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Journal articles on the topic 'Fidddle'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

McDavid, Jodi. "The Fiddle Burning Priest of Mabou." Ethnologies 30, no. 2 (February 16, 2009): 115–36. http://dx.doi.org/10.7202/019948ar.

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Father Kenneth MacDonald was the priest of Mabou, Cape Breton, from 1865-1894. Written accounts detail him as a strict disciplinarian and social advocate: against the consumption of alcohol; disliking picnics; and telling parishioners how to vote. But the written word seems to leave out the one event that locals still discuss: how he went door to door and burnt their fiddles. Although a small rural town, Mabou is one of cultural importance in Cape Breton, considered the heart of Cape Breton traditional music. Of central iconic importance in both the folk and popular manifestations of this music is the fiddle.

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2

Brauer-Benke, József. "Vonós hangszerek Afrikában." Afrika Tanulmányok / Hungarian Journal of African Studies 16, no. 2 (December 13, 2022): 14–40. http://dx.doi.org/10.15170/at.2022.16.2.2.

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A survey of the available historical data allows one to show that the appearance and adoption of bowed string instruments in the different cultural regions of Africa took place in different periods and owing to different influences. After this instrument category had appeared in Central Asia in the 9th century, it spread to the eastern lands of the Arab world (Mashriq) in the 10th century, and thence to the western lands of the Arab world (Maghrib) in the course of the 12th to 13th centuries. The so-called rebab fiddle type (carved of a single piece of wood and provided with a body made of a coconut shell) was modified by the peoples of West Africa so that it had a body made of the locally abundant large calabash, while the peoples of northeastern Africa adopted various relatives of the kamanja fiddle type (having a box-like body), such as the Ethiopian masenko and the Eritrean wat’a. Contrastingly, the Swahili cultural region adopted the fiddle type having a pipe-shaped body, characteristic of the Far East and Southeast Asia, from the Chinese merchants and explorers of the early 15th century, an instrument type later carried by Swahili trading caravans into Central Africa and the southern parts of East Africa. Although the southernmost portion of South Africa is home to seemingly very archaic bowed string instruments, European cultural influences have been a definite factor in this region since the mid-17th century. It is unsurprising, then, that an etymological analysis of ostensibly archaic string instruments reveals the impact of European bowed instruments through stimulus diffusion, i.e. the local adoption of the idea of a bow and its adaptation to indigenous instruments previously played with hitting the strings or rubbing them with sticks. In comparison to other instruments of West Africa, bowed instruments have barely survived modernization and, obsolete as they now are, play little role on the stages of world music. This process was exacerbated by the influence of the Islamic reform movements of the 19th century that deemed them barely tolerated or even prohibited instruments because of their associations with the pre-Islamic era; this had already gradually reduced their use in the two centuries preceding the modernization of the 20th century. The use of bowed string instruments has also declined significantly in eastern ands Africa. It is only in the North African region that bowed string instruments enjoy continuing popularity. For example, they are still used widely by the rural folk orchestras of Egypt, while in Morocco the rebab has been modernized for classical Arabic music by adopting certain parts of the European fiddle (e.g. tailpiece, bridge, fingerboard). The European fiddle was also adopted wholesale in North Africa; so that European and traditional instruments are now employed simultaneously by many Algerian orchestras. (image 22) It is remarkable that European fiddles are played in a vertical position in this context, a playing technique usual for folk fiddles; the potential playing techniques inherent in the shape of the European fiddle are thus not utilised at all.

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3

Rusek, Zbigniew. "Цигулка, гъдулка… i inne nazwy ‘skrzypiec’ w języku bułgarskim (w porównaniu z pozostałymi językami słowiańskimi)." Studia z Filologii Polskiej i Słowiańskiej 48 (June 16, 2015): 181–205. http://dx.doi.org/10.11649/sfps.2013.011.

