Zeitschriftenartikel: „All Time Low (Musical group)“

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Nisha, Kavassery Venkateswaran, Devi Neelamegarajan, Nishant N. Nayagam, Jim Saroj Winston und Sam Publius Anil. „Musical Aptitude as a Variable in the Assessment of Working Memory and Selective Attention Tasks“. Journal of Audiology and Otology 25, Nr. 4 (10.10.2021): 178–88. http://dx.doi.org/10.7874/jao.2021.00171.

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Background and Objectives: The influence of musical aptitude on cognitive test performance in musicians is a long-debated research question. Evidence points to the low performance of nonmusicians in visual and auditory cognitive tasks (working memory and attention) compared with musicians. This cannot be generalized to all nonmusicians, as a sub-group in this population can have innate musical abilities even without any formal musical training. The present study aimed to study the effect of musical aptitude on the working memory and selective attention.Subjects and Methods: Three groups of 20 individuals each (a total of 60 participants), including trained-musicians, nonmusicians with good musical aptitude, and nonmusicians with low musical aptitude, participated in the present study. Cognitive-based visual (Flanker’s selective attention test) and auditory (working memory tests: backward digit span and operation span) tests were administered.Results: MANOVA (followed by ANOVA) revealed a benefit of musicianship and musical aptitude on backward digit span and Flanker’s reaction time (p<0.05). Discriminant function analyses showed that the groups could be effectively (accuracy, 80%) segregated based on the backward digit span and Flanker’s selective attention test. Trained musicians and nonmusicians with good musical aptitude were distinguished as one cluster and nonmusicians with low musical aptitude formed another cluster, hinting the role of musical aptitude in working memory and selective attention.Conclusions: Nonmusicians with good musical aptitude can have enhanced working memory and selective attention skills like musicians. Hence, caution is required when these individuals are included as controls in cognitive-based visual and auditory experiments.

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Гэ, Ч. „Analysis of the structure of development and influence of the Russian music education system“. Management of Education, Nr. 1(59) (15.01.2023): 115–20. http://dx.doi.org/10.25726/n7190-5678-0457-z.

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Важнейшими институтами, которые должны создавать условия для музыкальной социализации всех юных членов общества, являются общеобразовательные школы. Но, по нашему мнению, в общем масштабе реальную ситуацию в сфере школьной музыкально-педагогической практики в России нельзя охарактеризовать положительно. Музыкально-образовательный уровень российских граждан в целом недостаточно высок. И это следствие не только глобальных общественных проблем (доминирование значения материальных ценностей в мире взрослых, ограниченность процесса музыкальной социализации большей части детей и молодежи вне школы малохудожественной, а иногда и антиэстетической „музыкальной” продукцией и др.), но и в значительной степени музыкальнообразовательного дефицита в школе. Среди негативных факторов, влияющих на качество музыкального образования в России, назовем следующие: дезинтерес политиков и чиновников к этой проблеме, проявляющейся прежде всего в крайне недостаточном количестве учебного времени, отведенного на музыкальные занятия, и скудном материально-техническом обеспечении; потеря мотивации учителей музыкального искусства к результатам собственной деятельности из-за низкой материальной заинтересованности; перегрузка учителей из-за чрезмерного количества бюрократической документации и недостатка учебного времени; проведение музыкальных занятий в начальной школе учителями начальных классов. Катастрофической является ситуация, когда учитель начальных классов сам не может петь, а иногда и не имеет музыкального слуха, когда за счет времени музыкальных занятий решают проблемы других предметов и тому подобное. Такие случаи не редки в нашей школе вследствие все еще распространенного отношения как учеников и их родителей, так и учителей других дисциплин и администрации школы к музыкальному искусству как к второстепенному предмету, что не приносит практической пользы в жизни. Не секрет, что вместе с повышением в школе интереса к модным предметам – экономике, логике, иностранным языкам, информатике и т.д. – блок эстетических дисциплин практически отодвинут на задний план. The International Music Council (IMC) is the world's leading membership-based professional organization dedicated to promoting the value of music in the lives of all peoples. IFC's mission is to develop sustainable music sectors around the world, raise awareness of the value of music, give music meaning in all sectors of society and protect the fundamental rights to music in all countries. IMC is represented by a Regional Music Council in each of the following 5 regions: Africa, America, Asia-Pacific, Europe and the Arab World. All members of the regional group are automatically also IMC members. As a member of the European Music Council (IMC), EMU is therefore also%The most important institutions that should create conditions for the musical socialization of all young members of society are secondary schools. But, in our opinion, on a general scale, the real situation in the field of school music and pedagogical practice in Russia cannot be characterized positively. The musical and educational level of Russian citizens as a whole is not high enough. And this is a consequence not only of global social problems (the dominance of the value of material values in the adult world, the limited process of musical socialization of most children and youth outside of school with low-artistic, and sometimes anti-aesthetic "musical" products, etc.), but also to a large extent the musical and educational deficit at school. Among the negative factors affecting the quality of music education in Russia, we will name the following: disinterest of politicians and officials to this problem, manifested primarily in the extremely insufficient amount of study time allocated to music classes and poor material and technical support; loss of motivation of music teachers to the results of their own activities due to low material interest; overload of teachers due to excessive amount of bureaucratic documentation and lack of study time; conducting music lessons in primary school by primary school teachers. A catastrophic situation is when a primary school teacher himself cannot sing, and sometimes does not have a musical ear, when problems of other subjects are solved at the expense of the time of music lessons, and the like. Such cases are not uncommon in our school due to the still widespread attitude of both students and their parents, as well as teachers of other disciplines and the school administration to musical art as a secondary subject, which does not bring practical benefits in life. It is no secret that along with the increase in interest in fashionable subjects at school – economics, logic, foreign languages, computer science, etc. – the block of aesthetic disciplines is practically pushed into the background.

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Sanfilippo, Katie Rose M., Bonnie McConnell, Victoria Cornelius, Buba Darboe, Hajara B. Huma, Malick Gaye, Hassoum Ceesay et al. „Community psychosocial music intervention (CHIME) to reduce antenatal common mental disorder symptoms in The Gambia: a feasibility trial“. BMJ Open 10, Nr. 11 (November 2020): e040287. http://dx.doi.org/10.1136/bmjopen-2020-040287.

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ObjectivesExamine the feasibility of a Community Health Intervention through Musical Engagement (CHIME) in The Gambia to reduce common mental disorder (CMD) symptoms in pregnant women.DesignFeasibility trial testing a randomised stepped-wedge cluster design.SettingFour local antenatal clinics.ParticipantsWomen who were 14–24 weeks pregnant and spoke Mandinka or Wolof were recruited into the intervention (n=50) or control group (n=74).InterventionMusic-based psychosocial support sessions designed and delivered by all-female fertility societies. Sessions lasted 1 hour and were held weekly for 6 weeks. Delivered to groups of women with no preselection. Sessions were designed to lift mood, build social connection and provide health messaging through participatory music making. The control group received standard antenatal care.OutcomesDemographic, feasibility, acceptability outcomes and the appropriateness of the study design were assessed. Translated measurement tools (Self-Reporting Questionnaire (SRQ-20); Edinburgh Postnatal Depression Scale (EPDS)) were used to assess CMD symptoms at baseline, post-intervention and 4-week follow-up.ResultsAll clinics and 82% of women approached consented to take part. A 33% attrition rate across all time points was observed. 72% in the intervention group attended at least three sessions. Audio and video analysis confirmed fidelity of the intervention and a thematic analysis of participant interviews demonstrated acceptability and positive evaluation. Results showed a potential beneficial effect with a reduction of 2.13 points (95% CI (0.89 to 3.38), p<0.01, n=99) on the SRQ-20 and 1.98 points (95% CI (1.06 to 2.90), p<0.01, n=99) on the EPDS at the post-intervention time point for the intervention group compared with standard care.ConclusionResults demonstrate that CHIME is acceptable and feasible in The Gambia. To our knowledge, CHIME is the first example of a music-based psychosocial intervention to be applied to perinatal mental health in a low- and middle-income country context.Trial registration numberPan African Clinical Trials Registry (PACTR201901917619299).

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Sulaieva, N., und V. Berezan. „DISTANCE FORMS AND TOOLS OF ARTISTIC AND EDUCATIONAL ACTIVITIES IN PRESCHOOL, SECONDARY AND EXTRACURRICULAR EDUCATION INSTITUTIONS“. Aesthetics and Ethics of Pedagogical Action, Nr. 29 (14.06.2024): 167–80. http://dx.doi.org/10.33989/2226-4051.2024.29.306164.

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The article highlights the relevance of distance music education in modern preschool, general education, and extracurricular institutions. Its effectiveness and efficiency depend on various factors: among which there is the ability of educators, music directors, or music teachers to implement the forms and tools of distance education according to the requirements of the time. The authors emphasize that various forms of distance music education are currently established. They are the following: chat classes, which take place synchronously; asynchronous web classes; as well as, hybrid (mixed) music education classes. Their implementation is provided by powerful support and the presence in the information space of various platforms, applications, and services for giving general musical education. The platforms Zoom and Google Meet, messengers Viber, Telegram, WhatsApp, Facebook Messenger, and Instagram are the most popular among music teachers. In the course of musical and educational activities today, online tools are also used, which allow you to quickly and easily listen to the best musical samples, create projects, individual and group tasks, audio and video presentations, flashcards, professional selections, write music, make arrangements, etc. They are the following: virtual tours and concerts posted on the Google Cultural Institute online service in the Performing Arts section; the Melody-Marker, Song Maker, and Rhythm tools featured on the Chrome Music Lab website; Padlet web resource pages, etc. The usage of all the possibilities of distance learning has its advantages, as it allows for maintaining the system and continuity of general music education in difficult conditions. At the same time, there are certain requirements for teaching music online. The most relevant are the inadmissibility following: teaching children to sing online (in particular, the formation of the ability to intonate cleanly); use of video and audio recordings of classes with methodical errors; the use of low-quality recordings of songs for listening and playback by children; lack of control over the quality of provision of educational services, etc. Further research can be devoted to further research on the influence of distance music education on the development of musical abilities of students of different ages and levels of training, to the study of optimal strategies for learning music in the online format, taking into account the age and individual characteristics of students, to the study of the possibilities of using virtual reality and interactive technologies to improve distance learning, artistic and educational activities, analysis of the impact of such activities on the development of creativity and self-expression of students in the context of the modern digital environment, etc.

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Naiko, Natalia M. „SEMANTIC OVERTONES OF D. SHOSTAKOVICH'S NINTH SYMPHONY“. Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, Nr. 39 (2020): 170–84. http://dx.doi.org/10.17223/22220836/39/16.

