Tamil Composition Phrases

[Michele Firmasyah]

Thesite is secure.

The ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.

The ability to compose successive words into a meaningful phrase is a characteristic feature of human cognition, yet its neural mechanisms remain incompletely understood. Here, we analyze the cortical mechanisms of semantic composition using magnetoencephalography (MEG) while participants read one-word, two-word, and five-word noun phrases and compared them with a subsequent image. Decoding of MEG signals revealed three processing stages. During phrase comprehension, the representation of individual words was sustained for a variable duration depending on phrasal context. During the delay period, the word code was replaced by a working-memory code whose activation increased with semantic complexity. Finally, the speed and accuracy of retrieval depended on semantic complexity and was faster for surface than for deep semantic properties. In conclusion, we propose that the brain initially encodes phrases using factorized dimensions for successive words but later compresses them in working memory and requires a period of decompression to access them.

I have gotten several comments on my scores saying that they would be better if I had regular or at least even numbered phrase lengths. But what is the point of say sticking to 8 bar phrases for a composition? There are plenty of phrases which are an odd number of measures long. You don't have to look any further than Beethoven's 5th symphony to find a phrase like that.

This is the opening phrase of Beethoven's 5th. As you can see, it is 5 measures long. It also sounds like a question and answer in octaves, with the answer still being incomplete until the second phrase enters and the motif is developed. So you could say this phrase is a period within a sentence that is itself part of a theme. I have tried sticking to 8 bar phrases and I find that because the last 2 measures of an 8 bar phrase are expected to be cadential, I find that my creativity as a composer goes down and I rely more on modulation than on rhythm or anything else that is important other than the notes themselves when I use regular phrase lengths. Is it really worth it if sticking to 8 bar phrases means my creativity lowers?

And even if it didn't have to do with my creativity, is there really a point to sticking to even numbered or regular phrase lengths when you could easily get the essence of an even numbered length phrase in an odd numbered length phrase by simply shortening the cadential part of the phrase?

Yes, that Beethoven phrase you included is technically 5 bars, but the binary nature of it is so very clear. There are two, two-bar segments. Given the fermatas, the 5th bar seems clear enough an explicitly written emphasis to hold the last note a long time. I view it as 2+2+1 not 2+3. The regularity and symmetry then come from the 2+2 aspect and - in my view - the extra +1 doesn't change that.

You may be interested to read this chapter from a classical era theorist named Riepel. In it various phrase lengths are discussed and given the names: zweyer, dreyer, and vierer, which respectively are 2, 3, and 4 bars in length. Riepel is super-sensitive to the idea that minuet phrases should be even, but says other phrase lengths are appropriate in a sonata.

You can find music with predictable phrase lengths and music with quite the opposite. For example, the Chopin scherzos are very much in four-bar phrases, while in many works by Brahms the phrasing is very subtle. In both cases there are celebrated and "successful" works.

There is a tendency toward regularity of phrase length. This can be a larger-scale form of rhythm: instead of (or in addition to) feeling a regular pulse of beats at a relatively short time scale, we feel a regular pulse of phrases at a relatively long time scale. This regularity might become monotonous without variation. On the other hand, if every phrase is a different length, then a listener sensitive to this kind of rhythm might feel the music is disorderly or confusing. Those are the two extremes. In between, you have the vast majority of music which tends toward regularity but with some freedom.

Consider a forte in a passage mostly piano, or a highly chromatic chord in an otherwise harmonically sterile passage. So with phrasing: if you allow a tendency toward regular phrase lengths, then diverging with occasional phrases of different lengths becomes an expressive device that is unavailable if phrase length cannot be predicted.

Much depends on the point of the music. Dance music needs regularity as dancers use patterns that span several measures. Likewise, as noted in an other answer, the rather common four-measure phrase acts more like a unit rather than separate measures. The structure over many measures tends to be divided into groups of four-measure phrases.

Possibly the same reasoning behind our preference for counting 4 in a bar? It literally 'evens things up', and has a more satisfying feel to it. 5/4 time is used in a few t.v. themes - Mission Impossible is one - as it gives a feeling of suspense. If that's what you want for your music, that sort of concept works well. For music that you'd rather have the listener calm and enjoying the tranquility, that just won't work as well as 4 or 6.

Regular phrase structures are regular for a reason. You are going to have to resort to unusual chord progressions if you use odd phrases, most chord progression work off 4 steps forward, 3 steps back or one step forward. Thismeans you are often working off 4 steps making 8 bars an easy and effective way to start and end on the tonic.

Although odd phrases and unusual chord progressions are not impossible I have to wonder why you would want to do that. They add nothing to the musicality of your piece and complicate your compisition for no good reason.

In the realm of writing and composition, words are not mere tools; they are the vibrant colours that paint the canvas of your reader's imagination. A well-crafted phrase can breathe life into your writing, making it memorable and impactful. This article will explore the art of crafting good phrases for composition and provide ten examples for each aspect.