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Цигулка, гъдулка… and other names for ‘violin, fiddle’ in Bulgarian (in comparison to other Slavonic languages)This paper analyses names for ‘violin’ in Bulgarian, examined against a Slavonic background. A broader approach has been taken to these names, because the article concerns not only the “classic” violin, but also the folk instruments (fiddles), which have different names in Bulgarian (and other Slavonic languages): цигулка, гъдулка, гусла, кемане, лаута, виолина, гънилка, виулица. These names are described from the semantic, derivational and etymological point of view. The noun цигулка, the basic name of ‘violin’, occurs only in Bulgarian and it is unknown in other Slavonic languages, although there are documented derivatives in Serbo-Croatian. The noun кемане ‘violin’, from Turkish, also occurs in Macedonian and Serbo-Croatian and other languages belonging to the Balkan league. The second part of the papers is devoted to the names for ‘violin’ in other Slavonic languages. Some names, extant only in some of the Slavonic languages, are derived from an onomatopoeic stem (Bulg. цигулка, Pol. skrzypce, East-Slavonic скрипка). Most of the Slavonic languages have a noun derived from gǫsli, a Common Slavic ancestor, but in some Slavonic languages (Czech, Slovak, and Sorabic) this word now means the classic violin, while in others it means ‘fiddle’ (comp. Pol. gęśle, Bulg. гусла), and in the Eastern Slavonic languages and Old Church Slavonic it means a ‘plucked string instrument’ ‘a kind of lute’. In Serbo-Croatian it means both the classic violin and primitive fiddle. Polabian has its own name form ‘violin’ gigléikia, which comes from German.

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4

Tang, Shengpu, Parmida Davarmanesh, Yanmeng Song, Danai Koutra, Michael W. Sjoding, and Jenna Wiens. "Democratizing EHR analyses with FIDDLE: a flexible data-driven preprocessing pipeline for structured clinical data." Journal of the American Medical Informatics Association 27, no. 12 (October 11, 2020): 1921–34. http://dx.doi.org/10.1093/jamia/ocaa139.

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Abstract Objective In applying machine learning (ML) to electronic health record (EHR) data, many decisions must be made before any ML is applied; such preprocessing requires substantial effort and can be labor-intensive. As the role of ML in health care grows, there is an increasing need for systematic and reproducible preprocessing techniques for EHR data. Thus, we developed FIDDLE (Flexible Data-Driven Pipeline), an open-source framework that streamlines the preprocessing of data extracted from the EHR. Materials and Methods Largely data-driven, FIDDLE systematically transforms structured EHR data into feature vectors, limiting the number of decisions a user must make while incorporating good practices from the literature. To demonstrate its utility and flexibility, we conducted a proof-of-concept experiment in which we applied FIDDLE to 2 publicly available EHR data sets collected from intensive care units: MIMIC-III and the eICU Collaborative Research Database. We trained different ML models to predict 3 clinically important outcomes: in-hospital mortality, acute respiratory failure, and shock. We evaluated models using the area under the receiver operating characteristics curve (AUROC), and compared it to several baselines. Results Across tasks, FIDDLE extracted 2,528 to 7,403 features from MIMIC-III and eICU, respectively. On all tasks, FIDDLE-based models achieved good discriminative performance, with AUROCs of 0.757–0.886, comparable to the performance of MIMIC-Extract, a preprocessing pipeline designed specifically for MIMIC-III. Furthermore, our results showed that FIDDLE is generalizable across different prediction times, ML algorithms, and data sets, while being relatively robust to different settings of user-defined arguments. Conclusions FIDDLE, an open-source preprocessing pipeline, facilitates applying ML to structured EHR data. By accelerating and standardizing labor-intensive preprocessing, FIDDLE can help stimulate progress in building clinically useful ML tools for EHR data.

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5

Pambayun, Wahyu Thoyyib. "PEMANFAATAN AUDIO RECORDING EQUIPMENT DALAM PEMBELAJARAN PRAKTIK INSTRUMEN REBAB, KENDANG DAN GENDER." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 21, no. 2 (March 1, 2022): 225–41. http://dx.doi.org/10.33153/keteg.v21i2.4119.