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The ninth symphony, created by D. Shostakovich in 1945 and a few years later defined as the “scherzo symphony”, was met with bewilderment by critics who expected a grandiose work praising the Victory. The deep layers of its content, the direction of the author’s thought, become accessible to understanding only as a result of the analysis of the composer’s work with thematic material having a “secondary” nature. This is material I (sonata allegro), III (scherzo) and V (final). The main themes of parts I and III are generalized in genre, they are characterized by being ori-entated at classicist style models. The remaining thematism reveals domestic origins: march (theme of the Second subject group of part I), tarantella (theme of the episode of part III), gallop (theme of the First subject group of the final), march song (theme of the Second subject group of the final). The reliance on these genre models determines the melodic-rhythmic, harmonic, textural, and structural characteristics of the corresponding themes. In the purest form, typical signs of genre-stylistic models appear during the exhibition. In the process of development of the themes, a general pattern is the exposure of the proto-intonation layer (E. Nazaikinsky's term), putting in the foreground the biological, the animal in a person – which is connected with the instinct of destruction, uncontrolled aggression, etc. Just as a predatory grimace disfigures a human face, in the aspect of musical decisions, protointonation is manifested through the deformation of the genre and style models comprising all the levels of musical organization, which is most clearly represented in the developments and reprises. These means serve as a metaphor for the destruction of the cultural layer, which determined the way of artistic imprinting of Homo agens, Homo sapiens, Homo ludens, Homo communis. In the Ninth Symphony, Shostakovich models the process of disintegration of human culture and a person, who has lost the spiritual core, the release of the dark component of his nature. This way he reveals the inner content of the themes-images that initially fit into the traditions and norms of musical culture – prima-ry, household, or professional, artistic. Since such techniques contribute to the detection of meaning, they are included in the sphere of superintonation, simultaneously expressing the author's concept. The result of the figurative development of parts II and IV is the repression of the living human principle, rooted in the native culture and at the same time addressed to the sublime, which manifests itself in feeling and thought. These processes express the idea of the doom of Personality under the pressure of vulgarity and dirt, which, refracted in the mind of the Artist, is generalized and grows up to the level of a symbol. The specificity, tangibility of images in the presence of a plan of philosophical understanding al-low us to speak about the presence in the given symphony of features of the parable genre. Author's musical “narration” contains, in a coded form, a system of value directions and modeling of the conditions under which ideals are destroyed.

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Köberlein, Marie, Laila Hermann, Sophia Gantner, Bogac Tur, Gregor Peters, Caroline Westphalen, Tobias Benthaus, Michael Döllinger, Stefan Kniesburges und Matthias Echternach. „Impulse dispersion of aerosols during playing the recorder and evaluation of safety measures“. PLOS ONE 17, Nr. 9 (26.09.2022): e0266991. http://dx.doi.org/10.1371/journal.pone.0266991.

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Introduction Group musical activities using wind instruments have been restricted during the CoVID19 pandemic due to suspected higher risk of virus transmission. It was presumed that the aerosols exhaled through the tubes while playing would be ejected over larger distances and spread into the room due to jet stream effects. In particular, the soprano recorder is widely used as an instrument in school classes, for beginners of all age groups in their musical education, in the context of leisure activities and in professional concert performances. Understanding the aerosol impulse dispersion characteristics of playing the soprano recorder could assist with the establishment of concepts for safe music-making. Methods Five adult professionally trained soprano recorder players (4 female, 1 male) played four bars of the main theme of L. van Beethoven’s “Ode to Joy” in low and in high octaves, as well as with 3 different potential protection devices in the high octave. For comparison they spoke the corresponding text by F. Schiller. Before each task, they inhaled .5 L of vapor from an e-cigarette filled with base liquid. The vapor cloud escaping during speaking or playing was recorded by cameras and its spread was measured as a function of time in the three spatial dimensions. The potential safety devices were rated for practicability with a questionnaire, and their influence on the sound was compared, generating a long-term average spectrum from the audio data. Results When playing in the high octave, at the end of the task the clouds showed a median distance of 1.06 m to the front and .57 m diameter laterally (maxima: x: 1.35 m and y: .97 m). It was found that the clouds’ expansion values in playing the recorder with and without safety measures are mostly lower when compared to the ordinary, raised speaking voice of the same subjects. The safety devices which covered the instrument did not show clear advantages and were rated as unpractical by the subjects. The most effective reduction of the cloud was reached when playing into a suction funnel. Conclusion The aerosol dispersion characteristics of soprano recorders seem comparable to clarinets. The tested safety devices which covered holes of the instrument did not show clear benefits.

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Kovalenko, Anatoliі. „DEVELOPMENT OF UKRAINIAN GUITAR EDUCATION IN THE CONDITIONS OF DISTANCE LEARNING“. Academic Notes Series Pedagogical Science 1, Nr. 190 (November 2020): 100–104. http://dx.doi.org/10.36550/2415-7988-2020-1-190-100-104.

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The article reveals the positive and negative aspects of the development of domestic guitar education in terms of distance learning. Applying the methods of historical and pedagogical analysis and a systematic approach, the recommendations of the Ministry of Education and Science of Ukraine were analyzed, which considered this area of development of the educational process and scientific works of guitar researchers. It is determined that the standards of higher education in the specialty 025 «Musical Arts» do not specify the quality of computer and software. It has been found that students, teachers, and heads of educational institutions from time to time face the issue of updating computer equipment to implement a quality educational process. It is proved that when using the software «Zoom» or «Skype» for group practical classes, a small error in the work of the Internet can lead to desynchronization in the work of the music group. It is highlighted that professions related to training, individual services, and creativity will remain relevant, as they cannot be replaced by automated systems even with the use of artificial intelligence; «the introduction of distance learning tools in schools is positive, in particular the use of the Microsoft Teams for Education Center, which includes the following options: downloading materials, storing and sharing them; possibility to add electronic textbooks / educational games; placement of announcements, digests for all participants of the educational process», etc.; negative aspects of the development of domestic guitar education in terms of distance learning are the lack of live contact between teacher and student, the inability to visually adjust the performance movements (left and right hand, artistic gestures, etc.); the ability of the mentor to remove the mental and physiological clamp from the performer is lost; slow internet connection speed and low quality of computer components can hinder a quality educational process and others. In terms of distance learning, domestic guitar education has changed the vector of its development. Users of Internet resources became the target audience of performing guitar art, and music education of guitarists received new opportunities for improvement. However, there are still factors that hinder the full implementation of positive changes. We consider the following to be the main ones: the lack of live communication between the teacher and the student, the unstable speed of the Internet connection in some regions of Ukraine and the low quality of computer components among some participants in the educational process.

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Padulo, Johnny, Alin Larion, Olfa Turki, Ionel Melenco, Cristian Popa, Stefano Palermi, Gian Mario Migliaccio, Stefania Mannarini und Alessandro Alberto Rossi. „Ecological and Construct Validity of a New Technical Level Cuban Dance Field Test“. International Journal of Environmental Research and Public Health 18, Nr. 24 (16.12.2021): 13287. http://dx.doi.org/10.3390/ijerph182413287.

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The study aimed to explore the sensitivity and specificity of a new methodological approach related to the musical rhythm for discriminating a competitive Cuban dancer’s (CDCs) level. Thirty CDCs (Age 23.87 ± 1.76 years, body mass 60.33 ± 9.45 kg, stature 1.68 ± 0.07 m) were divided into three groups: beginner (BEG, n = 10), intermediate (INT, n = 10), and advanced (ADV, n = 10) according to their training experience/level. Each dancer was assessed while dancing at three different musical rhythms: fast (118 BPM), medium (96 BPM), and slow (82 BPM). The assessed variables were average heart rate (HRM), peak (HRP), and dancing time (DCT). The ADV group succeeded at all three musical combinations (317, 302, 309 s for 82, 96, 118 BPM). The INT group correctly performed only the first two combinations (304, 304 s for 82, 96 BPM), while a significant time difference was shown at the fast musical rhythm (198 ± 6.64 s) compared to the medium (p < 0.001) and slow rhythms (p < 0.001) respectively. As the speed of the musical rhythms increased, the BEG group was not able to follow the rhythm: their results were 300 ± 1.25 s for the slow musical rhythm, 94.90 ± 12.80 s for the medium musical rhythm and 34.10 ± 5.17 s for the fast musical rhythm (p < 0.001). The HRM and HRP grew along with the increase in musical rhythm for all groups (p < 0.001). The ROC analysis showed a high sensitivity and specificity in discriminating the groups for each rhythm’s condition. The BEG and INT groups showed an AUC = 0.864 (95% CI = 0.864–0.954); INT and ADV showed an AUC = 0.864 (95% CI = 0.864–0.952); BEG and ADV showed an AUC = 0.998 (95% CI = 0.993–1.000). The results of this study provided evidence to support the construct and ecological validity of the time of the musical rhythms related to competitive CDCs. Furthermore, the differences in the performances according to various musical rhythms, fast (118 BPM), medium (96 BPM), and slow (82 BPM), succeeded in discriminating a dancer’s level. Coaches and strength and conditioning professionals should include the Cuban Dance Field Test (CDFT) in their test battery when dealing with talent detection, selection, and development.

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Carmon, Yehudith, Aryeh Wohl und Shmuel Even-Zohar. „The Musical Notes Method for Initial Reading Acquisition“. Journal of Cognitive Education and Psychology 7, Nr. 1 (Januar 2008): 81–100. http://dx.doi.org/10.1891/194589508787381935.

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A century of experimental approaches to reading instruction has not significantly reduced initial reading acquisition problems. Though researchers continue to identify more and more symptoms of deficiencies, they have, to date, come up with but few solutions. Reading instruction traditionally begins with the particular components of a specific language. In this study, we investigate a method that begins with general, basic reading components common to all written alphabetical languages, including musical notation. We propose to introduce reading by using an original and simple musical vehicle, the Toy Musical Notes (TMN) method. After creating a primary reading scheme through music, verbal reading becomes much easier. Our method was tested on 150 preschool children, who participated in three intervention programs: TMN, conventional music, and a control group, which had a non-musical intervention program. Pre- and posttests were administered with follow-up assessments in reading development conducted in the first grade. The results reflected significant achievements for the TMN group on all reading parameters: number of mistakes, vocal reading time, velocity, and comprehension. Applying this method allowed us to use children’s natural musical interest to help them learn to read and comprehend better.

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Stronsick, Lisa M., Samantha E. Tuft, Sara Incera und Conor T. McLennan. „Masculine harps and feminine horns: Timbre and pitch level influence gender ratings of musical instruments“. Psychology of Music 46, Nr. 6 (10.11.2017): 896–912. http://dx.doi.org/10.1177/0305735617734629.

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We examined whether timbre (instrument), pitch level, or both influence gender ratings of musical instruments. According to previous research, a variety of musical instruments are categorized or rated as masculine, neutral, or feminine in a relatively consistent way. Gender associations to musical instruments have been rather reliable across time and across participant populations. We investigated the gender ratings of nine musical instruments (three masculine, three neutral, and three feminine) each heard at low, medium, and high pitch levels within the playable range of each instrument. Both timbre and pitch level influenced participants’ gender ratings. The effect of timbre is consistent with results of previous studies, further demonstrating that participants rate instruments fairly consistently. One novel finding is that pitch level also played a role in participants’ gender ratings. The ratings of all instruments heard in low pitch levels were shifted in the masculine direction, and the ratings of all instruments heard in high pitch levels were shifted in the feminine direction. These results provide evidence for the notion that participants are influenced by associations to both timbre and pitch level when rating musical instruments on gender.

