Journal articles on the topic 'Doctor of Music'
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1
Turbet, Richard. "Quack Doctor." Musical Times 137, no. 1844 (October 1996): 4. http://dx.doi.org/10.2307/1003857.
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Vatanasapt, Patravoot. "Rounds Corner : Doctor Dabbling in Music Medicine." Music and Medicine 11, no. 2 (April 30, 2019): 138. http://dx.doi.org/10.47513/mmd.v11i2.675.
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For the medical doctors, bringing music into medical profession is a blessing. The biography of a head and neck surgeon who grew up with music and found ways to bring his passion on music to his medical profession. His experience on music medicine took him a step further to integrate music into the medical education, where he found a crucial gap for using an analogy of music experience. It is all about improving the professional practice while satisfying all parties.
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Cerf, Steven R., and John F. Fetzer. "Music, Love, Death and Mann's "Doctor Faustus"." South Atlantic Review 56, no. 2 (May 1991): 158. http://dx.doi.org/10.2307/3199979.
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Siefken, Hinrich, and John Francis Fetzer. "Music, Love, Death, and Mann's 'Doctor Faustus'." Modern Language Review 86, no. 4 (October 1991): 1052. http://dx.doi.org/10.2307/3732633.
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Fickert, Kurt, and John Francis Fetzer. "Music, Love, Death and Mann's Doctor Faustus." German Studies Review 14, no. 2 (May 1991): 426. http://dx.doi.org/10.2307/1430613.
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Waltham-Smith, N. "Silence, Music, Silent Music. Ed. by Nicky Losseff and Jenny Doctor." Music and Letters 90, no. 2 (April 29, 2009): 317–20. http://dx.doi.org/10.1093/ml/gcn117.
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Desmond, Karen. "Did Vitry write an Ars vetus et nova?" Journal of Musicology 32, no. 4 (2015): 441–93. http://dx.doi.org/10.1525/jm.2015.32.4.441.
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In book 7 of his Speculum musicae, the fourteenth-century music theorist Jacobus structures a defense of music as it had been practiced in the thirteenth century by such eminent musicians and theorists as Lambertus, Franco, and Petrus de Cruce against the practices of certain unnamed moderni active at the time of Jacobus’s writing. While Jacobus’s quotations from various theoretical works by Jehan des Murs have long been recognized, it previously had been supposed that the remaining quotations were jumbled references from many different theorists. With specific reference to Philippe de Vitry only two quotations from the text edited in vol. 8, Corpus scriptorum de musica, had been identified previously. In fact, there is substantial sustained treatment of a single author, whom I have termed the doctor modernus and who is not Jehan des Murs, that occupies at least five contiguous central chapters of book 7. Following Jacobus’s practice in the previous six books of commentary on a handful of specific works, the writing of Book 7 appears to have been structured around the written works of just four theorists: Lambert, Franco, Jehan des Murs, and the doctor modernus. Furthermore, Jacobus’s vehemence toward the doctor modernus was particularly pronounced and may indicate a personal relationship between the two men. His treatise is quoted with reference to some fundamental ars nova theories, such as extension of long notes beyond the duplex long, remote imperfection, the use of imperfect longs, and imperfect measure in general, and his treatise is described as outlining the precepts of both the old and new arts. The similarities between the treatise of the doctor modernus and many ars nova theory texts (some of which were attributed to Vitry) hints at the possibility that the treatise of the doctor modernus may have been the ancestor text that these other texts had in common, and hence also that Philippe de Vitry may have been the author of the text known to Jacobus, whose subject was the Ars vetus et nova.
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Celestini, Federico. "Musikpolitische Konstellationen in Thomas Manns Doktor Faustus." Archiv für Musikwissenschaft 75, no. 3 (2018): 193–215. http://dx.doi.org/10.25162/afmw-2018-0011.
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Rickels, David A. "A Doctor by Any Other Name." Journal of Music Teacher Education 30, no. 2 (February 2021): 3–5. http://dx.doi.org/10.1177/1057083721993351.
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Beaumont, Antony. "Busoni's 'Doctor Faust': A Reconstruction and Its Problems." Musical Times 127, no. 1718 (April 1986): 196. http://dx.doi.org/10.2307/964702.
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Kasianova, Olena. "The Concept of Training a Doctor of Art from Music Directing." Ukrainian musicology 47 (October 21, 2021): 17–27. http://dx.doi.org/10.31318/0130-5298.2021.47.256713.