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This research is entitled "Utilization of Audio Recording Equipment in Practical Learning of Rebab, Kendang and Gender Instrument." The problems described in this study are: how are the types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, how to set and use audio recording equipment, and how to use audio recording equipment in learning the practice of fiddle, drums, and gender instrument. This research is qualitative research that uses descriptive analysis research methods. Data were collected by means of observation, literature study, and interviews. The data analysis technique used includes four stages: data collection, data reduction, data display, and concluding. The purpose of this study is to provide recommendations for types of audio recording equipment that can be used in learning the practice of fiddle, drum, and gender instrument, provide an understanding of how to set and use audio recording equipment, as well as provide an understanding of how to use audio recording equipment in learning the practice of the fiddle instrument. Drums and gender.

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6

Kennedy, Clifford E. "Fiddle stick." Journal of the Acoustical Society of America 90, no. 6 (December 1991): 3393. http://dx.doi.org/10.1121/1.401316.

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7

Morgan, Robert. "Horse Fiddle." Appalachian Heritage 34, no. 3 (2006): 34. http://dx.doi.org/10.1353/aph.2006.0088.

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8

von Rosen, Franziska, Michael Loukinen, and James P. Leary. "Medicine Fiddle." Ethnomusicology 43, no. 2 (1999): 391. http://dx.doi.org/10.2307/852753.

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9

Rahkonen, Carl, and Vidar Lande. "Norway: Fiddle and Hardanger Fiddle Music from Agder." Yearbook for Traditional Music 31 (1999): 212. http://dx.doi.org/10.2307/768054.

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10

Baker, O. R. "Rochester's 'Scotch Fiddle': or the Duke's 'Scotched Fiddle?'." Notes and Queries 61, no. 3 (August 26, 2014): 394–95. http://dx.doi.org/10.1093/notesj/gju082.

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11

Krisnawati, Yuli, I. Wayan Arthana, and Ayu Putu Wiweka Krisna Dewi. "Variasi Morfologi dan Kelimpahan Kepiting Uca spp. di Kawasan Mangrove, Tuban-Bali." Journal of Marine and Aquatic Sciences 4, no. 2 (November 3, 2017): 236. http://dx.doi.org/10.24843/jmas.2018.v4.i02.236-243.

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Fiddler crabs (Uca spp.) are one of the mangrove fauna that has an important role of food chain within the scope of mangrove, which is as a deposit eater. The mangrove area in Kampoeng Kepiting has been damaged due to reclamation for Bali Mandara toll road construction, which can interfere the survival/existence of Fiddler crabs. Therefore, it is necessary to do a research concerning the abundance of Fiddler Crabs in Kampoeng Kepiting mangrove area. The aim of this study is to determine the type and abundance of Fiddler crabs and to discover the coherency among Fiddler Crabs abundance in the manner of c-organic matter content in Kampoeng Kepiting area. Fiddler crabs samples were carried out using 1×1 meter quadrant transect by digging as deep as 30 cm. The abundance of Fiddler crabs was analyzed under the Krebs equation. The results from this study indicate Fiddler crabs were found in Kampoeng Kepiting area ,i.e. Uca demani, Uca coarctata, Uca dussumieri, Uca bellator, Uca lactea perplexa, Uca tetragonon, Uca chlorophthalmus crassipes, Uca lactea annulipes, Uca triangularis, and Uca vocans. The highest Fiddler crabs abundance were found at station 4 which is 72±4,2 ind/m2, whilst the abundance of Fiddler crabs (Uca spp.) at station 5 is (33±1,2 ind/m2). The c-organic matter content has a strong relationship with the abundance of Fiddler crabs in Kampoeng Kepiting mangrove area (r = 0,91). This study shows that mangrove conditions in Kampoeng Kepiting are still able to support Fiddler Crabs (Uca spp.) existence.

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12

Astuti, Erna, and Zahrul Mufrodi. "The Utilization of Fiddle-Leaf Fig Waste Into Food Preservative." Jurnal Bahan Alam Terbarukan 8, no. 1 (July 25, 2019): 47–51. http://dx.doi.org/10.15294/jbat.v8i1.19859.