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Yuan, Chenjie, Santiago González-Fuente, Florence Baills und Pilar Prieto. „OBSERVING PITCH GESTURES FAVORS THE LEARNING OF SPANISH INTONATION BY MANDARIN SPEAKERS“. Studies in Second Language Acquisition 41, Nr. 1 (02.01.2018): 5–32. http://dx.doi.org/10.1017/s0272263117000316.

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AbstractRecent studies on the learning of L2 prosody have suggested that pitch gestures can enhance the learning of the L2 lexical tones. Yet it remains unclear whether the use of these gestures can aid the learning of L2 intonation, especially by tonal-language speakers. Sixty-four Mandarin speakers with basic-level Spanish were asked to learn three Spanish intonation patterns, all involving a low tone on the nuclear accent. In a pre-post test experimental design, half of the participants received intonation training without the use of pitch gestures (the control group) while the other half received the same training but with pitch gestures representing nuclear intonation contours (the experimental group). Musical (melody, pitch) abilities were also measured. The results revealed that (a) the experimental group significantly improved intonational production outcomes, and (b) even though participants with stronger musical abilities performed better, those with weaker musical abilities benefited more from observing pitch gestures.

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Kalashnyk, Mariya P., Uriy I. Loshkov, Oleksandr V. Yakovlev, Anton O. Genkin und Hanna S. Savchenko. „role of the musical-acoustic thesaurus in the process of orientation in a given space-time“. Linguistics and Culture Review 5, S4 (23.10.2021): 139–48. http://dx.doi.org/10.21744/lingcure.v5ns4.1568.

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Musically-acoustic thesaurus is a complex structure which composition of multiple parts is effectuated by multiple channels of receiving information from the outside and ways of manipulation with it. The manipulation is turning of separate facts into systematic knowledge stored in memory. Musically-acoustic thesaurus of collective and individual consists of two groups with duplex connection which are the knowledge of the world as a sonic phenomenon and of human auditory activity and the experience of absorbing the information received, principles of manipulation with it. They fulfill inherent inclination of individual towards usage of auditory images as a requirement for appearance of musical ones. All the sonorities are bracketed in two groups: extra-musical and musical itself. The latter group consists of musical units of acoustically-sonic environment, having utility, practical significance for a person, allowing orientation in given spacetime. At the same time, they are potentially opened to emotional experiences and aesthetic approach towards them. Acoustically-sonic environment possesses basic traits of organization, being reflected in mind by such characteristics as cyclicity, variability, combinationalism, montage structure, simultaneity, interdependency of shape and background.

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Madsen, Clifford K., John M. Geringer und Katia Madsen. „Adolescent Musicians' Perceptions of Conductors Within Musical Context“. Journal of Research in Music Education 57, Nr. 1 (April 2009): 16–25. http://dx.doi.org/10.1177/0022429409333352.

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Attention to subtle changes in music, whether inadvertent or purposeful, occupies a great deal of practice and rehearsal time for the performer. Regardless of the extremely subtle acoustic changes that have been found to be perceptible within almost all studies, it is the total overall effect that most occupies the individual listener. This study investigated perception of digitally edited performances of Johann Strauss's Blue Danube Waltz, all performed by the Vienna Philharmonic Orchestra with various conductors across an 18-year period. Two groups of string musicians in grades 7 through 12 participated ( N = 104). One group was an intact class; the second was a group of summer camp students. All participants listened to two conditions: (a) audio only and (b) audio-video combination. Results indicated that there were no significant differences between groups and that no one was able to identify correctly that there were five different conductors in the audio-only condition. Results were much the same as earlier research with college students. In addition, many students indicated that there were differences in the audio portions of the two conditions when in fact there were not.

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Lapeña, Jose Florencio. „People Giving Hope in the Time of COVID-19: They Also Serve Who Care and Share“. Philippine Journal of Otolaryngology Head and Neck Surgery 35, Nr. 1 (16.05.2020): 4–5. http://dx.doi.org/10.32412/pjohns.v35i1.1255.

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That murmur, soon replies, “God doth not need Either man’s work or his own gifts; who best Bear his mild yoke, they serve him best. His state Is Kingly. Thousands at his bidding speed And post o’er Land and Ocean without rest: They also serve who only stand and wait.”1 1John Milton, Sonnet 19 The COVID-19 Pandemic has brought out most of the best (and some of the worst) in us. Much has been said, shared, even sung about health care workers as frontline heroes. Whether we indeed form the frontline, or man the last line of defense, due credit is being given to all “front-liners” – essential-service workers, drivers and delivery personnel, security guards, the military and police who literally serve in the trenches of this invisible war. Indeed, it is heartening to read the inspiring messages, hear the encouraging words, listen to the uplifting (sometimes funny) music and songs, witness the moving memes and cartoons, watch the refreshing dances and tributes, and receive the healing blessings and prayers on various media and social media platforms. Indeed, we are motivated to continue to work, so that others may safely stay home. Some of us have even been called upon to die, so that others may live. But so much less is and has been said about those who make our battle possible, who selflessly and silently took it upon themselves to clothe us with personal protective equipment, feed us, transport us, and even shelter us as we engage the unseen enemy. It is these heroes I wish to thank today. I certainly cannot thank them all, but I sincerely hope that those I do mention will represent the many others I cannot. Early on, my brother Elmer Lapeña and his Team Twilight group of “golfing enthusiasts and friends” (“company owners, executives, managers, engineers, technicians, entrepreneurs, and expats in the electronics, semiconductor, metalworking, automotive, aerospace, and packaging manufacturing industries”) responded to the call for better protection for frontliners with door-to-door deliveries of Personal Protective Equipment (PPE) to over 40 hospitals in the National Capitol Region, Rizal, Cavite, Laguna and Batangas including the Philippine General Hospital (PGH).2 On a personal note, Elmer and my sister-in-law Annette were closely monitoring our situation, going out of their way to obtain difficult-to-find PPEs for my wife Josie and myself, and our respective Departments of Family and Community Medicine (DFCM) and Otorhinolaryngology (ORL) at the PGH. For her part, our very dear friend Gigi Bautista Rapadas organized Project #HelpCovid19Warriors(HCW), to “go where the virus goes” and “help where help is needed and requested,” harnessing donations from ‘family, friends, and friends of friends” to procure PPE (as well as disinfectants, even canned goods) that were distributed “from Metro Manila to the provinces: Tuguegarao, Bataan, Bulacan, La Union, Nueva Vizcaya, Cavite,” moving from hospitals and health centers to correctional institutes.3 It is because of them that our PGH Department of ORL obtained very expensive but essential respirator hoods for added protection from aerosolized virus when conducting airway procedures, in addition to head-to-foot PPEs for use of the PGH DFCM in attending to PGH staff at the UP Health Service. Meanwhile, without fanfare, our dear friends Popot and Agnes (also my DLSU ’79 classmate) Lorenzana provided cooked meals for 1,000 persons daily. Working with on-the-ground social workers and with the 2KK Tulong sa Kapwa Kapatid Foundation, their Feeding Program “A thousand meals for poor communities” reached Payatas, Talayan, Pinyahan, Smokey Mountain, Maisan, Bagong Silang, Old Balara, Tatalon, Sta. Teresita, Sampaloc, and Sta. Ana, among more than 50 other communities. They generously responded to my wife’s request to provide meals for her community patients of the Canossa Health Center in Tondo. They have also provided meals for hospital staff of Amang Rodriguez Memorial Medical Center, the Medical City Hospital, Veterans Memorial Medical Center, Dr. Jose Fabella Memorial Hospital, Dr. Jose Rodriquez Memorial Hospital, Quezon City General Hospital, the San Lazaro Hospital, Valenzuela City Emergency and Lung Center of the Philippines. They continue this service which to date has provided for more than 32,000 meals, with corporate partners and private individuals joining the effort.4 Other De La Salle University (DLSU) College ‘79 batchmates who wish to remain anonymous obtained board approval of their endorsement to channel all the social development funds of their Maritime Multipurpose Cooperative for the next 3 years to the Philippine General Hospital. Adding their personal funds (and those solicited by their daughter and nephew), they took on the daunting task of sourcing and proving Powered Air Purifying Respirators (PAPRs) for our use. Another DLSU batchmate has been providing PPEs to various hospitals including PGH through their family corporation, Nobleland Ventures, Inc. Even their high school batch ’75 of Saint Jude Catholic School has donated boxes and boxes of PPEs to the PGH and other hospitals. Other DLSU ’79 classmates Bel and Bong Consing, and Timmy, Joy (and Tita Linda) Bautista have personally donated PPEs and funds for our COVID-19 operations, while classmate Fritz de Lange even sent over sweet mangoes for us to enjoy with our fellow frontliners. Generous donations also poured in from La Salle Green Hills (LSGH) High School ’76 friends Cris Ibarra, Norman Uy, Class 4E, and batchmates Tito and Pepper who wish to remain anonymous, as well as Menchit Borbon and her St. Theresa’s College Quezon City (STCQC) - Section 1 classmates. We even received overseas support from my LSGH 4B classmate Bingo Pantaleon from Yangon; my mom Libby, brother Bernie and Lilli, and friend Soyanto from Singapore, and sister Sabine from Germany. And how can we forget the regular frozen food deliveries of Jollibee chicken drumsticks and home-made Bulgogi and Tapa from our dear friends Ed and Aning Go? Perhaps the most touching gifts of all came from my eldest and youngest daughters Melay and Jica, who lovingly prepared and delivered much-appreciated meals to us, and middle child Ro-an, who with our son-in-law Reycay serenaded us with beautiful music that was appreciated by no less than Vice President Leni Robredo and featured by the Philippine Philharmonic Orchestra.5 Their musical fund-raising campaign started with another haunting piece featuring my sister Nina and brother-in-law Kiko.6 As if that was not enough, Ro-an bakes cookies to raise funds for our ongoing COVID-19 operations at PGH, while Melay and Jica keep asking us what we want to eat next. These three count among those who have least, yet “put in everything ” from what little they have.7 These are but a few examples of those known personally to me- my family and friends. And there are many more. In the same way, every other doctor and front liner will have their own stories to tell, of friends, family even mere acquaintances who have come out of the shadows to help, to care, to share in whatever way they can, in fighting this battle with us. Let this be their tribute as well. Those of us who serve in the Philippine General Hospital have been called People Giving Hope.8,9 I believe that we do give hope because others give us hope in turn. I like to think that the inscription in the PGH lobby “They Also Serve Who Care and Share” honors these others in a special way who go over and beyond the call of duty. With apologies to John Milton, our heroes go way over and beyond “they also serve who only stand and wait.”

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Al Imran, Md Ibrahim, Fahmida Ahmed Antara, Bidya Debnath und Adrita Anika. „DESIGN AND IMPLEMENTATION OF A 36-NOTE LOW-COST CUSTOMIZED DIGITAL MUSIC BOX“. Acta Mechanica Malaysia 6, Nr. 2 (2023): 66–72. http://dx.doi.org/10.26480/amm.02.2023.66.72.