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The relevance of the research is due to need to train highly qualified professionals in today's sociocultural challenges, able to generate creative ideas in the implementation of creative projects, able to respond quickly to changes in the market of theater services, to be competitive in the fleeting space. Scientific novelty - outlining the concept of formation of professional competencies of the artist in the synthesis of domestic traditions and foreign innovations, taking into account the specifics of the mental perception of works by the Ukrainian audience. Main objectives of the research is the process of preparing a doctor of art in music directing in the context of Ukraine's integration into the European educational and artistic space and to determine the specifics of the integrative educational and creative training of the doctor of art in musical directing in the context of world tendencies of musical theater development. The methodology of the research is the application of a comprehensive intersectoral approach based on the synthesis of systems analysis (the concept of modern directing in a new paradigm of musical theater) and the structural-functional method (algorithm of integrative training of doctors of art in creative graduate school). Findings and conclusion of the research is the influence of globalization and integration processes has affected the paradigm shift of musical and theatrical art in a positive sense - the information exchange of experience; professional growth of artists; application of art technologies; joint solution of urgent problems; in the negative - the dominance of foreign repertoire over domestic with the priority of foreign language content; commercialization of the theater; changes in value orientations; hedonistic orientation of interpretations of works. Factors influencing modern musical directing are the need to find means of expression for adequate perception of the Ukrainian audience of a foreign text; combining the aesthetic and value aspect with the financial and economic content of the play; inadmissibility of vulgarized interpretations of works; mastering the techniques of artistic reconstruction, authentic, modern, art-technological solution of performances; mastering the specifics of dancers, international and festival projects. The concept of training a doctor of art in music directing involves a creative rethinking of global innovative directing practices on domestic soil, taking into account the peculiarities of the Ukrainian mentality, cultural traditions, and achievements of national educational and art schools with gradual integration into Europe.
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Kannan, Vikram, Sumathy Sundar, Sajeesh Manikanda Prabhu, and G. Ezhumalai. "Estimation of the effects of music therapy on the anxiety and patient’s perception during an upper gastrointestinal endoscopy procedure: a randomised controlled trial." International Journal of Research in Medical Sciences 8, no. 7 (June 26, 2020): 2594. http://dx.doi.org/10.18203/2320-6012.ijrms20202901.
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Background: An upper gastrointestinal (GI) endoscopy procedure is an invasive medical procedure that is used in diagnosis and treatment of various intestinal disorders. Patients posted for upper GI endoscopy procedures often experience significant levels of pre-procedural fear, anxiety and discomfort during the procedure which can negatively affect cooperation levels during the procedure with the attending doctor. A very few studies have explored the beneficial effects of music therapy in this regard and so our study was planned.Methods: A prospective randomised controlled trial was conducted with a sample of 54 patients who were enrolled for this study. They were randomly divided into two groups - group 1 consisting of 27 patients, receiving a music therapy intervention and group 2 consisting of 27 patients who served as a control group. Group 1 received a receptive music therapy intervention in the form vocal, relaxing, improvisational music with patient preferred chants for fifteen minutes before and during the endoscopy procedure. Group 2 did not receive a music therapy intervention.Results: The results indicated that the post intervention, state-anxiety levels was significantly lower in the music therapy group compared to the control group with (p=0.001). Patients’ cooperation levels during the procedure with the attending doctor was significantly higher in the music therapy group than in the control group (p=0.001).Conclusions: Repeated music therapy intervention is highly beneficial in reducing state anxiety levels and improving cooperation levels during the GI endoscopy procedure.
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Alvarez Perez, Purificacion, Maria Jose Garcia-Antelo, and Eduardo Rubio-Nazabal. "“Doctor, I Hear Music”: A Brief Review About Musical Hallucinations." Open Neurology Journal 11, no. 1 (February 28, 2017): 11–14. http://dx.doi.org/10.2174/1874205x01711010011.
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Auditory hallucinations are defined as the abnormal perception of sound in the absence of an external auditory stimulus. Musical hallucinations constitute a complex type of auditory hallucination characterized by perception of melodies, music, or songs. Musical hallucinations are infrequent and have been described in 0.16% of a general hospital population. The auditory hallucinations are popularly associated with psychiatric disorders or degenerative neurological diseases but there may be other causes in which the patient evolves favorably with treatment. With this clinical case we want to stress the importance of knowing the causes of musical hallucinations due to the unpredictable social consequences that they can have.
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Koegel, John, Julius Eichberg, Benjamin E. Woolf, Charlotte R. Kaufman, John Philip Sousa, Charles Klein, Paul E. Bierley, et al. "The Doctor of Alcantara (1879)." Notes 55, no. 1 (September 1998): 189. http://dx.doi.org/10.2307/900394.
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Alicia M. Doyle. "Doctor Atomic (review)." Notes 66, no. 3 (2010): 628–29. http://dx.doi.org/10.1353/not.0.0308.
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Baker, Joanne. "The Doctor Who theme and beyond: female pioneers of electronic music." Nature 563, no. 7732 (November 2018): 470–71. http://dx.doi.org/10.1038/d41586-018-07439-1.
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Stepney, R., f. m. writer, and N. S. Stepney. "Healer, dealer, heart stealer: portrayals of the doctor in popular music." BMJ 349, dec10 20 (December 11, 2014): g7179. http://dx.doi.org/10.1136/bmj.g7179.
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Bing, Richard J. "Composing Music and the Science of the Heart: How to Serve Two Masters." Leonardo 41, no. 4 (August 2008): 365–66. http://dx.doi.org/10.1162/leon.2008.41.4.365.
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The author, both a composer and a physician, chronicles his development as a musician—from his childhood fascination with improvising on the piano to the eventual performance of one of his compositions in the church of Saint Stefan in Vienna—and his career as a medical doctor studying heart disease and researching new cures. He finds that the common denominator in composing music and doing medical research is the creative impulse. In his life, music and medicine have never been in competition. Rather, when frustrated by difficulties in medical research, the author has found renewal in composing music.