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Fiddle-leaf Fig is a tree that is widely used as a protective or plants or shade. This plant is usually found on the side of the road, in the office area and as houseplants. The presence of fiddle-leaf fig leaves that fall from the tree will be a waste for the environment. This study proposes utilization of fiddle-leaf fig waste by pyrolysis method using pyrolysis triple condenser. Thermal analysis was done before experiments using a thermo gravimetric analyzer in the range of temperature of room temperature until 1000 ºC. Process was carried out at heating temperature of 350ºC, 375ºC, 400ºC, 425ºC, 450ºC, 475ºC and 500ºC. The product of pyrolysis were obtained from liquid coming out from the residue container, the first and second condenser, and the smoke is coming out from the third condenser. The smokes were absorbed with water. Further, all of the liquid were analyzed by gas chromatography mass spectrometry (GCMS). The analysis results show that the main components of pyrolysis liquid products are carboxylic acids, ketones, alcohols, and alkanes. There is gasoline and kerosene in the liquid, so it has the potential to become bio-oil. The largest potential of fiddle-leaf fig waste is as raw material for food preservative because it contains many carboxylic acid compounds.

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13

Bai, Gegentuul Hongye. "Fighting COVID-19 with Mongolian fiddle stories." Multilingua 39, no. 5 (September 25, 2020): 577–86. http://dx.doi.org/10.1515/multi-2020-0087.

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AbstractThis article examines the recontextualization of traditional Mongolian verbal art khuuriin ülger (‘fiddle story’) by Mongolian folk singers in the context of the spread of COVID-19 in Inner Mongolia, China. Drawing on the concept of intertextuality, I analyze the verbal and visual signs in 94 videos of Mongolian fiddle stories. The article argues that the minority Mongols participate in the dominant global and national discourses while at the same time creating a sense of Mongolian-ness by marrying Mongolian verbal art with public health messages related to COVID-19. The article also finds that the multivocal COVID-19 Mongolian fiddle stories are a medium to articulate the very heteroglot sense of the world in which minority Mongols dwell and to construct and reaffirm their multi-layered identities. The study contributes to our understanding of how traditional genres and symbols evolve in response to the pandemic.

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14

Wheeler, Will, and John Cohen. "Post Industrial Fiddle." Ethnomusicology 30, no. 2 (1986): 307. http://dx.doi.org/10.2307/852001.

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15

Clerk, John. "On the Fiddle." Musical Times 137, no. 1839 (May 1996): 4. http://dx.doi.org/10.2307/1003931.

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16

Szijártó, István M. "Playing Second Fiddle." Scandinavian Journal of History 19, no. 2 (January 1994): 143–63. http://dx.doi.org/10.1080/03468759408579274.

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17

Mahrer, Kenneth D. "Edit! Don't fiddle." Leading Edge 23, no. 9 (September 2004): 852–53. http://dx.doi.org/10.1190/1.1803495.

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18

GHG. "The psychiatry fiddle." Journal of the Forensic Science Society 32, no. 1 (January 1992): 92. http://dx.doi.org/10.1016/s0015-7368(92)73054-0.

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19

Porter, Mark, and Iseult M. Wilson. "Extent of Playing-Related Musculoskeletal Problems in the Irish Traditional Music Community: A Survey." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 47–55. http://dx.doi.org/10.21091/mppa.2018.1008.

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BACKGROUND: The literature related to playing-related musculoskeletal disorders (PRMDs) primarily includes classical musicians and instrument-specific studies. Previous work by our team identified that PRMDs are an issue for Irish traditional fiddle players; however, the extent of the problem was not known. OBJECTIVE: To identify the type and extent of PRMDs in the Irish traditional music population, specifically fiddle players. METHODS: A questionnaire was developed and administered to faculty and students related to all Irish traditional music courses in all higher education institutions in Ireland. RESULTS: Seven institutions were included. The response rate was 77.5% (n=79 of 102 possible respondents). A fifth of respondents never had a PRMD, 36.7% (n=29) currently had a PRMD, and 34.2% (n=27) had a previous experience of a PRMD. The main symptoms were pain (62%, n=49), stiffness (41.8%, n=33), and tingling (35.4%, n=28). There was a positive association between the development of PRMDs and increased hours of play (p=0.017). CONCLUSIONS: PRMDs are a problem for Irish traditional fiddle players, especially during times of intense playing such as festivals.

