling of visual scenes (see Discussion and related references in Bosman et al. 2009).

But Mr. Mayo moves on: toward the end of the work the steady stomp gives way to a lovely, Neo-Romantic violin solo that morphs slowly into a chordal, rhythmic ensemble exploration.

Beethoven and Verdi formed his aesthetic, and he never moved into the twentieth century, ignoring the dazzling rhythmic and harmonic explorations of Stravinsky, Bartók, Schoenberg, Berg.

Areas covered include compositions based upon artificial scales and modes, as in Debussy, Bartok, and Stravinsky; compositions based on atonal pitch organizations, as with Schoenberg and Webern; compositions based on rhythmic process, timbral exploration, and/or non-Western influences.

Paired with Paul's rhythmic text, this exploration of the water cycle will not only teach today's children, but will also serve as a useful refresher for older readers as well.

7 30 and 9 30 p.m. with an 11 30 set tonight and tomorrow night, Jazz Standard, 116 East 27th Street, Manhattan, (212 576-2232; cover, $20, $25 Fridays and Saturdays.(Nate Chinen) J.D. ALLEN'S VISION FUGITIVE (Monday) Rhythmic aggression and harmonic exploration cohabit in this trio, featuring the saxophonist J.D. Allen, the bassist Matt Brewer and the drummer Rodney Green.

An exploration of tonal rhythmic, melodic and harmonic practice expressed in model compositions.

Next week, on November 11, they'll issue their sixth proper studio album On Dark Silent Off on Thrill Jockey, and with it comes the promise of more chameleonic composition, rhythmic contortion, and general otherworldly exploration.

But Mr. Mellers invariably offset specialized discussions of key centers, rhythmic juxtapositions and melodic shape with explorations of a composer's cultural milieu as well as the psychological underpinnings that helped a composition speak to its listeners, both in its day and across the centuries.

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