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Harris, Jennifer Nicole. "Writing, painting, creating: How can the arts augment psychiatry training?" Music and Medicine 11, no. 2 (April 30, 2019): 127. http://dx.doi.org/10.47513/mmd.v11i2.668.
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The humanities have recently enjoyed a position in medical school curriculums, but once a graduated doctor, its importance and value appears to diminish in the eyes of the profession. Psychiatry, as the study of the human condition where one must identify the inner worlds of patients, lends itself to creative pursuits encompassing observation and communication. As a specialty, psychiatry continues to suffer stigmatised opinions within the medical profession and poor recruitment across many countries. Incorporating the humanities, including literature, music and art into the training of postgraduate doctors could remedy tired perspectives and busy working lives, as well as providing new and dynamic ways to learn about and connect with patients on a more profound level.
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Derus, Kenneth. "‘These Things Should Be Known’: Interview with Denis Aplvor." Tempo, no. 209 (July 1999): 19–21. http://dx.doi.org/10.1017/s0040298200014649.
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A fragment of an interview, really. Denis Aplvor began talking on tape early in 1998, when blindness made letter writing impossible. He talked about Margot Fonteyn and Bernard van Dieren and Federico García Lorca and old girl friends and being a doctor in India during the war. Mostly he talked about his music. This is ten minutes of conversation lifted from 16 hours of tape.
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Cobley, Evelyn. "Decentred Totalities in Doctor Faustus: Thomas Mann and Theodor W. Adorno." Modernist Cultures 1, no. 2 (October 2005): 181–91. http://dx.doi.org/10.3366/e2041102209000100.
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Reexamining the famous collaboration between Mann and Adorno on Doctor Faustus (1947), Evelyn Cobley (University of Victoria, B.C.) argues that by incorporating Adorno's music theory Mann encouraged a reading of German fascism not as the belated eruption of insufficiently repressed atavistic impulses but as an early instance of a postmodern logic that, according to Adorno, undergirds both fascism and late capitalism.
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Grigore, Claudia. "Healing Music in Pericles, the Winter’s Tale and The Tempest." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 42–53. http://dx.doi.org/10.1515/rjes-2019-0006.
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AbstractThis essay examines the scenes in Shakespeare’s romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa’s apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter’s Tale, Hermione’s apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare’s most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays’ scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect.
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HAWORTH, CATHERINE. "“Something beneath the flesh”: Music, Gender, and Medical Discourse in the 1940s Female Gothic Film." Journal of the Society for American Music 8, no. 3 (August 2014): 338–70. http://dx.doi.org/10.1017/s1752196314000236.
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AbstractClosely related to both film noir and the woman's film, 1940s female gothic pictures combine suspense and mystery with a focus on the subjective experience of the female protagonist. This article discusses the use of music and sound in the cinematic female gothic tradition, focusing upon two historically located films that form part of its “gaslight” subgenre:Experiment Perilous(dir. Tourneur; comp. Webb, 1944) andThe Spiral Staircase(dir. Siodmak; comp. Webb, 1946). In both films, the positioning of the female lead is mediated by the presence of a medical discourse revolving around her professional and romantic relationship with a male doctor, whose knowledge and authority also allows him to function as an unofficial investigator into the woman's persecution at the hands of a serial murderer. The female gothic soundtrack is a crucial element in the creation and communication of this gendered discourse, articulating the shifting position of characters in relation to issues of crime, criminality, and romance. Musical and vocal control reinforce the doctor's dominance whilst allying his presentation with that of an emasculated killer, and create and contain agency within complex constructions of female victimhood.
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Turabian, Jose Luis. "Doctor-Patient Relationship as Dancing a Dance." Journal of Family Medicine 1, no. 2 (November 29, 2018): 1–6. http://dx.doi.org/10.14302/issn.2640-690x.jfm-18-2485.
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The transcendence of the doctor-patient relationship is given by the confirmed fact of its influence on the results of health care. Several models of doctor-patient relationship can be described, but evidence of improved compliance, satisfaction and recall of physician information has been found in patient-centered consultations. Since these concepts of doctor-patient relationship and patient-centered consultation have multiple facets, they are complex to understand and teach. Using a metaphor is a tool that can be useful in these situations. We could say that the "good" doctor-patient relationship is a process where an "alliance" is created: a process in which the doctor adapts to the rhythm of the patient and little by little can help him move towards healthier scenarios; that is, detect "what dance the patient dances and like a good dancer, take a step back, another forward, dancing and pacing with the patient. But there is not a single type of "good" or "adequate" doctor-patient relationship; there is not "a single dance that the patient dances". If "the doctor has to dance with the patient", he has to know that there are many types of dance! The doctor will have to dance dances such as Cha-Cha (which has to be slow or very fast to dance), the Mambo (where the music is faster and the rhythm more complicated - the relationship with an urgent patient); the Merengue (which is danced like walking - informal doctor-patient relationship); el Pasodoble (that you have to dance with a haughty air, but not with rigidity -synchronizing assertiveness and empathy); The Salsa (where you have to learn the basic step separately - discontinuity of the doctor-patient relationship), among others.