Good phrases are the lifeblood of great writing. Whether you're composing a captivating novel or an academic composition, these phrases are your secret weapon to capture your readers' attention and leave a lasting impression.

A good phrase is like a gemstone in your writing. It's clear, concise, and radiates meaning. It encapsulates your message with precision, etching its significance into your readers' minds. Here are a few examples:

Descriptive language is your artistic brush, painting intricate scenes with words. Instead of stating, "The night was dark," you can craft a tapestry with, "The night shrouded the world in an impenetrable cloak of darkness." Descriptive language infuses your writing with life and colour. Here are a few examples:

Metaphors and analogies are the alchemists of language, turning the ordinary into the extraordinary. They bridge the known with the unknown, breathing life into your prose. Here are a few examples of using metaphors and similies in your composition:

Clichs are like stale breadcrumbs in the world of writing. They lack originality and flavour. Instead of saying, "She was as busy as a bee," you can create a fresh comparison that sparks intrigue and delight. Here are few ways you can show comparisons in your compositions:

Originality is the hallmark of a skilled writer. Venture into uncharted territory, create phrases that are uniquely yours, and let your voice shine through your writing. These examples will help you get an idea on how to create your own original phrases for your composition:

Similes are the spices that flavour your language. They compare two disparate elements using "like" or "as," enriching your writing with sensory experiences. Here are a few examples of how you can use similes:

Good phrases should be windows into different worlds, allowing readers to see, hear, and feel your words. These are some ways you can immerse your readers in the universe you create with your phrases:

The best phrases strike a harmonious balance between simplicity and complexity. They are easy to understand yet harbour layers of meaning. Let your phrases flow naturally and don't overcomplicate your writing, here's how to do that:

The flow of words is the symphony of your composition. Good phrases are the notes that guide your readers through a seamless and enjoyable journey. These few ways showcase how you can employ the flow of words in your compositions to infuse them with a touch of brilliance:

In conclusion, the art of crafting good phrases in composition is a skill every student should master. These phrases breathe life into your compositions, making them enchanting and unforgettable. Practice, experiment, and let your creativity soar.

The participants were asked to complete a phonetic one-back task. Specifically, they read each word silently; when they read a word that had the same pronunciation as the prior word, they needed to press a button with their left index finger. All of the trials that needed responses (homophone-one-back catch trials) were pseudoword. To prevent participants from pressing the button as soon as they read a pseudoword, we also included half pseudoword trials that did not require a response (i.e., not being homophone to the previous word).

The magnetic resonance imaging (MRI) data were preprocessed by Statistical Parametric Mapping software (SPM12, ). The first 5 volumes of each run were discarded. Then, slice-timing and 3-D motion correction were performed. No participant showed excessive head motion (

Such robust finding in IOG (and ITG) is slightly unexpected given that this region is not part of the brain networks that are commonly considered to support social semantic processing (e.g., Zhang et al. 2021). Its implication in social processing, however, has actually been hinted in various contexts before. The bilateral IOG cluster we observed is adjacent the occipital face area, which show particular sensitivity to face/face part (reviews in Pitcher et al. 2011 and Wang and Olson 2018). Its involvement in high-level semantic social association functions beyond simple visual part features has been suggsted. It plays a causal role in face-job title associations, as shown by a study with transcranial magnetic stimulation (Eick et al. 2020); it is more strongly activated by animations of two triangles involving theory of mind than random animations. The other face/body-related regions in the ventral visual cortex (fusiform face area and extrastriate body area), close to the ITG cluster, we observed sensitive to social verbal semantic composition in the RSA and pattern-synthesis analyses have been shown to be also sensitive to social event composition of nonverbal stimuli, although the synthesis mechanisms varied across studies (synthetic mean, Abassi and Papeo 2020; nonlinear synthetic pattern, Walbrin and Koldewyn 2019). These findings together suggest that these visual areas are engaged in social event semantic composition across multiple modalities (i.e., both picture, video, and language). Whether this pattern reflects certain common combination mechanisms for multimodal social semantics or a co-activation of the visual imageries associated with verbal social event semantic composition warrants further investigation. Also open is the specific compositional mechanism, as we found that both addition and multiplication operations of the neural representations had comparably significant effect here, without being able to distinguish between potential independent versus interactive mechanisms of composition (see similar findings using image stimuli in Baron and Osherson 2011). Whether this reflects two different cognitive processes in the same brain region, i.e., both a simple co-activation of both components (captured by addition neural model) and an interactive process of composition (multiplication neural model), and whether there are other types of nonlinear operations (e.g., Wang and Zong 2017) of the neural mechanisms that better underlie the interactive compositional processes of word meaning, remain to be further tested.

3a8082e126