Adults at 12? Trends in puberty and their public health consequences
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Spinal locomotor circuitry is comprised of rhythm generating centers, one for each limb, that are interconnected by local and long-distance propriospinal neurons thought to carry temporal information necessary for interlimb coordination and gait control. We showed previously that conditional silencing of the long ascending propriospinal neurons (LAPNs) that project from the lumbar to the cervical rhythmogenic centers (L1/L2 to C6), disrupts right-left alternation of both the forelimbs and hindlimbs without significantly disrupting other fundamental aspects of interlimb and speed-dependent coordination (Pocratsky et al., 2020). Subsequently, we showed that silencing the LAPNs after a moderate thoracic contusive spinal cord injury (SCI) resulted in better recovered locomotor function (Shepard et al., 2021). In this research advance, we focus on the descending equivalent to the LAPNs, the long descending propriospinal neurons (LDPNs) that have cell bodies at C6 and terminals at L2. We found that conditional silencing of the LDPNs in the intact adult rat resulted in disrupted alternation of each limb pair (forelimbs and hindlimbs) and after a thoracic contusion SCI significantly improved locomotor function. These observations lead us to speculate that the LAPNs and LDPNs have similar roles in the exchange of temporal information between the cervical and lumbar rhythm generating centers, but that the partial disruption of the pathway after SCI limits the independent function of the lumbar circuitry. Silencing the LAPNs or LDPNs effectively permits or frees-up the lumbar circuitry to function independently.Keywords:
Hindlimb
Prologue 1. Rhythms of society 2. Rhythms of language 3. Rhythms of song 4. Rhythms of drumming and dancing 5. Rhythms of musical performance 6. Rhythms of folktale performance 7. Epilogue: representing African rhythm.
Prologue
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Tone (literature)
Time perception
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The forelimbs and hindlimbs of vertebrates are morphologically distinct. Pitx1, expressed in the hindlimb bud mesenchyme, is required for the formation of hindlimb characteristics and produces hindlimb-like morphologies when misexpressed in forelimbs. Pitx1 is also necessary for normal expression of Tbx4, a transcription factor required for normal hindlimb development. Despite the importance of this protein in these processes, little is known about its mechanism of action. Using a transgenic gene replacement strategy in a Pitx1 mutant mouse, we have uncoupled two discrete functions of Pitx1. We show that, firstly, this protein influences hindlimb outgrowth by regulating Tbx4 expression levels and that, subsequently, it shapes hindlimb bone and soft tissue morphology independently of Tbx4. We provide the first description of how Pitx1 sculpts the forming hindlimb skeleton by localised modulation of the growth rate of discrete elements.
Hindlimb
Mesenchyme
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The purpose of this study was to examine effects of rhythmic and melodic alterations on rhythmic perception. A 30-item Rhythmic Dissimilarities Evaluation was administered to undergraduate and graduate music students. For each item, a standard rhythmic pattern was paired with itself and with nine rhythmic alterations. Each rhythmic pattern was treated with three melodic alterations including monotony, M-shaped melody, and V-shaped melody. Results of the study demonstrated that various rhythmic alterations affect perception of rhythmic dissimilarity; that melody alters perception of rhythmic dissimilarity; that the simultaneous presentation of melody and rhythm may result in reduced attention to absolute rhythmic structures in music; and that a possible relationship exists between rhythmic alterations and the degree of perceived dissimilarity.
Melody
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본 연구는 1950년대부터 1970년까지 북한 장단론을 연구하기 위하여, 시기별 장단연구의 변화양상 및 ‘안땅 장단’과 ‘옹헤야 장단’을 비교하였다. 본 연구의 결과를 정리하여 제시하면 다음과 같다. 첫째, 1950년대는 장단명칭이 통일되지 않았으며, 서양음악이론에 영향을 받은 장단 연구와 연주의 현장에서 체득하고 경험한 장단의 원리를 체계화하고 기록하는 작업이 있었다. 1960년대는 1950년대 장단연구의 성과를 계승하고, 서양 장단체계와 조선의 장단특징을 함께 제시하고 공유하였다. 1970년대는 장단의 현장 적용과 더불어 교육용 장단의 제시 및 무용 장단의 중요성과 필요성을 강조한 시기이다. 둘째, 자주 쓰이는 장단에 해당하는 굿거리, 중모리, 타령 장단의 기본형을 중심으로 장단의 특징을 파악하였다. 굿거리 장단의 특징에 대하여 최영남은 장단을 연주하는 연주자에게 장단의 느낌을 표현하도록 하였다. 중모리 장단의 특징은 세 번째 마디, 세 번째 박자에 힘을 강하게 주는 음악적 효과를 통하여 정서적 감정을 표현하는 것이다. 타령장단은 중모리 장단과 비슷하지만 연주속도에서 차이가 발생한다. 셋째, 1950년대부터 1980년까지 ‘안땅 장단’과 ‘옹헤야 장단’의 기본장단형은 동일하지만 연주할 때 강세의 위치가 다른 장단이다. ‘안땅 장단’을 변형하여 형성한 ‘옹헤야 장단’을 ‘옹헤야’ 노래를 부를 때 사용하기 때문에 장단의 명칭에서 혼란을 초래한 것으로 판단한다.This study examines the research conducted on North Korean rhythmic cycles from the 1950s to the 1970s, and compares the anddang and onghaeya rhythms. In the 1950s, the names of the various rhythmic patterns were not standardized. At that time, research was done on the influence that Western music theory had on the rhythms. Other works systematized and recorded the fundamental principles of the rhythms as observed at the site of performances. Research in the 1960s inherited the findings of the 1950s and documented the blending of Western rhythmic styles with North Korean styles. Research in the 1970s emphasized the application of the rhythms in performances on site. It also focused on presentations of the rhythms for educational purposes and stressed the importance and necessity of dance rhythms. This study also identifies the basic characteristics of the most common rhythmic patterns known as the gutgoeri, jungmori, and taryeong rhythms. Choi Young-Nam described the gutgoeri rhythm as one that allowed performers to freely express the feeling of the rhythm. A characteristic of the jungmori rhythm was the ability to express emotion through the musical effect of stressing the third beat of every third bar. The taryeong rhythm is similar to the jungmori rhythm, but with differences in tempo. Finally, while the basic rhythms of the anddang and onghaeya patterns remained the same from 1950 to 1980, variations in the rhythm were improvised during performances by placing the stress on different beats. A modified form of the anddang rhythm became known as the onghaeya rhythm. However, because the anddang rhythm accompanied a song titled onghaeya, that rhythm became confused with the onghaeya rhythm.
Beat (acoustics)
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Sound is an important characteristic of poems. Traditional sound rhythm is a gradual process from music rhythm to linguistic rhythm, from natural rhythm to man - made rhythm, from one rhythm to multi - rhythms, from outer rhythm to inner rhythm. The basic idea lies in the fact that the root of sound rhythm is attributed to the life rhythm, and the natural sound rhythm is intended to be one with man - made rhythm. These experience works as reference and also as reference of constructing modern poetics.
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Phenomenon
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One of the essential features of poetry is that it pursues the meter and rhythm.This kind of rhythm has met the need for poetry but is clearly different from that for music and dance.The rhythm for poetry is essentially the outer expressing of the rhythm felt by human's own sense of rhythm,which is expressed with the feature of duple time and came into existence with the birth of humans themselves.It develops and becomes more and more mature with the development of life and work by human beings.Finally,it evolves into triple time,quadruple time and the like,and gradually,possesses the value of social culturology and aesthetics as well.
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Lumbar Spinal Cord
Lumbosacral joint
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