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Odnosum, Natalia V. "MUSICAL CONCEPT OF THE NOVEL DOCTOR ZHIVAGO BY BORIS PASTERNAK IN THE CONTEXT OF THE SPIRITUAL AUTOBIOGRAPHY GENRE." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 43–56. http://dx.doi.org/10.32342/2523-4463-2021-2-22-4.
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The purpose of the article is to study the role of the musical imperative in the modernization, transformation of the spiritual autobiography genre in the novel by B.L Pasternak Doctor Zhivago. To achieve this goal, the following tasks are required: a brief overview of biographical facts of the writer’s life, illustrating the path of his aesthetic philosophy and worldview, artistic formation, in which music played a dominant role; to study the musical imperative at the ideological-philosophical, system-structural, and aesthetic-artistic levels. While researching, biographical, systemic, structural, and hermeneutic methods were used. One of the culminating pages in the biography of Pasternak, the content of which had influenced Pasternak’s creative world, would be the day when he heard the sounds of musical improvisation on the piano by Skryabin, who was creating Divine poem. The sounds of music had merged with reality, the voice of nature, becoming a single whole with it. With a transforming and creative effort of memory, impressions coming from childhood would be built into the figurative-conceptual chain of his worldview “Life − music − creativity – poetry”, in which “music and poetry speak the same language of art”. All the creative heritage of B.L. Pasternak, including the final work − the novel Doctor Zhivago, which is represented as a kind of spiritual autobiography, both personal and the entire generation, respectively, serves as a generalization of the historical, philosophical, aesthetic and artistic paths of the Silver Age, a part of which was the author himself. Merging with its voice, and at the same time absorbing it into himself, he became a generalized representation of his generation portrait. In Doctor Zhivago, music appears at the level of mentions, quotations, and various sound images throughout the text. Their main ideological and semantic content is summed up by the words of Vedenyapin, in which Music is the equivalent of Truth, a “divine voice”, “raising above the animal and carrying it upward”, giving an inner impetus to the personality to move along the path of history to eternity. Research results. The ideological and philosophical setting of the musical novel organization is the idea of Music as a metaphor of the Artist-Christ, the embodiment of eternity, the path and a new history established by the sacrifice of Christ, leading to the human spirit. Accordingly, the theme of the path in spiritual autobiography as an ascent from the carnal to the spiritual level of consciousness, the attainment of eternity is reflected in the musical key as a progress of progress towards music and “melodization” of the spiritual path. At the systemic and structural level, the musical imperative is built in the form of a counterpoint principle substantiated by B.M. Gasparov, and the complex tiered hierarchical organization of the novel, in which all levels (individual, socio-historical, eternal) gravitate towards a single value center − the Artist-Christ − and merge in symphonic polyphony in unison. At the aesthetic and artistic level, this is achieved through the lyricization of the narrative, rhythmic insertions that “illuminate” the prose part, like the “voice of eternity”, repetitions, dividing the narrative into prose and lyrics as a form of music (the earthly path and eternity as its finale and the achievement of completeness existence) and, most importantly, building an acoustic space, contributing to the creation of a suggestive effect of “audibility” of the text. The acoustic space is built thanks to the presence of numerous sound images, the melodiousness and rhythm of the prose part, inserts from sacred texts and church chants, the attraction of Chopin`s techniques and motives, as well as the motive of distant sound as a timeless messenger of apocalyptic “future”.
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Aldridge, David, and Rachel Verney. "Creative Music Therapy in a Hospital Setting: A Preliminary Research Design." Journal of British Music Therapy 2, no. 2 (December 1988): 14–17. http://dx.doi.org/10.1177/135945758800200204.
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The aims of this study are to find ways of collecting appropriate clinical data consistently and to develop co-operative working relationships with clinical colleagues. Six hypotheses are generated from the relationship between the playing of improvised music and a person's health. The method of research is to collect quantitative and qualitative data, and use observations from several perspectives: the doctor, the therapist, the ward staff, the patient and the family. Data collection and observation would be closely linked to everyday clinical practice.
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Macenka, Svitlana. "Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 88–108. http://dx.doi.org/10.31861/pytlit2020.101.088.
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In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.
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Rousi, Antti Mikael, Reijo Savolainen, Maaria Harviainen, and Pertti Vakkari. "Situational relevance of music information modes." Journal of Documentation 74, no. 5 (September 10, 2018): 1008–24. http://dx.doi.org/10.1108/jd-10-2017-0149.
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Purpose The purpose of this paper is to elaborate the picture of situational relevance of music information from a performing musician’s point of view by delving into its diverse layers within the context of Doctor of Music students’ information seeking. Design/methodology/approach Music-related information is approached through six modes that categorize music information sources based on their levels of abstraction. Situational relevance of the modes of music information is examined in relation to the situational requirements of accomplishing a dissertation on music task consisting of both a series of concerts and a written thesis. The empirical material was collected by interviewing Finnish doctoral students in the field of music performance. Findings A set of situational relevance types related to each mode of music information were identified. As a whole, the differences between the perceived importance of the modes varied a little. Research limitations/implications The goal of the present paper is not to create a generalizable list of situational relevance types suggested by modes of music information, but to show that the modes may suggest diverse situational relevance types of their own when evaluated by performing musicians. Originality/value The present paper provides a rare account on performing musicians’ vocational and school-related information seeking. For studies of music information retrieval, the present paper offers new contextual facets explaining why diverse music information could be relevant to musicians. For studies of music-related information seeking, the present study offers new insights on why performing musicians have information needs regarding certain types of music information sources.