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The purpose of the current study was to design and build a music box with digitally produced notes. The input command sheet allows anybody to create any melody from the octave, making it possible to think of it as a small version of a musical instrument. This instrument is capable of producing frequencies in all three octaves, i.e., the lower, the middle, and the higher octaves. This music box may therefore play any tune, no matter how short or lengthy the note is. There is no need to alter the frequencies over time because no string is used in the creation. It can play any song to one’s heart’s content if the song’s music sheet is accessible. In an epitome, this music box can be viewed as a very simple musical instrument with digitally created tones. There is no need to customize the strings over time like with traditional mechanical musical instruments owing to tones produced digitally. The ability to generate a vast variety of tones, the ease with which it can be adjusted, the convenience with which anyone may have their desired notes customized, and the low cost at which it was produced are the most notable advantages of this digital music instrument. Due to its low price, it can be simply incorporated, altered, slightly improved, and produced at a considerably reduced cost for commercial use.

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Klujev, Alexander S. „Philosophy of Music in the Mirror of the Contemporary Age. Article 2“. Russian Journal of Philosophical Sciences 64, Nr. 7 (15.07.2021): 137–50. http://dx.doi.org/10.30727/0235-1188-2021-64-7-137-150.

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The article examines the processes taking place in contemporary musical culture, and the emphasis is placed on the situation that has developed today in the musical life of Russia. It is noted that many contemporary composers in Russia are breaking with the domestic artistic traditions, focusing on the creative initiatives of composers living in the West. Among the Russian composers, the SoMa group composers (Soprotivlenie Materiala – “Resistance of Material”) are distinguished by a special intransigence to the principles of artistic creativity that tradionally developed in Russia, they loudly declared: “Contemporary Russian music is us.” At the same time, it should be taken into account that Russian music is inextricably linked with the artistic traditions of Russia, which, first of all, is manifested in the reliance of the musical material on the songfulness that originates in the liturgical Orthodox singing. It is emphasized that today in Russia there are composers who maintain contact with the tradition, thereby preserving the achievements of Russian music. Among them, first of all, are the composers who are part of the MOST group (Muzykal’noe Ob’edinenie “Sovremennaya Traditsiya” – Musical Association of Contemporary Tradition). Moreover, the composers work in all cities of Russia – from Kaliningrad to Vladivostok – and increase the glory of Russia by their creativity. An interview is given with one of them – the Perm composer Nikita Shirokov. In conclusion, the author discusses the prospects for the development of the journal’s section – it is planned to publish materials and interviews related to the contemporary musical life in other countries.

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Sellés-Pérez, Sergio, Lara Eza-Casajús, José Fernández-Sáez, Miguel Martínez-Moreno und Roberto Cejuela. „Using Musical Feedback Increases Stride Frequency in Recreational Runners“. International Journal of Environmental Research and Public Health 19, Nr. 7 (24.03.2022): 3870. http://dx.doi.org/10.3390/ijerph19073870.

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The number of participants in popular races has increased in recent years, with most of them being amateurs. In addition, it has been observed that there is a high percentage of injuries among them, and some of these injuries may be related to a low stride frequency. The aim of this research was to check if a continuous running training program with a musical base improves the stride frequency of popular runners. For this purpose, the effect of a 6 week continuous running training program with the help of a musical track with a constant rhythm that was 10% higher than the preferred stride frequency of the subjects was analyzed and compared to a control group that performed the continuous running training without sound stimuli. Significant increases were found in the evolution of stride frequency in the experimental group between the pre- and post-test (p = 0.002). No significant changes were observed in the stride frequency of the control group. These results show that training with music feedback helps to improve stride frequency in recreational runners. Future research should study the evolution of the improvement obtained in time as it is unknown if the increase in stride rate has been integrated in the runner’s technique, making the improvement obtained permanent. Future research is needed to confirm these results by enlarging the sample and carrying out an exhaustive biomechanical study.

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Andari, Ida Ayu Made Yuni, und Ida Bagus Alit Arta Wiguna. „Implementasi Kurikulum Merdeka Belajar Dalam Menstimulasi Kecerdasan Musikal Anak Usia Dini“. Widya Sundaram : Jurnal Pendidikan Seni Dan Budaya 1, Nr. 1 (31.03.2023): 55–70. http://dx.doi.org/10.53977/jws.v1i1.1019.

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The kurikulum merdeka belajar emphasises learning that focuses not only on academic knowledge, but also on skills and attitudes. It equips learners with skills that are relevant to the evolving needs of the world of work. Musical intelligence involves the ability to appreciate, understand and make music. Children with this intelligence have sensitivity to rhythm, tone, and melody, and are able to express themselves through music. researchers are interested in examining more deeply the implementation of the kurikulum merdeka belajar in stimulating early childhood musical intelligence. This research uses descriptive qualitative research methods with a literature review research approach. data taken from various sources of written materials and then identifying contextual evidence by looking for relationships between data and the reality that the author examines. Some ways that can be used to stimulate and develop children's musical intelligence are: Musical exploration, Singing and singing together, Movement and dance, Making music and simple instruments, Musical performances, Integrating music in learning. Musical intelligence involves a person's ability to appreciate, understand, produce and express music. Individuals with strong musical intelligence are more sensitive to musical elements such as rhythm, pitch, harmony and expression. Media and tools to stimulate musical intelligence such as: Music recordings, Percussion instruments, Rhythmic instruments, Melodic instruments, Music apps and software, Musical books and stories, Group musical activities. Games that can stimulate and develop children's musical intelligence include listening games, imitation games, sound management games, song and movement games, composition games, sound teasers, guess the song games. The implications of the kurikulum merdeka belajar for stimulating children's musical intelligence are the development of musical skills, the development of auditory skills, the experience of harmony and well-being, the improvement of motor skills, the improvement of creativity, the improvement of cognition and concentration, the improvement of social and emotional skills. The constraints in stimulating early childhood musical intelligence are Limited resources, Lack of musical knowledge or skills, Limited time, Low interest or motivation of children, Differences in abilities and interests, Lack of environmental support.

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Black, Emily, Jennifer L. Stevenson und Joel P. Bish. „The Role of Musical Experience in Hemispheric Lateralization of Global and Local Auditory Processing“. Perception 46, Nr. 8 (06.01.2017): 956–75. http://dx.doi.org/10.1177/0301006616685954.

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The global precedence effect is a phenomenon in which global aspects of visual and auditory stimuli are processed before local aspects. Individuals with musical experience perform better on all aspects of auditory tasks compared with individuals with less musical experience. The hemispheric lateralization of this auditory processing is less well-defined. The present study aimed to replicate the global precedence effect with auditory stimuli and to explore the lateralization of global and local auditory processing in individuals with differing levels of musical experience. A total of 38 college students completed an auditory-directed attention task while electroencephalography was recorded. Individuals with low musical experience responded significantly faster and more accurately in global trials than in local trials regardless of condition, and significantly faster and more accurately when pitches traveled in the same direction (compatible condition) than when pitches traveled in two different directions (incompatible condition) consistent with a global precedence effect. In contrast, individuals with high musical experience showed less of a global precedence effect with regards to accuracy, but not in terms of reaction time, suggesting an increased ability to overcome global bias. Further, a difference in P300 latency between hemispheres was observed. These findings provide a preliminary neurological framework for auditory processing of individuals with differing degrees of musical experience.

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Верещагіна-Білявська, Олена, und Алла Степова. „Borys Buievskyi: creative portrait on the background of musical processes of the second half of the 20th century“. Мистецтво в культурі сучасності: теорія та практика навчання, Nr. 1 (30.10.2023): 45–51. http://dx.doi.org/10.31652/3041-1009-2023(1)-06.

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The article is devoted to highlighting the peculiarities of the period of formation of the musical avant-garde in Ukraine in the 60s-80s of the twentieth century. This period was a time of oppression, misunderstanding, bans and repressions of all Ukrainian art by the Soviet authorities, and, on the other hand, years of bold compositional searches and the formation of a new musical thinking oriented towards the musical culture of Western Europe, bypassing the established rules and censorship. This period became a new historical milestone in the development of Ukrainian music, marked by the emergence of names of composers of a different formation and outlook. First of all, this directly concerns the group of composers «Kyiv Avant-Garde», who formed new traditions and laid the foundation for the further development of Ukrainian musical art. Among the well-known composers of that time, a significant place belonged to the nonconformist composer Borys Buievskyi. The artist's desire to preserve his individuality in spite of the totalitarian, ideological dogmas of the authorities, to manifest his national essence and consciousness was reflected in his work, which is distinguished by the courage of ideas, relevance of themes and rebellious sound. The article traces its affiliation with both innovative musical findings and trends of the time and the appeal to the heritage of the past musical culture, its previous achievements, which were embodied in the technique of polystylistics, which became a defining feature of the composer's work. The article describes the genre palette, peculiarities of the musical language and forms of his works. The music of the early period of Borys Buievskyi's work is analyzed, which is represented primarily in the works of the vocal genre, namely pop songs. On the example of the ballets «Song of the Blue Sea», «Ustym Karmeliuk», music for animated films and symphonic works, the evolution of the composer's technique and consciousness of the artist, which moved towards deepening the themes, bold sound and stylistic combinations, is traced.

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Stepanova, Anna. „Modern brass band: its components and activities“. Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2022, Nr. 1 (138) (17.03.2022): 37–42. http://dx.doi.org/10.24195/2617-6688-2022-1-5.

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The article covers the modern composition of a brass band, the main musical instruments that make up performing groups; the features of sound, range, tessitura of traditional musical instruments. Attention is also paid to the peculiarities of brass band leadership and professional skills of the conductor. One of the main differences of a brass band is the possibility of its use outdoors. Its powerful and loud sound does not need to be amplified by various technical devices – microphones, etc. Therefore, this type of performance of wind music is used mainly to accompany the solemn processions of various kinds, as well as to perform dance music. The highest type of brass band is the "large mixed brass band", which has the ability to perform works of considerable complexity. The composition of the "large mixed brass band" has been characterised, first of all, by the introduction of three or four trombones, three parts of trumpets, four parts of horns. In addition, the "large mixed brass band" has a much more complete group of wooden wind instruments, consisting of three flutes (piccolo flute and two large flutes), two oboes, the English horn, a large group of clarinets with their varieties, two bassoons, contraphagot and saxophones. To provide low-register sounds, helicons are introduced into the "large mixed brass band" – a low-sounding brass instrument arranged in a circle. In the modern composition of the orchestra helicons are replaced by tubes. The effective functioning of the brass band and its management is a historically established process of a special kind of musical and creative activity, which includes constructive and technical inventions of musical instruments, skills and abilities of performance, effective management of the orchestra through professional, communicative and personal qualities of the orchestra leader (conductor).

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Laudadio, Nicholas, und Meghan Sweeney. „Way Out Music for Way Out Kids“. Journal of Popular Music Studies 32, Nr. 4 (30.11.2020): 60–74. http://dx.doi.org/10.1525/jpms.2020.32.4.60.

