Rhythm is the most important of all musical components. There could be no music without rhythm, whereas there is much music that has neither melody nor harmony. Music educators emphasize the development of rhythmic perception and response in music education. Because these are essential abilities for all musical activities, children would have difficulty in musical perception and cognition with them. Most music teachers recognize the importance of rhythm in music education, but they don't sufficiently understand the different attributes of rhythm. Rhythm structure, both as an objective physical phenomenon and as a psychological phenomenon, is explained. These two attributes of rhythm are considered as mathematical and musical rhythm, respectively, Music psychologist Jeanne Bamberger's study of children's graphic representations of music is analyzed. Bamberger found that the drawings of children fall into two categories, which she labeled 'figural' and 'metric'. The differences between the two types are based on the kinds of features and relations the children chose or were able to determine : children who made metric drawings focused their attention on measuring the relative duration of events. In contrast, children who made figural drawings focused their attention on grouping of performed events into phrase or figures. Rhythmic groupings may be different for different children while listening to music. Various representational drawings by children for the conventional notation of two short rhythmic sequences are introduced from Bamberger's work to help in understanding the multiple hearing modes of children in rhythm cognition. The purpose of this study is to help in understanding the different attributes of the physical phenomenon of mathematical rhythm and the psychological phenomenon of musical rhythm on a psychological basis, and based on Bamberger's study, to introduce different strategies that children use for rhythmic cognition while listening to short rhythmic sequences. Music teachers should be aware of the attributes of rhythm and both the figural and metric interpretations of the drawings of children and should understand the multiple hearing modes of music cognition that children use and their potential in musical structure. Music teachers who understand the psychological basis of music education can better help children to develop musical intelligence.

Na, Ik-Joo. 2000. A Study on the Polysemy of the Preposition to. Studies in Modern Grammar 19, 191-218. This paper aims to show that the various meanings are closely interwoven based on human cognitive mechanisms such as image schemata, metaphors and focal adjustments. Traditionally, the word `to` has been treated as a case of homonymy, and `to` as a preposition is regarded as having nothing to do with `to` as an infinitival marker. In this paper, however, it is argued that the meanings of the infinitival `to` are intimately linked to the meanings of the prepositional `to.` The two types of meanings are commonly founded on an image-schematic pattern, called a `PATH` schema. This means that `to` belongs to a case of polysemy, not homonymy. The PATH schema is composed of three parts, a starting point, an end point or destination, and a continuous series of points an entity moves or traces along. The protoypical (or central) senses of `to` are elaborated on a physical space. The other senses do not contain a physical movement on a spatial domain, but they are felt to any relation with the PATH schema. The schema underlies all the senses of `to,` whether it is used as a preposition or as a grammatical marker. The schema is elaborated on various domains like time, visual perception or cognition, communication, state, through a cognitive mechanism named subjectification and various metaphors such as STATES ARE LOCATIONS, TIME IS SPACE, CHANGE IS MOVEMENT, and VISION IS A MOVABLE THING.