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Stein, Robert. "Proms 2004: Adams, Corigliano, Saariaho." Tempo 59, no. 231 (January 2005): 45–47. http://dx.doi.org/10.1017/s0040298205260059.
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Like its predecessors Nixon in China and The Death of Klinghoffer, the third opera in John Adams's trilogy, Doctor Atomic, seems set fair to juxtapose modern political forces, personalities and moral debate. Here admiration for Robert Oppenheimer and his fellow geniuses who created the atomic bomb is contrasted with the enormity of destruction wreaked on Hiroshima. With over a year to go to the opera's world première by San Francisco Opera, the composer himself conducted Easter Eve 1945, the opening of Act 2, at the Albert Hall on 22 August with the BBC Symphony Orchestra and Audra McDonald as soloist.
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Лесовиченко, А. М. "The Foreign Music History Department of the Moscow Conservatory at the Turn of the Century: the 75thAnniversary of Mikhail Alexandrovich Saponov." Журнал Общества теории музыки, no. 1(33) (August 4, 2021): 1–8. http://dx.doi.org/10.26176/otmroo.2021.33.1.001.
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Более 30 лет кафедру истории зарубежной музыки Московской консерватории возглавляет доктор искусствоведения, профессор М. А. Сапонов. Крупный исследователь европейской музыки разных времен, талантливый переводчик, увлеченный педагог, он показал себя и прекрасным организатором, сумевшим не только сохранить творческие достижения своей кафедры, но и содействовать их преумножению. For more than 30 years, the Department of the History of Foreign Music of the Moscow Conservatory has been headed by Doctor of Art History, Professor M. A. Saponov. A major researcher of European music of different times, a talented translator, an enthusiastic teacher, he also proved to be an excellent organizer, who managed not only to preserve, but also to promote the multiplication of the creative achievements of his department.
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Joo, Yohan, Seockhoon Chung, Seonok Kim, Saebyeol Lee, Sei-Hyun Ahn, Jongwon Lee, BeomSeok Ko, et al. "Abstract P4-10-18: The effects of preoperative personalized music therapy associated with the patient-doctor relationship and surgical experience of patients with breast cancer (MARS)." Cancer Research 82, no. 4_Supplement (February 15, 2022): P4–10–18—P4–10–18. http://dx.doi.org/10.1158/1538-7445.sabcs21-p4-10-18.
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Abstract Background. It is well known through several studies that listening to music can reduce the anxiety of patients. However, most of the previous studies focused only on the psychological effects of patients and some physiological effects such as blood pressure, pain. Moreover, previous studies played music that is not related to personal preferences. The purpose of this study is to investigate whether reducing the patient's anxiety through music selected by patients can improve the patient's surgical experience and the relationship between the patient and doctor. Methods. We randomly assigned 304 breast cancer patients who underwent surgery between September 2020 to April 2021 into a music therapy group(MG) and a control group(CG). Among them, 290 people completed the study. MG (n = 150) listened to the patient's chosen music after entering the operating room until induction of anesthesia, while CG (n = 140) wore earmuffs for noise block in the operating room instead of music. All patients measured anxiety scores over time by numeric rating scale. Treatment satisfaction and patient-doctor depth of relationship scale(PDDRS) were also assessed after surgery. In addition, surgical satisfaction and intimacy with patients were evaluated in the surgeon. Result. The anxiety scores immediately after entering the operating room were not significantly different between the two groups(MG: 4.62 ± 2.44, CG: 4.61 ± 2.45, p = .984). However, the anxiety levels before anesthesia induction of MG patients was 3.36 ± 2.32, which was significantly lower than that of CG patients (3.90 ± 2.26) (p = .047). There was no difference between the groups in PDDRS evaluated for patients after surgery (MG: 26.25 ± 5.529, CG: 25.56 ± 5.918, p = .338) while the degree of intimacy with the patient stated by the surgeon was significantly higher in MG (MG: 7.59 ± 0.89, CG: 7.30 ± 1.05, p = .013). Satisfaction with treatment experience of patients was 18.01 ± 1.78 in MG, which was significantly higher than 17.65 ± 1.59 in CG (p = .040). Especially among the detailed items, the experience in the operating room was evaluated more positively in MG as 4.21 ± 0.79 than 3.91 ± 0.78 in CG (p = .001). The difference in the anxiety-reducing effect of music therapy in the subgroup without surgery history was larger than with a history of surgery, but there was no statistical significance. Similarly, the difference in the anxiety reduction effect in the subgroup with low preoperative anxiety level was greater than that in the subgroup with high anxiety, but this was also not statistically significant (Table 1). People evaluated the experience of surgery more positively as the degree of anxiety reduction in the operating room was greater (Spearman's correlation coefficients = -0.124, p = .035). Conclusion. Personalized selected music in the operating room before anesthesia can effectively lower the patient's anxiety and has the potential to positively change the patient’s satisfaction with surgery. Patients with no surgical history, low pre-operative anxiety can more benefit from personalized music therapy. It is expected to create an opportunity for the patient with breast cancer who anticipate receiving surgery to improve their compliance to treatment by strengthening intimacy with the surgeon. Table 1.Subgroup analysis for anxiety-reducing effect of music in operating roomGroupNMean ± SDDifference between groupP value between groupP value for interactionOverallCG140-0.71±1.560.55.005MG150-1.26±1.68Surgical historyNoCG53-0.38 ± 1.690.75.012.428MG67-1.13 ± 1.49YesCG87-0.92 ± 1.450.44.076MG83-1.36 ± 1.83Pre-Op. GAD-7< 5 pointsCG85-0.55 ± 1.470.73.003.215MG91-1.28 ± 1.57≥5 pointsCG55-0.97 ± 1.670.25.416MG59-1.22 ± 1.86 Citation Format: Yohan Joo, Seockhoon Chung, Seonok Kim, Saebyeol Lee, Sei-Hyun Ahn, Jongwon Lee, BeomSeok Ko, Jisun Kim, Il Yong Chung, Byung Ho Son, Hee Jeong Kim. The effects of preoperative personalized music therapy associated with the patient-doctor relationship and surgical experience of patients with breast cancer (MARS) [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P4-10-18.