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This article explores the 1960s children’s recordings of Canadian electronic music pioneer Bruce Haack and his collaborator, the American dancer and educator Esther Nelson. Their musical partnership existed at the intersection of music, performance, and technology at a time when all three were changing rapidly. The unpredictable and playful recordings that resulted relied upon DIY electronic equipment to create an unusual range of styles and sounds, from low-fi electronic collage to traditional folk music against a mechanical backbeat; they also, crucially, relied on the input of children. By examining the resulting musical experiments within the cultural and technological context of electronic music from the early 1960s to today, we hope to emphasize that, far from being diminished versions of electronic music, children’s electronic music articulates some of the genre’s most intriguing and lasting concerns. Indeed, the innovations in musical technology and technique deployed in these recordings forecasted changes that would come in electronic music decades later.

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Chabin, Thibault, Damien Gabriel, Emmanuel Haffen, Thierry Moulin und Lionel Pazart. „Are the new mobile wireless EEG headsets reliable for the evaluation of musical pleasure?“ PLOS ONE 15, Nr. 12 (31.12.2020): e0244820. http://dx.doi.org/10.1371/journal.pone.0244820.

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Since the beginning of the 20th century, electroencephalography (EEG) has been used in a wide variety of applications, both for medical needs and for the study of various cerebral processes. With the rapid development of the technique, more and more precise and advanced tools have emerged for research purposes. However, the main constraints of these devices have often been the high price and, for some devices the low transportability and the long set-up time. Nevertheless, a broad range of wireless EEG devices have emerged on the market without these constraints, but with a lower signal quality. The development of EEG recording on multiple participants simultaneously, and new technological solutions provides further possibilities to understand the cerebral emotional dynamics of a group. A great number of studies have compared and tested many mobile devices, but have provided contradictory results. It is therefore important to test the reliability of specific wireless devices in a specific research context before developing a large-scale study. The aim of this study was to assess the reliability of two wireless devices (g.tech Nautilus SAHARA electrodes and Emotiv™ Epoc +) for the detection of musical emotions, in comparison with a gold standard EEG device. Sixteen participants reported feeling emotional pleasure (from low pleasure up to musical chills) when listening to their favorite chill-inducing musical excerpts. In terms of emotion detection, our results show statistically significant concordance between Epoc + and the gold standard device in the left prefrontal and left temporal areas in the alpha frequency band. We validated the use of the Emotiv™ Epoc + for research into musical emotion. We did not find any significant concordance between g.tech and the gold standard. This suggests that Emotiv Epoc is more appropriate for musical emotion investigations in natural settings.

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Dunn, Dwayne E. „Effect of Rehearsal Hierarchy and Reinforcement on Attention, Achievement, and Attitude of Selected Choirs“. Journal of Research in Music Education 45, Nr. 4 (Dezember 1997): 547–67. http://dx.doi.org/10.2307/3345422.

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A structured rehearsal hierarchy involving a multiple-baseline design, implemented across six rehearsals, was used to measure performance improvement of seven musical concepts, while an experimental design nested within was used to examine the effect of teacher reinforcement on attentiveness, achievement, and attitude in choral ensembles. Two high school choirs (N = 60) received either task presentations, directions, student performance, and reinforcement (n = 31), or identical instruction with no verbal/facial reinforcement (n = 29). Forty choral performances were evaluated by three expert judges, with individual concepts evaluated using 10-point scales and overall performances evaluated using 100-point scales. Results indicated similar performance gains were made for all excerpts, though less instructional time was needed to teach previously learned concepts in new musical contexts. Performance gains made immediately after instruction were maintained despite the addition of new musical concepts. An 11-day period without instruction resulted in a slight ratings decline, but scores recovered to previous levels quickly. Students receiving feedback had higher performance ratings, recorded a more positive attitude toward rehearsal, and were observed off-task a larger percentage of instructional time than students receiving no feedback, with both groups demonstrating lowest off task percentages during group performance activities.

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Kin, Maurycy J., und Andrzej Dobrucki. „Perception of Changes in Spectrum and Envelope of Musical Signals vs Auditory Fatigue“. Archives of Acoustics 41, Nr. 2 (01.06.2016): 323–30. http://dx.doi.org/10.1515/aoa-2016-0033.

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AbstractThe paper presents results of research on an influence of listening fatigue on the detection of changes in spectrum and envelope of musical samples. The experiment was carried out under conditions which normally exist in a studio or on the stage when sound material is recorded and/or mixed. The equivalent level of presented sound samples is usually 90 dB and this is an average value of sound level existing in control room at various recording activities. Such musical material may be treated as a noise so Temporary Threshold Shift phenomenon may occur after several sessions and this may lead to a listening fatigue effect. Fourteen subjects participated in the first part of the experiment and all of them have the normal hearing thresholds. The stimuli contained the musical material with introduced changes in sound spectrum up to ±6 dB in low (100 Hz), middle (1 kHz) and high frequency (10 kHz) octave bands. In the second part of research five subjects listened to musical samples with introduced envelope changes up to ±6 dB in interval of 1 s. The time of loud music exposure was 60, 90 and 120 minutes and this material was completely different from the tested samples. It turned out that listening to the music with an Leq= 90 dB for 1 hour influences the hearing thresholds for middle frequency region (about 1-2 kHz) and this has been reflected in a perception of spectral changes. The perceived peaks/notches of 3 dB have the detection ability at 70% and the changes of low and high ranges of spectrum were perceived at the similar level. After the longer exposure, the thresholds shifted up to 4.5 dB for the all investigated stimuli. It has been also found that hearing fatigue after 1 hour of a listening influences the perception of envelope which gets worse of 2 dB in comparison to the fresh-ear listening. When time of listening to the loud music increases, the changes in envelopes which can be detected rise to the value of 6 dB after 90-minutes exposure and it does not increase with further prolongation of listening time.

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Liu, Jian. „Metamorphoses of Puccini’s “La bohème” in Jonathan Larson’s musical “Rent”“. Aspects of Historical Musicology 21, Nr. 21 (10.03.2020): 83–97. http://dx.doi.org/10.34064/khnum2-21.05.

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Theoretical background. Depending on the choice of the original source underlying the work, all Broadway musicals can be divided into three main types – with the original libretto and plot (“Next to normal” by T. Kitt), based on (or even on the material) of the same name cartoons (E. John’s “The Lion King”, D. Stewart’s and G. Ballard’s “Ghost”) and operas (E. John’s “Aida” after G. Verdi’s opera of the same name, J. Larson’s “Rent” written after “La bohème” by G. Puccini). In the latter group there is a contrasting branching, which can be observed even on the example of the two named musicals. If E. John seeks to preserve the historical correspondence to the epoch depicted in the opera, as well as to embody the conditionally Egyptian oriental color with the help of exotic orchestration, then J. Larson makes a radical modernization of the plot. His radicalism lies not so much in the time distance over which he “transposes” events, as in the “reduction” to naturalistic brutality and nudity of forbidden, but very “painful” in the 90s of the twentieth century topics – drugs, AIDS, same-sex relationships. In comparison with the problems of the musical, G. Puccini’s opera is perceived as a romanticized fairy tale. The social acuity of the musical is closer to the verismo aesthetics than the opera by G. Puccini, and encourages a more thorough analysis of its relationship with the opera prototype. The objective of the article is to reveal the specifics of the metamorphosis of the plot and musical drama of Puccini’s “La bohème” in the musical “Rent” by J. Larson. In accordance with the goal, research methods such as structural and functional are used to identify the components of the composer’s text and their role in the drama of the whole, comparative method to consider selected works in terms of plot interpretation, libretto features, general developing of the drama and musical text. Results of the study. J. Larson’s musical “Rent” demonstrate a free interpretation of G. Puccini’s opera original, with which a number of metamorphoses take place. The first is related to the modernization of the plot, which is transposed from Paris in the mid-nineteenth century to the 90s of the twentieth century and the “lower classes” of New York. The plot is reduced due to the saturation of its topical issues, which reflected the American spirit of the 90’s – AIDS, drug addiction, same-sex relationships. At the same time, the lyricization of drama is carried out, because in the musical J. Larson shows the development of the love affair of three couples. Almost all of them end tragically: Angel dies, Mimi is also on the verge of death. In turn, Joan and Maureen constantly quarrel and reconcile only at the end of the musical. At the same time, the plot outline of the development of Roger and Mimi’s relationship duplicates a similar line of the opera, starting from the scene of their acquaintance and ending with a duet in the finale, where the characters once again confess their love for each other. The key scene is the manifesto of bohemian life, as in the opera, is the scene in a cafe (“La Vie Boheme”, № 23). Musical dramaturgy of “Rent”, in contrast to the plot, is far removed from the operatic original, due to the genre tradition of the musical, which is reflected in the two-act structure, the principle of dramatic “relaxation” in the second act, where the denouement of all plot lines comes, number structure, where musical numbers alternate with conversational dialogues. At the same time, J. Larson strives for the integrity of the musical’s dramaturgy, which is reflected in the “musicalization” of dialogues, which mostly sound with musical accompaniment and flexibly flow into duet-ensemble scenes. The solo numbers, which brings a stop to the action, is mostly replaced by duets that “promote” the action and reveal the development of the characters’ relationships (the key pair has four such duets). Conclusions. All mentioned qualities of the musical “Rent” significantly distinguish the composition of J. Larson from another example of the musical based after the opera – “Aida” by E. John, which allows us to talk about the presence of individual compositional and dramatic solutions, even when working with a similar source. This shows the significant potential of the Broadway musical as a musical-theatrical genre, as opposed to its accusations of commercialism and the assertion of the priority of entertainment, which makes it an interesting and perspective material for research.

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Zhou, Mingyue. „To Discuss the Different Music Materials for Learners and Analyze the Difference Between Individual and Group Teaching“. Journal of Education and Development 4, Nr. 1 (15.01.2020): 8. http://dx.doi.org/10.20849/jed.v4i1.701.

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Beginning tutor books are preparing for students who exposed to music for the first time. It is the simplest and most basic music teaching materials. Piano beginners can divide into different age groups, such as young beginners, teenagers, and adults. The young beginners about six to ten years old, the teenagers are usually senior students, about thirteen to eighteen, and an adult is a person over the age of eighteen. People of all age groups can become piano beginners, and beginners at different age groups should use different kinds of music textbooks. In this essay, the musical materials for the piano beginner at different age groups are presenting below.

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Xuan, Wu. „Criteria, indicators and levels of musical arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology“. Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, Nr. 3 (128) (31.10.2019): 143–50. http://dx.doi.org/10.24195/2617-6688-2019-3-20.

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The article presents the criteria, indicators and levels of Musical Arts masters’ preparedness (proficiency levels) for developing schoolchildren’s vocal culture by means of the participation technology. The art- and worldview-oriented, creative-performing and innovative-organizational criteria have been determined on the basis of the structure of the Musical Art masters’ training. The art- and worldview-oriented criterion is determined by: the openness of the process of emotional experience and artistically justified interpretation of an image as a worldview of an artistic character (hero); coordination while identifying moral orientations in a group and an independent choice of vocal value; mastering the variability of vocal artistic and pedagogical creative tasks and flexible technologies. The creative-performing criterion is characterized by a high level of participants’ vocal culture; mastery of types, techniques, organizational forms of vocal participation; voluntariness and interest in the general vocal process, polysubject-centred creative pedagogical interaction. The innovative-organizational criterion is revealed through these indicators: skills to organize and conduct an interactive lesson as a vocal participatory art-practice; knowledge of the stages and experience of organizing the process of making a cooperative vocal-creative decision; mastery of the means enabling the activation of the group energy involving all participants of the vocal process. The preparedness (proficiency) levels of the subjects involved into education have been determined – low, intermediate, high. The criteria, indicators and levels indicated in the work allow evaluating Musical Arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology in a complex way as well as determining the state and development dynamics of the vocal culture of the students constituting this category. Keywords: masters of Musical Art, schoolchildren’s vocal culture, technologies, participation, function, criterion, indicator, level.