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20

SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without melody), merely melodic accompaniment, and complex accompaniment created by the combination the first two types. A number of accompaniment types, considered ideal by local communities, had been established. These include the duos flute–gardon, fiddle–gardon (the gardon/gordunǎ being a stringed percussion instrument), fiddle or flute with koboz/cobzǎ, the trios made up of violin–cimbalom/ţambal–bass, or fiddle–kontra–double bass, the most common band consisting of a fiddle, a three-stringed kontra with flat bridge, and a bass (without cimbalom/ţambal). The rhythmic formulae provided by these instrumental ensembles specialized in accompaniment-playing constitute the musical support of the dances, at the same time they play an important role in defining the dance types. The three main types of rhythmic accompaniment are: slow dűvő/duva (in quarters), fast dűvő/duva (in eighths) and the estam (produced by eighth notes, alternately played by different instruments). The musical folklore of Transylvania inherited several principles of harmonization, such as the drone/ison principle, various forms of heterophony, polyphony focused on pivotal melodic notes, the accompaniment with mixtures of major triads, and the tonal-functional harmonization.

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21

Burghart, Marjorie. "Old Fiddle, Good Tune." Daphnis 50, no. 1 (December 22, 2021): 5–35. http://dx.doi.org/10.1163/18796583-12340036.

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Abstract In this article the author presents and edits a set of texts, two model sermons In capite ieiunii and two Parisian reportationes by the same preacher, Gilbert of Tournai (OFM, d. 1284), at different moments of his career. The study of those texts offers a rare insight into the mental toolbox of a preacher, showing how Gilbert was able to craft different sermons, over a number of years, by recycling, repurposing and enriching a favourite set of preaching material. This also raises the issue of transmission and transformations of the preaching material, through the prism of live performances, memory, and written records.

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22

Kennedy, Clifford E. "Electric fiddle and pickup." Journal of the Acoustical Society of America 94, no. 6 (December 1993): 3539–40. http://dx.doi.org/10.1121/1.407115.

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23

Frank, Kenneth A., Yong Zhao, William R. Penuel, Nicole Ellefson, and Susan Porter. "Focus, Fiddle, and Friends." Sociology of Education 84, no. 2 (March 22, 2011): 137–56. http://dx.doi.org/10.1177/0038040711401812.

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24

Walsh, Denise. "Second Fiddle to, Fear." Phi Delta Kappan 87, no. 8 (April 2006): 614. http://dx.doi.org/10.1177/003172170608700819.

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25

Giri, G. "Fit as a fiddle." BMJ 311, no. 7012 (October 21, 1995): 1070. http://dx.doi.org/10.1136/bmj.311.7012.1070.

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26

Harries, Judith. "Cat, Cole, fiddle, soul." Early Years Educator 10, no. 1 (April 2008): x—xi. http://dx.doi.org/10.12968/eyed.2008.10.1.28963.

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27

Woodley, Kenneth. "‘…ON AN OLD FIDDLE’." Weather 44, no. 3 (March 1989): 131. http://dx.doi.org/10.1002/j.1477-8696.1989.tb06997.x.

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28

Hatcher, Tim. "On playing second fiddle." Human Resource Development Quarterly 14, no. 2 (2003): 123–25. http://dx.doi.org/10.1002/hrdq.1055.

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29

Osatinski, Amy S. "Fiddler Afn Dakh (Fiddler on the Roof ), music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, Yiddish translation by Shraga Friedman, directed by Joel Grey." Studies in Musical Theatre 13, no. 3 (December 1, 2019): 349–50. http://dx.doi.org/10.1386/smt_00012_5.