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Mykhaskovа, Marina. "FOREIGN EXPERIENCE OF PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHERS." Continuing Professional Education: Theory and Practice, no. 1 (2020): 74–79. http://dx.doi.org/10.28925/1609-8595.2020.1.11.
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The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. The author of the article analyses the term of education in different countries; duration of stage education (Bachelor (Bc), Master (Mg), Doctor (Dr)); duration of study of the course; types of music activity; basic subjects; direction of educational subjects; music-pedagogical systems of outstanding musicians-pedagogues involved in the professional education process. It is analyzed that the common features for music education are: the orientation of education to the inner values associated with the development of musical skills, knowledge and abilities necessary for creativity and reaction to music; understanding and knowledge of the cultural environment and heritage; personal and community development through creativity, identity formation, personal development and social interaction. Music education systems abroad are characterized by the focus on the harmonious development of the personality, provide various forms of creative music playing on the material of folk, classical, contemporary music in their parallel comparison, develop perception and musical hearing through effective techniques.
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Nirmaladevi J, Aarthi K V, Vasundhara B, Diwaan Chandar C S, and Abinaya G. "REAL TIME SPEECH EMOTION RECOGNITION USING MACHINE LEARNING." international journal of engineering technology and management sciences 6, no. 6 (November 28, 2022): 84–87. http://dx.doi.org/10.46647/ijetms.2022.v06i06.012.
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A speech recognition system, which can detect emotions contained in the dataset such as sad, happy, neural, angry, disgust, surprised, fearful and calm expressions. In real time we can use this application in various decisions. Although we are in a pandemic situation all processes are taking place only through online like job interviews, doctor appointments etc. In these cases this application is very useful whether in what state they are and to detect their emotions through speech. Here we are using a library called Librosa. Librosa is a python package for music and audio analysis. It provides the building blocks necessary to concoct music information retrieval systems. It was developed by Brian McFee, assistant professor of music technology and data science at NYU, and creator of Librosa, a python package for music and audio analysis. Librosa upholds a few elements connected with sound records handling and extraction like burden sound from a circle, register of different spectrogram portrayals, symphonious percussive source detachment, conventional spectrogram decay, stacks and translates the sound, Timespace sound handling, successive demonstrating, coordinating consonant percussive partition, beatsimultaneous and some more.
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Berry, Mark. "The Doctor Faustus Dossier: Arnold Schoenberg, Thomas Mann and their Contemporaries, 1930–1951. Ed. by E. Randol Schoenberg." Music and Letters 100, no. 3 (August 1, 2019): 570–72. http://dx.doi.org/10.1093/ml/gcz049.
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Barba, Eugenio. "The Sky of the Theatre." New Theatre Quarterly 26, no. 2 (May 2010): 99–101. http://dx.doi.org/10.1017/s0266464x10000230.
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Eugenio Barba founded Odin Teatret in 1964, since when it has become one of the most widely known non-official theatre collectives of the past half-century, and Eugenio Barba one of the most influential figures in world theatre. The following is his speech of thanks to the members of the Academy of Music and Theatre of Estonia for bestowing the title of Doctor Honoris Causa. It was delivered in Tallinn on 27 September 2009.
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Povinelli, Barker, Wieneke, and Downs. "Appendix: Doctor Fomomindo's Preliminary Notes for a Future Index of Anthropomorphized Animal Behaviors." Journal of Folklore Research 56, no. 2-3 (2019): 125. http://dx.doi.org/10.2979/jfolkrese.56.2_3.08.
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Haines, John. "The ‘modal theory’, fencing, and the death of Aubry." Plainsong and Medieval Music 6, no. 2 (October 1997): 143–50. http://dx.doi.org/10.1017/s0961137100001327.
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On 29 June 1909, a jury of six scholars decreed that Pierre Aubry (1874–1910), in his bookTrouvères et Troubadours, had stolen the ‘modal’ interpretation of medieval monophony from the young doctor Jean-Baptiste Beck (1881–1943). Aubry was to make amends for his plagiarism in two ways: first, by destroying copies of the book's first edition and issuing an emended one; second, by publishing the trial's verdict in twenty scholarly journals at his own cost. An only slightly emendedTrouvères et Troubadoursdid appear the following year (1910), but Aubry failed to publish the jury's verdict in a single journal. A little over a year after the trial, in August of 1910, he died of a fencing wound. The following year, Beck emigrated to the United States.
