While it is well recognized that a rhythm does not consist necessarily of sound sensations, the 'rhythmization' of a series of sound sensations in the ordinary perceived rhythms is a matter of great interest.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

Characteristic of her work from the beginning of the 1920s is geometrization and rhythmization of composition, which stressed the expressive aspects of her painting.    From Wordnik.com.  [Mela Muter.] Reference

The variations of this period present different curves in the two cases of subjective rhythmization and motor expression of definite rhythm forms.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

He insisted that the 'mental activity' is always primary, and that without it there can be no rhythmization; and he opposed vigorously the motor inclinations of.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

In subjective rhythmization of an undifferentiated series, likewise, the impression of segregation and periodic accentuation grows more forcible and dominating as the rate increases.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

In verse we have much more content, and the rhythmization is no longer regular in its temporal relations; it is entirely dominated at times by the 'logical unities' of the 'thought.'.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

In subjective rhythmization the number of elements which compose the unit is dependent solely on the relation of the subjective rhythm period to the rate of succession among such elements.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

A definite subjective rhythm period undoubtedly appears; but its constancy is not maintained absolutely, either in the process of subjective rhythmization or in the reproduction of ideal forms.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

In order to isolate and exhibit the tendency toward rhythmization in regularly repeated motor reactions, one should examine series of similar movements made at different rates both as an accompaniment to.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

It is impossible from this curve to say, however, that the subjective rhythmization of uniform material becomes more pronounced in proportion as the intervals between the successive stimulations increase.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

This change I have interpreted as indicative of a progressive definition in the process of rhythmization, depending on an increase in coördination and differentiation of the reactions as the series advances.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

On the other hand, the temporal value of the unit which appears as the result of subjective rhythmization undergoes a progressive decrease in absolute magnitude as the rate of succession among the undifferentiated stimuli is accelerated.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

We may say, then, that the relations of rate to complexity of structure present the same fundamental phenomena in subjective rhythmization and objectively determined types, the unit of change only differing characteristically in the two cases.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

The attention of the subject counts for much, and this distinction -- of involuntary from voluntary rhythmization -- which has been made chiefly in connection with the phenomenon of subjective rhythm, runs also through all appreciation of rhythms which depend on actual objective factors.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

The determination of such limits must be made on the basis of quantitative comparison of the reactions which enter into larger and smaller rhythmical series, on the one hand, and, on the other, of the types of structure which appear in subjective rhythmization and the apprehension of objective rhythms the forms of which are antecedently unknown to the hearer.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

There is thus present in the process of mechanically accompanying a series of regularly recurring auditory stimuli a complex rhythmization in the forms, first, of a differentiation of alternate intervals, and secondly, of a synthesis of these in larger structures, a process here traced to the third degree, but which may very well extend to the composition of still more comprehensive groups.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

The special problems which such an investigation should first resolve, relate to the dependence of the amount of rhythmical differentiation on the rate of succession among the reactions; the relation of the form of this reaction series to factors of attention and control; and the significance, in connection with the process of rhythmization, of auditory stimuli produced by and accompanying the reaction series, that is, the comparison of soundless and sounded reactions.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

Acceleration of the speed at which a simple trochaic succession is presented results thus, first, in a more rapid trochaic tempo, until the duration of two rhythm groups approaches more nearly to the period of subjective rhythmization, when -- the fundamental trochaism persisting -- the previous simple succession is replaced by a dipodic structure in which the phases of major and minor accentuation correspond to the elementary opposition of accented and unaccented phases.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

In the rhythmization of an undifferentiated series the recurrence of accentuation depends solely on subjective conditions, the temporal relations of which can be displaced only within the limits of single intervals; for example, if a trochaic rhythm characterizes a given tempo, the rhythm type persists under conditions of progressive acceleration only in so far as the total duration of the two intervals composing the unit approximates more closely to the subjective rhythm period than does that of three such intervals.    From Wordnik.com.  [Harvard Psychological Studies, Volume 1 Containing Sixteen Experimental Investigations from the Harvard Psychological Laboratory.] Reference

A part of the theme, or the entire theme, consists simply of a rhythmization and phrasing of a basic set. ".    From Wordnik.com.  [To Criticize the Critic] Reference