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Review of: Fiddler Afn Dakh (Fiddler on the Roof), music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, Yiddish translation by Shraga Friedman, directed by Joel Grey Stage 42, New York, 21 March 2019

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30

Malichatin, Nur, Husain Latuconsina, and Hasan Zayadi. "Community structure of the Fiddler Crab (<i>Uca</i> spp.) at Bahak Indah Beach, Tongas, Probolinggo – East Java." Akuatikisle: Jurnal Akuakultur, Pesisir dan Pulau-Pulau Kecil 6, no. 2 (November 20, 2022): 135. http://dx.doi.org/10.29239/j.akuatikisle.6.2.135-140.

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The fiddler crab (Uca spp.) is a type of animal belonging to the crustacean group that lives on the coast of Bahak Indah, Tongas, Probolinggo. The high level of anthropogenic activity on the beach of Bahak Indah makes the fiddler crab community increasingly depressed and its habitat decreasing. The purpose of this study was to compare the community structure of fiddler crabs at Bahak Beach, Tongas, Probolinggo. The study was conducted in January – February 2022. The determination of observation stations was purposive based on the consideration of the presence and absence of mangrove vegetation. Sampling of fiddler crabs used a systematic sampling method using transects and plots. Community structure data analysis includes diversity, uniformity, and dominance indices displayed in graphical form. Based on the results of the study found 4 types of fiddler crabs in Bahak Indah Beach, namely Uca cryptica, Uca perplexa, Uca coarctata, and Uca dussumieri. The value of diversity on the beach with mangrove habitat is in the medium category, while on the beach habitat without mangrove vegetation it is in the low category. The uniformity value obtained in mangrove habitats is in the high category, while in coastal habitats without mangrove vegetation it is found in the medium category. On the other hand, the dominance index value is in the low category in coastal habitats with mangrove vegetation, and the moderate category in coastal habitats without mangrove vegetation. The relationship between the Diversity (H') of the fiddler crab and the environmental conditions of the Bahak Indah Beach waters is that it has a positive correlation with water pH parameters with sufficient correlation and soil pH with a strong correlation. While the correlation with temperature parameters is strong but negative. Likewise, salinity is quite strong but negative.

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31

Fleisher, Leah. "Fit As A Fiddle: The Musician’s Guide to Playing Healthy. By William J. Dawson." Medical Problems of Performing Artists 26, no. 2 (June 1, 2011): 118–19. http://dx.doi.org/10.21091/mppa.2011.2019a.

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Fit As A Fiddle: The Musician’s Guide to Playing Healthy. By William J. Dawson. Published by Rowman & Littlefield Education (Lanham, MD), in partnership with MENC The National Association for Music Education. Nov 2007, 158 pp. ISBN 978-1-57886683-0.

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32

Goertzen, Chris, and Jeff Todd Titon. "Old-Time Kentucky Fiddle Tunes." Ethnomusicology 47, no. 2 (2003): 261. http://dx.doi.org/10.2307/3113925.

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33

Bateman, Neil. "Who’s really on the fiddle?" Benefits: A Journal of Poverty and Social Justice 16, no. 1 (February 2008): 89–91. http://dx.doi.org/10.51952/cuga3179.

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34

Pappas, Nikos, and Jeff Todd Titon. "Old-Time Kentucky Fiddle Tunes." American Music 23, no. 4 (2005): 514. http://dx.doi.org/10.2307/4153072.

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35

Mitchell, Peter. "Governments fiddle while biotech burns." Nature Biotechnology 27, no. 7 (July 2009): 583–84. http://dx.doi.org/10.1038/nbt0709-583.

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36

Owens, Clarke W. "Brooks's First Fight. Then Fiddle." Explicator 52, no. 4 (July 1994): 240–42. http://dx.doi.org/10.1080/00144940.1994.9938791.

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37

Smith, R. "Need good results? Fiddle them." BMJ 326, no. 7398 (May 15, 2003): 0—e—0. http://dx.doi.org/10.1136/bmj.326.7398.0-e.

