Download War By Lyrical Hi

[Staci Stanowski]

I have decided to devote two class periods to exploring the lyrical narrative with my students. The reason evolved from, not exactly a revelation, but a dawning awareness that this particular mode of poetry connects more easily with students than other modes.

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The neural correlates of creativity are poorly understood. Freestyle rap provides a unique opportunity to study spontaneous lyrical improvisation, a multidimensional form of creativity at the interface of music and language. Here we use functional magnetic resonance imaging to characterize this process. Task contrast analyses indicate that improvised performance is characterized by dissociated activity in medial and dorsolateral prefrontal cortices, providing a context in which stimulus-independent behaviors may unfold in the absence of conscious monitoring and volitional control. Connectivity analyses reveal widespread improvisation-related correlations between medial prefrontal, cingulate motor, perisylvian cortices and amygdala, suggesting the emergence of a network linking motivation, language, affect and movement. Lyrical improvisation appears to be characterized by altered relationships between regions coupling intention and action, in which conventional executive control may be bypassed and motor control directed by cingulate motor mechanisms. These functional reorganizations may facilitate the initial improvisatory phase of creative behavior.

In an attempt to identify the neural correlates of spontaneous lyrical improvisation in this context we compared freestyle (improvised) to conventional (rehearsed) performance, using functional magnetic resonance imaging (fMRI). Utilizing spatial independent component analysis (sICA) methods9 recently developed in this laboratory to effectively remove imaging artifacts associated with connected speech or song, has made it possible to study this unique genre using fMRI for the first time. Importantly, in order to study spontaneous lyrical improvisation in its most natural form, our design evaluated the natural and ecologically valid process: freestyle artists producing freestyle rap, unencumbered by unrelated cognitive demands.

To determine the neural correlates of spontaneous lyrical improvisation, we first compared improvised and conventional conditions directly using the general linear model (GLM) (Figure 1, a, b and Table 1). Improvised performance was characterized by significant increases in activity of the medial prefrontal cortex (MPFC), extending from the frontopolar cortex to the pre-supplementary motor area (pre-SMA) and decreases in the dorsolateral prefrontal cortex (DLPFC), extending from the orbital to superior regions. Medial prefrontal activations were lateralized to the left hemisphere; lateral prefrontal deactivations were lateralized to the right) (Figure 1c).

In this study, we used fMRI to investigate the neural correlates of spontaneous lyrical improvisation by comparing spontaneous freestyle rap to conventional rehearsed performance. Our results reveal characteristic patterns of activity associated with this novel form of lyrical improvisation and may also provide more general insights into the creative process itself. It has been suggested that the creative behaviors could occur in two stages: an improvisatory phase characterized by generation of novel material and a phase in which this material is re-evaluated and revised1. The present study may provide clues to the mechanisms that underlie the initial, improvisatory phase. Our results suggest a model in which an elementary reorganization of brain activity facilitates improvisation and may generalize to other forms of spontaneous creative behavior.

The most striking feature of lyrical improvisation detected by direct comparison of freestyle and conventional performance, in large part consistent with the previous study of melodic improvisation5, was a dissociated pattern of activity within the prefrontal cortex: increases in activity throughout the MPFC, extending from the frontal pole to the border of the pre-SMA and simultaneous decreases in the DLPFC, from its orbital to superior regions. The implications of this dissociation are discussed below, in the context of subsequent analyses.

The connectivity results revealed strong positive correlations between activity in a primary seed region in the MPFC (located within in the large cluster identified in the GLM contrast, selection was guided by the results of parametric modulation analyses) and inferior frontal and cortical premotor areas. To explore the potential extensions of this network, we tracked the extended connections of the inferior frontal and premotor regions themselves. Using each as a seed in subsequent analyses, we found that these regions were themselves positively correlated with activity in the left amygdala and the amygdala itself was strongly coupled to an extended network that included the right IFG and IPL and anterior insula in both left and right hemispheres. The connectivity analyses therefore suggested the emergence of a more widespread, large-scale network that might play a role in lyrical improvisation.

What the relative increases in activity in the right hemisphere at the end of each segment indicate is however not clear. It is interesting that many of these increases were found in regions that were deactivated in the principal improvised-conventional contrast reported above. The time dependent increases in activity of frontal eye fields and IPS might reflect a re-emergence of top-down attentional processing at the end of each improvisational sequence and increasing activity in the dorsolateral prefrontal cortices might reflect an increase in executive functions mediated by these regions. It is possible that rule based behaviors (e.g. attention to metric structure, selection of final lyrical elements) may be more important and may re-engage these regulatory mechanisms, at the end of each 8 bar segment. It is clear nevertheless that the notion that simple attenuation of attention and executive control supports improvisation may be an oversimplification and that these processes seem to vary in a more complex way over time. The mechanisms underlying these interactions between musical improvisation and temporal structure clearly warrant further investigation.

We are proud to offer the Lyrical Pre-K Academy First Baptist Church-West. Why the name "Lyrical?" Because the definition of lyrical is "relating to music, art and literature." And that's what this program is all about. Below you will find some of the most frequently asked questions about our newest program. But feel free to call 704.372.3742 or email us at info charlottecsa.org for more information.

OPERATING HOURS & DAYS

We follow the open/close schedule of Charlotte-Mecklenburg Schools, as well as CMS' inclement weather schedule. In short, if CMS is open, we're open. If CMS is closed, we're closed. The only exception is that we will provide a full-day operation on CMS' half-days during the school year.

Instruction is from 9:00am-3:30pm. Before and afterschool available from 7:30am-9am and 3:30pm-6pm. Please have your child dropped off by 9:00am.

CURRICULUM

We have selected the Curiosity Corner Pre-K Curriculum offered by the Success For All Foundation. We picked this curriculum because it is a comprehensive early childhood curriculum designed to help children at-risk of school failure. It places a special emphasis on children's language and literacy skills, while also helping children develop the attitudes, skills and knowledge for later school success. The curriculum has weekly thematic units that incorporate literacy, math, social studies, culture, etc., and each day children will learn using activities that build on each other.

When I first began teaching comp, I noticed a pattern: a student would struggle with, say, even a small research project like a review, leading me to believe that they might need a lot of extra help. But then they would get to an assignment like a personal narrative, something that requires a different voice, and would shine. It was as if the same student embodied two entirely different writers: one who wrote in sometimes beautiful and lyrical prose, the other who found it hard to even begin to express an abstract or analytical thought about a subject.

Lyrical Opposition operates as both an artist collective and nonprofit organization that discovers and develops lyrical artists who spread messages of hope that inspire and empower communities towards social change. They serve the lyrical community with three areas of cultivation: artist development, personal development, and professional development. They believe synergy between all three are vital towards social and systemic change. Through artist discovery and development, artists are taken to the next level with the resources needed to thrive as a professional artist and educator.

At K2 Dance Studios, our dance mamas are always asking us what the difference is between their dancer attending a lyrical or a contemporary class. While the difference may be hard to see, we are going to explain the difference in this blog! At our dance studio in Corona, we offer a large range of contemporary and lyrical classes at all levels. If you are interested in signing your child up for one of our dance classes, be sure to contact K2 Dance Studios today! We can help determine which type of dance class is right for your child.

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