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Robledo, Juan Pablo, Sarah Hawkins, Carlos Cornejo, Ian Cross, Daniel Party und Esteban Hurtado. „Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence“. PLOS ONE 16, Nr. 4 (15.04.2021): e0250166. http://dx.doi.org/10.1371/journal.pone.0250166.

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This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants–all non-musicians–conversed before and after either improvising music together (Musical Improvisation—MI—group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy—HB—group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants’ motion was recorded with an optical motion-capture system (Mocap) and analysed in terms of speed cross-correlations. Their conversations were also recorded on separate channels using headset microphones and were analysed in terms of the periodicity displayed by rhythmic peaks in the turn transitions across question and answer pairs (Q+A pairs). Compared with their first conversations, the MI group in the second conversations showed: (a) a very rapid, partially simultaneous anatomical coordination between 0 and 0.4 s; (b) delayed mirror motoric coordination between 0.8 and 1.5 s; and (c) a higher proportion of Periodic Q+A pairs. In contrast, the HB group’s motoric coordination changed slightly in timing but not in degree of coordination between the first and second conversations, and there was no significant change in the proportion of periodic Q+A pairs they produced. These results show a convergent effect of prior musical interaction on joint body movement and use of shared periodicity across speech turn-transitions in conversations, suggesting that interaction in music and speech may be mediated by common processes.

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Toni, Anderson. „Moods, Emotions, and Engagement in a Music Ensemble Course: A Mixed Method Study with Brazilian Undergraduate Students“. Opus 29 (02.11.2023): 1–19. http://dx.doi.org/10.20504/opus2023.29.08.

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This study explores the self-reported perception of moods, emotions, and engagement of Brazilian undergraduate students enrolled in a music ensemble course. A mixed method approach was used through a convergent design. Sixteen Brazilian undergraduate students enrolled in a music ensemble course participated in this research. The Present Mood States List (PMSL) was used as a quantitative data collection instrument before and after 15 encounters (14 classes and a final concert). Analysis of quantitative data showed that 15 differences in the mood state values were statistically significant when considering all encounters and 22 differences were statistically significant in specific encounters. The qualitative data collection procedures were (1) the application of a questionnaire on emotions and musical engagement after each encounter and (2) a semi-structured group interview carried out after the fourteenth class. The qualitative data were grouped into four categories: didactics, music repertoire, moods, and data collection. According to the results, participants presented mostly positive mood states and emotions both before and after the encounters. In general, the students’ mood states and emotions seemed to influence their musical engagement, and, at the same time, their sense of musical engagement seemed to influence the presence of positive experiences.

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Nyström, Erik. „Textons and the Propagation of Space in Acousmatic Music“. Organised Sound 16, Nr. 1 (25.02.2011): 14–26. http://dx.doi.org/10.1017/s1355771810000397.

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The concepts introduced by Smalley in the context of space-form (2007) have firmly put acousmatic music on a discourse of spatial exploration, holding much potential for the developing of aesthetics in new directions. This article approaches space from the low level of musical structure, with a multi-dimensional attitude to space-form, exploring spatial texture, a concept introduced by Smalley to describe the temporal formations of space in spectromorphology (1997). Spatial articulation is investigated in the context of granular-oriented textures, proposing a micro-spatial, perceptual morphology – the texton – as an aesthetic approach to acousmatic music. This follows Albert Bregman's speculation regarding equivalents to visual perception in texture, where the theory of textons was first developed by the neuroscientist Béla Julesz.The article discusses acousmatic textons, in terms of intrinsic properties, the way they propagate in time, and how they organise in distributions to form spatial textures. The emergent macroscopic qualities of textonal formations are also reflected upon in the introduction of a group of textural states, where source-bonded spaces and abstract musical thinking coalesce.

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Lee, Eunsung, Yerim Shin, Sungmin Jo und Jinsook Kim. „A Study for Composition and Comparison of the Music Perception Tests for Normal Hearing and Cochlear Implant Users“. Audiology and Speech Research 17, Nr. 3 (31.07.2021): 291–99. http://dx.doi.org/10.21848/asr.210016.

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Purpose: The aim of this study was to compose the test for music perception and analyze the characteristic of cochlear implant users’ music perception.Methods: The test was made up with the pitch, melody, and timbre factors, using three low and high frequencies, six music genres, and four types of musical instruments correspondingly. The tests were conducted to 10 normal-hearing (NH) young adults and 10 young cochlear-implant (CI) users.Results: All the music perception tests showed significant differences between NH and CI group [F(1, 4) = 0.018, p = 0.019]. In the pitch test, CI group showed significantly lower correction rate(51.3%) than NH group (82.7%) did with higher correction rates in low frequencies. In the melody test, CI group showed significantly lower correction rate (29.7%) than NH group (95.8%) did with the highest performance in folk songs (51.7%). In the timbre test, CI group showed significantly reduced performance (22.5%) than NH group (65.8%) did. For both CI and NH groups, the pitched percussion showed the highest scores (45% and 100%) while the woodwind showed the lowest scores (13.3% and 48.3%).Conclusion: Out of three tests, CI group showed better performance in pitch perception than melody and timber perception. CI group showed better performances in low pitch sounds, melodies of familiar genre, and sound of pitched percussion instruments’ timber showing complicated music perception ability. To enhance the music perception ability for CI users by aural rehabilitation, more specified and systematic music perception test material should be developed.

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Ogilvie, Len. „Key Stage-Struck! Assessment and class music making“. British Journal of Music Education 9, Nr. 3 (November 1992): 201–9. http://dx.doi.org/10.1017/s0265051700009086.

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As the time for the implementation of the National Curriculum in Music approaches, will the tail of assessment begin to wag the dog of class-room music and dissipate all that has been achieved in providing the dynamic, challenging and fulfilling experiences that now characterise many class music lessons? This article sets out some proposals for an assessment strategy which, it is hoped, is faithful to the intentions of the National Curriculum Music Working Group in allowing practical music to flourish but with a greater sense of direction and enhanced awareness of the power of musical expression for teachers and students alike.

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Mitre, Anuar I., Mario F. Chammas, José Eugênio A. Rocha, Ricardo Jordão Duarte, Gustavo Xavier Ebaid und Flavio Trigo Rocha. „Laparoscopic Radical Prostatectomy: The Learning Curve of a Low Volume Surgeon“. Scientific World Journal 2013 (2013): 1–5. http://dx.doi.org/10.1155/2013/974276.

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Objective. Analyze the learning curve for laparoscopic radical prostatectomy in a low volume program.Materials and Methods. A single surgeon operated on 165 patients. Patients were consecutively divided in 3 groups of 55 patients (groups A, B, and C). An enhancement of estimated blood loss, surgery length, and presence of a positive surgical margin were all considered as a function of surgeon’s experience.Results. Operative time was 267 minutes for group A, 230 minutes for group B, and 159 minutes for group C, and the operative time decreased over time, but a significant difference was present only between groups A and C (). Mean estimated blood loss was 328 mL, 254 mL, and 206 mL (). A conversion to open surgery was necessary in 4 patients in group A. Positive surgical margin rates were 29.1%, 21.8%, and 5.5% (). Eight patients in group A, 4 patients in group B, and one in group C had biochemical recurrence.Conclusion. Significantly less intraoperative complications were evident after the first 51 cases. All other parameters (blood loss, operative time, and positive surgical margins) significantly decreased and stabilized after 110 cases. Those outcomes were somehow similar to previous published series by high-volume centers.

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Kalashnyk, Mariya P., Uriy I. Loshkov, Oleksandr V. Yakovlev, Anton O. Genkin und Hanna S. Savchenko. „Musically-acoustic Thesaurus as Spatial Dimension of Cognitive Process“. Revista Gestão Inovação e Tecnologias 11, Nr. 4 (22.07.2021): 2381–91. http://dx.doi.org/10.47059/revistageintec.v11i4.2288.

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The article considers musically-acoustic thesaurus of collective and individual, a complex structure, which composition of multiple parts is effectuated by multiple channels of receiving information from the outside and ways of manipulation with it, that is turning of separate facts into systematic knowledge stored in memory. This structure consists of two groups with duplex connection. The first one is the knowledge of the world as a sonic phenomenon and of human auditory activity, as well as of the experience of absorbing the information received, principles of manipulation with it, overall – fulfills inherent inclination of individual towards usage of auditory images as a requirement for appearance of musical ones. All the sonorities are bracketed in two groups: extra-musical and musical itself. The latter group consists of musical units of acoustically-sonic environment, having utility, practical significance for a person, allowing orientation in given spacetime. At the same time, they are potentially opened to emotional experiences and aesthetic approach towards them. Acoustically-sonic environment possesses basic traits of organization, being reflected in mind by such characteristics as cyclicity, variability, combinationalism, montage structure, simultaneity, interdependency of “shape” and “background”. In a thesaurus of a collective and individual external environment is imprinted in two ways: as undifferentiated background noise and as separate units, creating relief. The memory contains them both, creating thus sonic image of the world. The knowledge, appearing thus, is stored in thesaurus in compressed type, acquiring its full and kinetic form in cases of contact with reality.

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Солдатова, Галина Евлампьевна. „Facultative phono-instruments of the Ob Ugrians“. ТРАДИЦИОННАЯ КУЛЬТУРА, Nr. 4 (25.12.2019): 44–56. http://dx.doi.org/10.26158/tk.2019.20.4.004.

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Статья посвящена малоизученной области интонационной культуры хантов и манси - факультативным фоноинструментам. Все фоноинструменты обских угров можно разделить на две группы. К первой относятся музыкальные и/или ритуальные инструменты: арфа, цитра, лютня, бубен, варган. Вторая группа включает звуковые орудия, применяющиеся в обрядах, оленеводстве, а также бытовые предметы, приспособленные для звукоизвлечения. Факультативные фоноинструменты не используются в музыкальной практике с эстетической целью, не имеют репертуара, их звучание в ритуале не регламентировано, изготовить их может непрофессионал. В данной статье впервые в музыкальном угроведении выполнено систематическое описание всех факультативных фоноинструментов хантов и манси. Исследование проведено на основе полевых материалов автора, собранных в экспедициях на север Западной Сибири с конца 1980-х по начало 2000-х гг., а также опубликованных сведений. Инструменты описаны на основе систематики музыкальных инструментов Э. М. фон Хорнбостеля и К. Закса. Выявлена большая группа идиофонов (19), а также мембранофоны (2) и аэрофоны (3), описаны конструкция и сфера применения каждого инструмента. Полученные результаты необходимы для проведения компаративных и типологических исследований народных инструментальных культур. This article is devoted to аn inadequately studied aspect of the Khanty and Mansi people’s intonational culture - their facultative phono-instruments. All Ob Ugric phono-instruments may be divided into two groups. The first includes musical and/or ritual instruments: harp, zither, lute, drum, Jew’s-harp. The second group includes sound instruments used in ceremonies and herding reindeer, as well as household items adapted for sound extraction. Facultative phono-instruments are not used in musical practice for an aesthetic purpose; they do not have a repertoire; their sound during rites is not regulated; and anyone can make them. For the first time in Finno-Ugric musical studies, this article presents a systematic description of all of the facultative phono-instruments of the Khanty and Mansi peoples. The study is based on data which the author collected during expeditions to the north of Western Siberia from the late 1980s to the early 2000s, as well as on already published material. The instruments are described using E. M. von Hornbostel and C. Sachs’ typology of musical instruments. A large group of idiophones (19) as well as membranophones (2) and aerophones (3) are identified and each instrument’s design and scope of application are described. This is necessary for the comparative and typological study of folk instruments.