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Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.
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“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.
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Luko, Alexis. "TINCTORIS ON VARIETAS." Early Music History 27 (October 2008): 99–136. http://dx.doi.org/10.1017/s0261127908000296.
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The twelve extant treatises of Johannes Tinctoris offer a wealth of insight into almost every aspect of fifteenth-century music theory. A graduate of the University of Orléans and a doctor of canon and civil law, Tinctoris was an expert in both the language arts of the trivium (grammar, rhetoric, dialectic) and the mathematical arts of the quadrivium (arithmetic, geometry, music, astronomy). Such was his erudition that he was extolled by Johannes Trithemius, one of the leading German humanists of the fifteenth century, as ‘a man very learned in all respects, an outstanding mathematician, a musician of the highest rank, of a keen mind, skilled in eloquence’. Given Tinctoris’s towering intellect, it is no surprise that frequent citations from many of the major thinkers of antiquity – Pythagoras, Plato, Aristotle, Ovid, Virgil, Cicero and Quintilian – appear in his theoretical discussions on mode, mensural notation and counterpoint.
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Munro, Tim. "John Adams, Doctor Atomic. Peter Sellars, director. Opus Arte, 2007./Wonders Are Many. Jon Else, director. Docurama Films, 2007." Journal of the Society for American Music 4, no. 3 (July 15, 2010): 385–87. http://dx.doi.org/10.1017/s1752196310000258.
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King, Richard G., and Saskia Willaert. "Giovanni Francesco Crosa and the First Italian Comic Operas in London, Brussels and Amsterdam, 1748–50." Journal of the Royal Musical Association 118, no. 2 (1993): 246–75. http://dx.doi.org/10.1093/jrma/118.2.246.
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In the autumn of 1748 the opera audience in London was introduced to a newly arrived troupe of Italian singers, an eccentric impresario and an operatic genre previously unknown in England. The buffo company, led by ‘Doctor’ Giovanni Francesco Crosa, would entertain the King's Theatre public for the first time with full-length Italian comic operas. In May 1750, after two tumultuous seasons which saw the gradual dissolution of the troupe and financial disaster for the management, Crosa fled the country, never to return. The King's Theatre closed its doors, to reopen only in the autumn of 1753 with a programme devoted exclusively to serious opera. It was not until 1766, when Piccini's La buona figliuola conquered the London opera stage, that Italian comic opera found real success at the King's.
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Sherwood, Gayle. "Charles Ives and “Our National Malady”." Journal of the American Musicological Society 54, no. 3 (2001): 555–84. http://dx.doi.org/10.1525/jams.2001.54.3.555.
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Abstract In his psychoanalytical biography of Ives, Charles Ives: “My Father's Song,” Stuart Feder convincingly argued that Ives's health breakdowns in 1906 and 1918 were the result of emotional and psychological factors rather than a physical heart condition. But the Freudian approach and terminology employed by Feder were unknown in American in 1906 and had not been fully accepted even by 1918. Therefore, how would an American doctor in 1906 have diagnosed Ives's “condition”? A careful examination of key events in Ives's life between 1902 and 1908, and a close reading of his correspondence indicate that he may have been recognized as neurasthenic. Ives's neurasthenia locates his identity by nationality, ethnicity, gender, economic and social class, education, profession, environment, and lifestyle. As a result, his artistic values and character traits emerge as remarkably typical of his country, culture, and time.
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Jones, Patrick M. "The Doctor of Musical Arts in Music Education: A Distinctive Credential Needed at This Time." Arts Education Policy Review 110, no. 3 (April 2009): 3–8. http://dx.doi.org/10.3200/aepr.110.3.3-8.
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Adamson, E., N. Yussf, and E. Schreiber. "Using Liver Cancer Prevention Messages to Scale up the Diagnosis and Treatment of People Living With Hepatitis B." Journal of Global Oncology 4, Supplement 2 (October 1, 2018): 132s. http://dx.doi.org/10.1200/jgo.18.32800.
