The Incredible Hulk was an American television series based on the Marvel comic book character of the same name. Two TV movies aired on CBS in 1977, and the show followed, airing from 1978 to 1982. It starred Bill Bixby as Dr. David Bruce Banner and Lou Ferrigno as the Hulk. The concept was developed for television by Kenneth Johnson.
All three of the NBC TV movies (The Incredible Hulk Returns, The Trial of the Incredible Hulk and The Death of the Incredible Hulk) have been available on DVD since 2003, the first two were released by Anchor Bay Entertainment while The Death of the Incredible Hulk was released by 20th Century Fox home video. A double-sided DVD entitled The Incredible Hulk - Original Television Premiere, which contained the original pilot and the "Married" episodes, was released by Universal Studios DVD in 2003 to promote Ang Lee's Hulk motion picture. A six-disc set entitled The Incredible Hulk - The Television Series Ultimate Collection was released by Universal DVD later in 2003. This set includes several notable episodes including "Death in the Family," "The First," and "Prometheus".
On July 18, 2006, Universal released The Incredible Hulk - Season One on DVD. This set contains the original pilot movies, the entire first season, and a "preview" episode ("Stop the Presses") from Season Two.
On July 17, 2007, Universal released The Incredible Hulk - Season Two on DVD as a 5-disc set. The set included the entire second season, the Married episodes (AKA Bride of the Incredible Hulk), and preview episode (Homecoming) from season three.
On June 3, 2008, Universal released The Incredible Hulk - Seasons Three and Four on DVD in time to promote Louis Leterrier's film The Incredible Hulk.
Rhythm
Rhythm (from Greek ῥυθμός - rhythmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events.
The study of rhythm, stress, and pitch in speech is called prosody; it is a topic in linguistics. Narmour (1980, p.147-53) describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests the concept of transformation.
A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975,
Musicians make rhythms with musical instruments. A musician's role is to perceive and measure time. They consciously feel, shape, divide, and compose time to convey feeling. All musicians, instrumentalists and vocalists work with rhythm, but in modern music a rhythm section generally consists of percussion instruments, bass and possibly chordal instruments (e.g., guitar, banjo) and keyboard instruments, such as piano and organ. In recent years, music theorists have attempted to explain connections between rhythm, meter, and the broad structure and organization of sound events in music. Some have suggested that rhythm (and its essential relationship to the temporal aspect of sound) may in fact be the most fundamental aspect of music. Hasty (1997, p. 3), for example, notes that "Among the attributes of rhythm we might include continuity or flow, articulation, regularity, proportion, repetition, pattern, alluring form or shape, expressive gesture, animation, and motion (or at least the semblance of motion). Indeed, so intimate is the connection of the rhythmic and the musical, we could perhaps most concisely and ecumenically define music as the 'rhythmization' of sound." Another piece of evidence suggesting that rhythm is the most fundamental aspect of music is that percussion instruments were likely in use long before stringed instruments. Tribal groups dancing to music made only with percussion instruments is an ancient human practice, which reportedly continues today. The three fundamental elements of music are rhythm, intervals, and chords.
The study of rhythm, stress, and pitch in speech is called prosody; it is a topic in linguistics. Narmour (1980, p.147-53) describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests the concept of transformation.
A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975,
Musicians make rhythms with musical instruments. A musician's role is to perceive and measure time. They consciously feel, shape, divide, and compose time to convey feeling. All musicians, instrumentalists and vocalists work with rhythm, but in modern music a rhythm section generally consists of percussion instruments, bass and possibly chordal instruments (e.g., guitar, banjo) and keyboard instruments, such as piano and organ. In recent years, music theorists have attempted to explain connections between rhythm, meter, and the broad structure and organization of sound events in music. Some have suggested that rhythm (and its essential relationship to the temporal aspect of sound) may in fact be the most fundamental aspect of music. Hasty (1997, p. 3), for example, notes that "Among the attributes of rhythm we might include continuity or flow, articulation, regularity, proportion, repetition, pattern, alluring form or shape, expressive gesture, animation, and motion (or at least the semblance of motion). Indeed, so intimate is the connection of the rhythmic and the musical, we could perhaps most concisely and ecumenically define music as the 'rhythmization' of sound." Another piece of evidence suggesting that rhythm is the most fundamental aspect of music is that percussion instruments were likely in use long before stringed instruments. Tribal groups dancing to music made only with percussion instruments is an ancient human practice, which reportedly continues today. The three fundamental elements of music are rhythm, intervals, and chords.
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