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Johnson, Christopher M. „Effect of Instruction in Appropriate Rubato Usage on the Onset Timings of Musicians in Performances of Bach“. Journal of Research in Music Education 48, Nr. 1 (April 2000): 78–83. http://dx.doi.org/10.2307/3345458.

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The purpose of this study was to examine the effect of instruction in the use of specific rhythmic nuances on the timings of a musical performance. Volunteer subjects were asked to perform Bach's Suite no. 3 for Violoncello solo, Bouree no. 1, using a computer software program that controlled pitches, amplitude, and all other musical variables. The only aspect of the performance that the operator controlled was the rhythmic onset of each pitch. When the subjects had generated a performance with which they were pleased, they recorded it. Subjects in the experimental group were then given a model of rhythmic variations that represented the aggregate of the rubato variations used by 15 professional cellists in performances of this work. This model was presented visually informs, including a version of the score that had been marked up to indicate incidences of rubato, graphs of these incidences, and a prose synopsis. Subjects were then given time to practice until they believed that they were prepared to make a second recording that incorporated these rhythmic variations. Subjects in the control group repeated the pretest procedures. All note-onset data were analyzed to determine the extent to which subjects imitated the model. Results indicated that both groups' pretests, as well as the control group's posttest, had almost no correlation with the model; while the results of the experimental group's posttest significantly correlated with the rhythmic model.

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Ros-Morente, Agnès, Salvador Oriola-Requena, Josep Gustems-Carnicer und Gemma Filella Guiu. „Beyond music: Emotional skills and its development in young adults in choirs and bands“. International Journal of Music Education 37, Nr. 4 (24.06.2019): 536–46. http://dx.doi.org/10.1177/0255761419853634.

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Latest studies point out the importance of emotional competencies in young people’s education. Music is closely linked to people’s personal development and the evidence suggests that there are differences in young people who participate in group music-making activities and young people who do not. In the present study we analysed the socioemotional profile of sample of Spanish adolescent musicians who sang in choirs or played in bands. A total of 660 adolescent musicians and 655 non-musicians participated in the study, which evaluated emotional competencies, life satisfaction, motivation to study and capacity of leadership. At the same time, an ad hoc questionnaire was also administered to the musicians to obtain their academic musical profile. The results of the study show statistically significant differences between musicians and non-musicians in all measured variables, and suggest that, in line with previous research, belonging to a musical ensemble, such as choirs and bands, is related with the development of many skills as well as self-perception. Furthermore, it promotes the development of socioemotional competencies, motivation and leadership.

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Vodithala, Swathy, Vaishnavi Gudimalla, Y. Bhavani, Preethi Madadi und Mohammed Sharfuddin Waseem. „Recommendation of Algorithm for Efficient Retrieval of Songs from Musical Dataset“. International Journal on Recent and Innovation Trends in Computing and Communication 11, Nr. 5s (17.05.2023): 276–82. http://dx.doi.org/10.17762/ijritcc.v11i5s.6654.

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Now-a-days, the research is more towards the entertainment like music, songs, movies, etc. There are many existing works that suggest good songs, movies to people depending on their mood, nature and time that has been savior for the society during the days of lockdown. The existing algorithms used in the literature for basic clustering are K-means, TSNE (T- distributed Stochastic Neighborhood Embedding), PCA (Principal Component Analysis).In this paper, the music dataset considered, consists of songs with attributes as song name, genres, artists, mode, tempo, valence, year, liveness, loudness, popularity, acousticness, danceability, duration, energy, explicit, instrumentalness, key. The important feature is extracted from the other features with the support of literature survey i.e., number of music listeners, types of the songs and type of the music. Later, the dataset is divided into clusters using traditional technique that is k-means based on genre, an important attribute which is selected from the above attributes. The different classifier models like Random Forest, Extra Trees, LightGBM, XGBoost, CatBoost classifier are applied on the clustered dataset and the results have been evaluated on each individual algorithm. Thus the paper recommends not only the group of relevant songs but also suggests the best accurate classification algorithm that can be used for any mentioned musical dataset. The paper also compares all the said ensemble algorithms by calculating the precision, recall, f1-score and support. The accuracy is also calculated for all said ensemble algorithms and based on the accuracy the best suitable algorithm is suggested.

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Hospital, Michelle Marie, Staci Leon Morris, Eric F. Wagner und Eva Wales. „Music Education as a Path to Positive Youth Development: An El Sistema-Inspired Program“. Journal of Youth Development 13, Nr. 4 (14.12.2018): 149–63. http://dx.doi.org/10.5195/jyd.2018.572.

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The El Sistema music education philosophy links positive individual and social development through musical education. This study is a longitudinal examination of the impact of participation in an El Sistema-inspired program, the Miami Music Project, on positive youth development. We hypothesized that over the course of a school year, participation in ensemble-based after-school music programming would significantly enhance factors associated with positive youth development. Specifically, we evaluated social emotional constructs aligned with the Five Cs of Positive Youth Development: Competence, Confidence, Caring, Character, and Connection. Results revealed that participants showed significant increases across all five Cs over the course of the year. Additionally, findings showed that Miami Music Project students showed greater enhancements over time in Character, Competence and Caring when compared to a group of youth who did not participate in music education. This study presents empirical documentation of the numerous meaningful social and emotional enhancements that participation in an El Sistema-inspired program is engendering among youth. In this type of rigorous orchestral model of musical instruction, youth seem to acquire not only cognitive benefits but also a host of social and emotional enhancements, ostensibly from learning in an environment that requires disciplined social cohesion. These findings provide insight into the holistic approach foundational to the El Sistema philosophy and adds to our overall understanding of musical instruction in important ways.

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Rufino, Brandon, Ajmal Khan, Tilak Dutta und Elaine Biddiss. „Musical instrument classifier for early childhood percussion instruments“. PLOS ONE 19, Nr. 4 (02.04.2024): e0299888. http://dx.doi.org/10.1371/journal.pone.0299888.

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While the musical instrument classification task is well-studied, there remains a gap in identifying non-pitched percussion instruments which have greater overlaps in frequency bands and variation in sound quality and play style than pitched instruments. In this paper, we present a musical instrument classifier for detecting tambourines, maracas and castanets, instruments that are often used in early childhood music education. We generated a dataset with diverse instruments (e.g., brand, materials, construction) played in different locations with varying background noise and play styles. We conducted sensitivity analyses to optimize feature selection, windowing time, and model selection. We deployed and evaluated our best model in a mixed reality music application with 12 families in a home setting. Our dataset was comprised of over 369,000 samples recorded in-lab and 35,361 samples recorded with families in a home setting. We observed the Light Gradient Boosting Machine (LGBM) model to perform best using an approximate 93 ms window with only 12 mel-frequency cepstral coefficients (MFCCs) and signal entropy. Our best LGBM model was observed to perform with over 84% accuracy across all three instrument families in-lab and over 73% accuracy when deployed to the home. To our knowledge, the dataset compiled of 369,000 samples of non-pitched instruments is first of its kind. This work also suggests that a low feature space is sufficient for the recognition of non-pitched instruments. Lastly, real-world deployment and testing of the algorithms created with participants of diverse physical and cognitive abilities was also an important contribution towards more inclusive design practices. This paper lays the technological groundwork for a mixed reality music application that can detect children’s use of non-pitched, percussion instruments to support early childhood music education and play.

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Ziarkowski, Daniel. „Socjologiczne i psychologiczne aspekty funkcjonowania zespołów rockowych“. Parezja. Czasopismo Forum Młodych Pedagogów przy Komitecie Nauk Pedagogicznych PAN, Nr. 1(15) (2021): 40–48. http://dx.doi.org/10.15290/parezja.2021.15.03.

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To say that a music band is a group of performers playing music together is to say nothing. Just like treasure hunters, where one knows the place, the other knows how to put formwork, and the third knows how to evaluate and distinguish minerals from precious stones, everyone in a musical group is different and necessary at the same time. It depends on their mutual relations, feelings, thoughts, words, and possibilities whether the treasure will be found, what victims will be incurred along the way, and whether their own ego will not exceed them. If all goes well, the golden music will remain with them for many years, and maybe even for generations. The only question is how not to sever ties? How to stay yourself? How not to get lost and how to find …?

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Wang, Xiaomei, Zhigang Liu, Huanyu Zhang und Chaoxin Ji. „Effects of High-Intensity Interval Training on Executive Functions in College Students: Evidence from Different Doses“. Brain Sciences 13, Nr. 4 (28.03.2023): 571. http://dx.doi.org/10.3390/brainsci13040571.

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Background: Different doses of high-intensity interval training (HIIT) may affect individuals’ executive functions (EF). In this study, low-dose HIIT and moderate-dose HIIT were used to explore different doses of HIIT in terms of the impact on the EF of college students. Methods: All the participants were randomly divided into three groups. One group was not assigned any HIIT, which was called the control group. One group was assigned one session of HIIT/week, which was called the low-dose group. The last group was assigned wo sessions of HIIT/week, which was called the moderate-dose group. All groups were subjected to EF measurements. The first measurement comprised an EF a baseline measurement (Time 1) before the experiment began; the second measurement was taken (Time 2) after 6 weeks; the third measurement was taken (Time 3) after 12 weeks. Results: Time 1: We found that there was no significant difference in EF among the groups (p > 0.05). Time 2: The moderate-dose group and low-dose group improved in terms of EF. However, the improvement effect was different, and the improvement effect of the moderate-dose group EF was better than that of the low-dose group. The second measurement, EF was better for all exercise groups than for the control group. Inhibition test (reaction time: 3.97–8.24%, p < 0.05, effect size: 0.413); cognitive flexibility (accuracy: 6.66–7.32%, p < 0.05, effect size: 0.203; reaction time: 5.55–7.49%, p < 0.05, effect size: 0.521); working memory (accuracy: 4.05–4.69%, p < 0.05, effect size: 0.515; reaction time: 2.73–5.42%, p < 0.05, effect size: 0.430). Time 3: the moderate-dose group and low-dose group showed a downward trend in terms of EF. Conclusion: Low-dose HIIT and moderate-dose HIIT improved the EF in college students, but moderate-dose HIIT was better. This study suggests that moderate-dose HIIT should be adopted to improve the EF in college students.