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Background and context: Chronic hepatitis B (CHB) is a major public health issue in Australia, affecting an estimated 238,000 people. If not appropriately managed, chronic hepatitis B infection can cause cirrhosis and liver cancer. Liver cancer has the fastest increasing incidence rate of all cancers in Australia, and its survival is among the lowest. To reduce the burden of liver cancer, more people with CHB need to be diagnosed and treated. The majority of people living in Australia with CHB (61%) were born overseas, and research indicates people have low levels of understanding about hepatitis B, and its link to liver cancer. Cancer Council Victoria developed several communication campaigns to increase testing and diagnosis for hepatitis B in the Vietnamese and south Sudanese communities living in Victoria. Aim: •To raise awareness about hepatitis B and the link to liver cancer in the Vietnamese and south Sudanese community •To increase understanding about diagnosis, vaccination and management •To mobilize the community to talk to their trusted GP about hepatitis and to be tested. Strategy/Tactics: The campaign strategy was designed to address the knowledge barriers to testing for these two communities. To inform the strategy, qualitative focus groups and community interviews were used to identify perceptions of hepatitis B and liver cancer, as well as the barriers and motivators to testing. Both communities identified their local doctor as a trusted source of health information. Two media campaigns were developed featuring a known doctor from each community. An additional campaign was tailored specifically for young south Sudanese people using hip hop music as method of disseminating key messages about liver cancer prevention. Program/Policy process: The campaigns were designed by the Screening, Early Detection and Immunization Team at Cancer in Council Victoria, Australia. Outcomes: Digital metrics and face to face interviews with community members, nurses and doctors were used to assess the impact of the campaigns. Evaluation results also indicated people did visit their doctor to talk about hepatitis B. The success in motivating people to see their doctor was attributed to the campaigns featuring a message about liver cancer being caused by hepatitis B, and it being led by a known and respected doctor from their own community. What was learned: Cancer organizations can target liver cancer prevention efforts to · increase awareness about liver cancer and hepatitis B in at risk communities; · motivate at risk people to visit their doctor for hepatitis B testing, vaccination and treatment by linking the prevention of liver cancer to hepatitis treatment; · tailor communications to the specific needs of different culturally diverse communities; · collaborate closely with communities from culturally diverse backgrounds to ensure campaign messages and calls to action are culturally appropriate.
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Draper, Paul, and Scott Harrison. "Beyond a Doctorate of Musical Arts: Experiences of its impacts on professional life." British Journal of Music Education 35, no. 3 (June 13, 2018): 271–84. http://dx.doi.org/10.1017/s0265051718000128.
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There is much dialogue in the academy about the role of doctoral studies in relation to employment, career trajectories and graduate outcomes. This project explores the experiences of Doctor of Musical Arts (DMA) graduates and students at the Queensland Conservatorium in Australia to reveal how the programme has impacted upon their professional activities, while also addressing assumptions promulgated through the literature on artistic practice and research education. The paper presents emergent themes and concludes by offering insights into artistic research in music more broadly.
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Ebright, Ryan. "Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound Design." Cambridge Opera Journal 31, no. 1 (March 2019): 85–117. http://dx.doi.org/10.1017/s0954586719000119.
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AbstractIn his autobiography, John Adams mused that his 2005 opera, Doctor Atomic, challenges directors and conductors owing to its ‘abstracted treatment’ of time and space. This abstraction also challenges scholars. In this article, I bring the cross-disciplinary field of sound studies into the opera house to demonstrate that Adams's obfuscation of operatic space–time is achieved primarily through the use of a spatialised electroacoustic sound design. Drawing on archival materials and new interviews with director Peter Sellars and sound designer Mark Grey, I outline the dramaturgical, epistemological and hermeneutic ramifications of sound design for opera studies and advocate for disciplinary engagement with the spatial dimensions of electroacoustic music generally, and within opera specifically.
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Levi, Pavle. "Doctor Hypnison and the Case of Written Cinema." October 116 (April 2006): 101–18. http://dx.doi.org/10.1162/octo.2006.116.1.101.
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Demchenko, Alexander I. "The Musical Legacy of Igor Stravinsky." ICONI, no. 2 (2019): 137–48. http://dx.doi.org/10.33779/2658-4824.2019.2.137-148.
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The lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a concise way the evolution of the music of the outstanding composer, the main stages of which correspond with the three sections of this text: “Igor Stravinsky of the Russian period,” “Igor Stravinsky’s Neoclassicism” and “The Late Works of Igor Stravinsky.” The exposition of the topics includes listening to a number of musical fragments meant to give a general perception of the range of the composer’s artistic endeavors. The publication is addressed to students of conservatories and artistic institutions of higher education.
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Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich." ICONI, no. 1 (2020): 95–107. http://dx.doi.org/10.33779/2658-4824.2020.1.095-107.
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This lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a maximally compact form the evolution of the music of the great composer, the main stages of which are corresponded to by the respective sections of the present text: “Early Works,” “Middle Period” and “Late Works,” which is supplemented by generalizations contained in the sections “The Issue of Humanism” and “The Artistic Constants.” The expounding of the lecture will be accompanied by listening to a number of fragments designed to give an overall impression of the range of the composer’s artistic quests.
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Deterala, Sophia, Alex Owen, Feng Su, Philip Bamber, and Ian Stronach. "“Hello Central, Give Me Doctor Jazz”: Auto/Ethnographic Improvisation as Educational Event in Doctoral Supervision." Qualitative Inquiry 24, no. 4 (October 11, 2017): 248–59. http://dx.doi.org/10.1177/1077800417728957.
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Through exchanges within a doctoral supervision, the authors explore a range of dilemmas and challenges for reflexive inquiry. These include the problematic business of naming, the impossibility of objective separation of self from research, the merging of researcher subjectivities, and differences between performance and performativity. We note the educational potential in what can conventionally be considered “unprofessional” approaches to qualitative inquiry: neologisms, personal experience, stories, conversations, music, poetry, paintings, and film. We engage in reflexive interactions with each other and with such “data.” This was undertaken in the spirit of jazz improvisation—an unrehearsed performance—something that “happened,” an unplanned educational event but also an agency enabled by structure.