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Strong, Jessica V., Maria Arnold, Lydia Schneider, Johanna Perschl, Arno Villringer und Thomas Hans Fritz. „Enhanced Short-Term Memory Function in Older Adults with Dementia Following Music-Feedback Physical Training: A Pilot Study“. Brain Sciences 12, Nr. 9 (16.09.2022): 1260. http://dx.doi.org/10.3390/brainsci12091260.

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Prior research demonstrates that music making, physical exercise, and social activity have unique, positive effects on cognition and mood. One intervention, “Jymmin®”, was developed incorporating these approaches and found effective for decreased pain perception and increased endurance, self-efficacy, mood, and muscle efficiency. Previously, Jymmin was not piloted with older adults with dementia. The current study is a randomized pilot study of the Jymmin® with an older adult population in a long-term care facility (n = 38), evaluated across dementia levels (mild, moderate, or severe). Results found significant improvements in scores on a confrontation naming task across all conditions (p = 0.047) and a significant interaction effect for short-term memory scores (p = 0.046), suggesting higher scores at Time 2 for the experimental group and at Time 3 for the control group. There were no significant changes in mood ratings. Findings are discussed in the context of neural activity and musical agency.

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Johnson, Jerah. „Jim Crow laws of the 1890s and the origins of New Orleans jazz: correction of an error“. Popular Music 19, Nr. 2 (April 2000): 243–51. http://dx.doi.org/10.1017/s0261143000000143.

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A seriously misleading error has crept into almost all the literature on the origins of New Orleans jazz. The error mistakenly attributes to the Jim Crow laws of the 1890s a significant role in the formation of the city's jazz tradition.Jazz historians have done a reasonably good job of depicting the two black communities that existed in new Orleans from the time of the Louisiana Purchase in 1803 until the twentieth century. One community comprised a French-speaking Catholic group who lived mostly in downtown New Orleans, i.e. the area of the city down-river from Canal Street. Before the Civil War this group, commonly called Creoles, or Black Creoles, but more accurately called Franco-Africans, comprised free people of colour as well as slaves, and after the war consisted of their descendants who perpetuated the group's language, religion and musical tradition, which combined French, African and Caribbean elements.Members of the other black community were English-speaking Protestants who lived mostly in uptown new Orleans. That group, before the Civil War, was made up largely of slaves brought to New Orleans by Americans who flooded into Louisiana after the 1803 Purchase, though it also included some free people of colour. After the war, the descendants of these immigrants continued their language, religion and musical tradition, which came mostly from the rural South. There Anglo-Africans were generally less prosperous and less educated than the downtown Franco-African or Creole community.

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Fanning, Lara, Hannah Larsen und Peta S. Taylor. „A Preliminary Study Investigating the Impact of Musical Concerts on the Behavior of Captive Fiordland Penguins (Eudyptes pachyrhynchus) and Collared Peccaries (Pecari tajacu)“. Animals 10, Nr. 11 (04.11.2020): 2035. http://dx.doi.org/10.3390/ani10112035.

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Captive animal welfare is important for establishments that exhibit species for education, conservation, and research. However, captive animals are often exposed to a number of potential stressors, such as visitors and anthropogenic noise. We aimed to identify the impact of a concert series on the behaviour of Fiordland penguins (Eudyptes pachyrhynchus; n = 2), and solitary- (n = 1) or group- (n = 4)-housed collared peccaries (Pecari tajacu). Animal behaviour, visitor density, and visitor behaviour was monitored pre-concert (afternoons; 16:00–19:00), during the concert (evenings; 19:00–21:00), and post-concert (nights; 21:00–00:00) on concert days (penguin n = 7 days; peccary n = 8 days) and in the same periods on days when there was no concert (penguin n = 8 days; peccary n = 6 days). Fiordland penguins spent more time surface swimming and diving in the pool on concert afternoons and evenings (all p < 0.001), more time in the nest on concert nights (p < 0.001), preened less on concert afternoons and nights (p = 0.019), and engaged with their habitat less on concert evenings and nights (p = 0.002) compared to these periods on days without a concert. The group-housed peccaries slept more in the afternoon and evening (p ≤ 0.01) and were more vigilant at night (p = 0.009) on concert days compared to no-concert days. The solitary-housed peccary slept more on concert nights (p = 0.035), rested more frequently across all time periods on concert days (p < 0.001), and used the front of the enclosure more across all concert time periods (p < 0.001) compared to no-concert days. We provide evidence that behaviour was altered on event days; however, we cannot determine the nature of these changes. Further research is needed to understand the impact of music concerts on zoo animal welfare.

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Chen, Yi-Shin, Leng-Wee Toh und Yi-Lan Liu. „Music Control in an Interactive Conducting System Using Kinect“. International Journal of Multimedia Data Engineering and Management 4, Nr. 4 (Oktober 2013): 35–57. http://dx.doi.org/10.4018/ijmdem.2013100103.

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Music conducting is the art of directing musical ensembles with hand gestures to personalize and diversify a piece of music. Although the ability to successfully perform a musical piece demands intense training and coordination for the conductor and the orchestra, preparing a practice session is expensive and time-consuming. Hence, there is a genuine need for alternatives capable of providing adequate training for conductors at all skill levels. The potential use of virtual and augmented reality technology holds particular promise. The goal of this research is to examine the mechanics of music conducting and to develop a system capable of closely simulating the experience of conducting a piece of music. After extensive discussions with professional and nonprofessional conductors, in addition to wide-ranging research regarding music conducting materials, several key features of conducting were identified. A set of lightweight algorithms exploring these features was developed to enable tempo control, volume adjustment, and instrument emphasis, which are core components of conducting. Such a system would be a helpful training tool for students, an experiential tool allowing professional conductors and composers to shape music at a low cost, or an entertainment tool for nonprofessional music lovers. In this paper, we propose a real-time interactive conducting system using Microsoft Kinect. The proposed system overcomes the limitation of Kinect's design, which is generally designed for large body movements. In this system, delicate conducting signals can be correctly recognized without referencing any prior knowledge. Evaluation of the algorithms in real-world scenarios reveals promising results. The system was evaluated by conductors of all skill levels and provided a high level of accuracy and a low latency. Users of the final system expressed satisfaction with the virtual experience.

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Milona, Gabriella, Vasilios Pergialiotis, Marianna Theodora, Dimitrios Loutradis und Georgios Daskalakis. „The Effect of music on maternal anxiety and maternal and fetal heart rate during cardiotocography“. Hellenic Journal of Obstetrics and Gynecology 19, Nr. 3 (03.07.2020): 135–44. http://dx.doi.org/10.33574/hjog.2052.

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Introduction: It is well known that music acts as an analgesic. Facilitates muscle relaxation, reduction of physical pain and mental tension. Purpose of this original investigation: study the effect of music on maternal anxiety during cardiotocography as well as its effect on embryonic cardiac function in relation to mother’s heart rate. Method and materials: The survey, conducted in external midwifery medical services of Alexandra’s Hospital, involved 80 pregnant women who met the criteria for participation. They were divided in two groups. The 40 pregnant women were the Musical Group, and the other 40 were the Control Group. In both groups, the STAI scale was used. The control group underwent cardiotocography examination without listening to music. The Musical Group were selected to hear the music track ‘Kung Fu Piano: Cello Ascends’, a cover of the Piano Guys band. The hearing started 5 minutes before the end of the cardiotocography, with headset playing frequencies that are within the frequency spectrum of the music track and special music player, and 10 minutes before the end of the cardiotocography the pulse oximeter Beurer P080 was placed. In this music track we did music and frequency analysis with the following programs: SPAN of Voxeno and Reaper of Cocos, as well as Theory-Harmony of Music, to see if at the time certain changes in the track occur, there are corresponding changes in the heart rate of the mother and the fetus. Results: In our study we observed that music significantly decreased the level of anxiety of women subjected to non-stress test (NST) (Median anxiety score prior to the conduct of the non-stress test 53.38 (49-57) vs 25.20 (23-28) following the completion of the test. Moreover differences among women that heard music were significant compared to those that did not (25.20 (21-28) vs 56 (48-64)) despite the fact that baseline differences among the two groups were comparable (54.45 (59-67) vs 50.80 (53-58). Finally, following performance of music analysis we observed significant variations in the baseline heartbeat of pregnant women as well as in the cardiotocographic analysis of fetuses (number of accelerations, baseline rhythm); those patterns were directly related to musical characteristics of the track that women listened to. Conclusions: Music has a positive effect on pregnancy. It is a non-invasive way of anxiety relief, as well as a simple, non-time-consuming way of improving cardiotocography among low risk cases; thus, potentially diminishing false-positive results which may result in unnecessary deliveries.

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Wapnick, Joel, Jolan Kovacs Mazza und Alice Ann Darrow. „Effects of Performer Attractiveness, Stage Behavior, and Dress on Evaluation of Children's Piano Performances“. Journal of Research in Music Education 48, Nr. 4 (Dezember 2000): 323–35. http://dx.doi.org/10.2307/3345367.

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The purpose of this study was to determine whether selected nonmusical attributes of sixth-grade pianists would affect ratings of their performances. Twenty pianists (10 girl and 10 boys) were videotaped. They and their performances were rated by 123 musically trained evaluators. Members of the visual group viewed a videotape with the sound turned off. They rated pianists on appropriateness of dress, stage behavior, and physical attractiveness. These ratings were the basis for grouping students as being high or low on each of these three attributes. Audiovisual and audio group members rated musical performance on five test items. Results revealed support for the existence of a bias: although high pianists were rated higher than low pianists under the audio condition for all three attributes, the differences between them often were significantly greater under the audiovisual condition than under the audio-only condition. In addition, and unlike finding of earlier studies, videotaped performances were not rated higher than audiotaped performances. Also, female judges were more lenient than male judges. Finally, male and female pianists were affected differently by nonmusical attributes for about half of the test items.

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Hopkins, Michael T. „Collaborative Composing in High School String Chamber Music Ensembles“. Journal of Research in Music Education 62, Nr. 4 (17.12.2014): 405–24. http://dx.doi.org/10.1177/0022429414555135.

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The purpose of this study was to examine collaborative composing in high school string chamber music ensembles. Research questions included the following: (a) How do high school string instrumentalists in chamber music ensembles use verbal and musical forms of communication to collaboratively compose a piece of music? (b) How do selected variables (music performance and composing experience, quality of group collaboration, gender grouping, perceptions of the project) influence the process of composing collaboratively in a high school chamber music ensemble? and (c) What variables influence the quality of the resulting collaborative composition? High school string instrumentalists ( N = 37) formed eight chamber music ensembles. Participants completed a presurvey regarding music performance and composing experiences, were videotaped while composing chamber music compositions, and completed a postsurvey regarding their project experiences. All groups spent a larger percentage of time engaged in task-directed musical communication than in verbal communication. Balance of collaboration had a strong relationship with composition quality. Mixed-gender groups had a stronger balance of collaboration than same-gender groups. Postsurvey data indicated that enjoyment of the project was found to have a strong relationship with composition quality.

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