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38

Lavers, Michael. "All This Fiddle, and: Pensées." Massachusetts Review 59, no. 3 (2018): 468–69. http://dx.doi.org/10.1353/mar.2018.0068.

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39

Spillman, Diana-Marie. "Fiddle-faddle, mythos, and quacksalver." TOPICS IN CLINICAL NUTRITION 3, no. 4 (October 1988): 36–39. http://dx.doi.org/10.1097/00008486-198810000-00008.

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40

Knight, Kathryn. "Pheromones fiddle with bee perception." Journal of Experimental Biology 221, no. 5 (March 1, 2018): jeb178426. http://dx.doi.org/10.1242/jeb.178426.

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41

Salam, A., E. Peleva, S. E. Cowper, and J. S. Leventhal. "Pruritic reticulation: don't ‘fiddle’ around." Clinical and Experimental Dermatology 45, no. 4 (November 25, 2019): 501–4. http://dx.doi.org/10.1111/ced.14135.

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42

Gross, Claire. "Second Fiddle (review)." Bulletin of the Center for Children's Books 64, no. 7 (2011): 342. http://dx.doi.org/10.1353/bcc.2011.0204.

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farrar-royce, janet. "Seven Well-Known Fiddle Players Discuss the Differences in Teaching Classical Violin vs Fiddle." American String Teacher 52, no. 2 (May 2002): 62–67. http://dx.doi.org/10.1177/000313130205200228.

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Zeil, Jochen, Jan M. Hemmi, and Patricia R. Y. Backwell. "Fiddler crabs." Current Biology 16, no. 2 (January 2006): R40—R41. http://dx.doi.org/10.1016/j.cub.2006.01.012.

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Murakami, Hisashi, Takenori Tomaru, and Yukio-Pegio Gunji. "Interaction between path integration and visual orientation during the homing run of fiddler crabs." Royal Society Open Science 4, no. 9 (September 2017): 170954. http://dx.doi.org/10.1098/rsos.170954.

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Foraging fiddler crabs form a strict spatial relationship between their current positions and burrows, allowing them to run directly back to their burrows when startled even without visual contacts. Path integration (PI), the underlying mechanism, is a universal navigation strategy through which animals continuously integrate directions and distances of their movements. However, we report that fiddler crabs also use visual orientation during homing runs using burrow entrances as cues, with the prioritised mechanism (i.e. PI or visual) determined by the distance (which has a threshold value) between the goal, indicated by PI, and the visual cue. When we imposed homing errors using fake entrances (visual cue) and masking their true burrows (goal of PI), we found that frightened fiddler crabs initially ran towards the true burrow following PI, then altered their behaviour depending on the distance between the fake entrance and masked true burrow: if the distance was large, they kept running until they reached the true burrow, ignoring the visual cue; however, if the distance was small, they altered the homing path and ran until they reached the fake entrance. This suggests that PI and visual mechanism in fiddler crabs are mutually mediated to achieve their homing behaviour.

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Martínez-Soto, Kayla S., and David S. Johnson. "The density of the Atlantic marsh fiddler crab (Minuca pugnax, Smith, 1870) (Decapoda: Brachyura: Ocypodidae) in its expanded range in the Gulf of Maine, USA." Journal of Crustacean Biology 40, no. 5 (July 22, 2020): 544–48. http://dx.doi.org/10.1093/jcbiol/ruaa049.

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Abstract The Atlantic marsh fiddler crab, Minuca pugnax (Smith, 1870), is a climate migrant that recently expanded its range northward into the Gulf of Maine. We tracked the M. pugnax population within the Great Marsh, in northeastern Massachusetts, USA, since it was first detected in 2014 using burrow counts. Because burrow counts can overestimate fiddler-crab density, we used camera traps to determine the relationship between burrow densities and fiddler-crab densities in 2019. The burrow count surveys show a six-fold increase in the density of M. pugnax in the Great Marsh from 2014 to 2019. Results indicates that the fiddler-crab population in the expanded range is established and growing. Based on burrow counts, however, the density of M. pugnax in the expanded range (6 burrows m–2) remains much lower than those found in the historical range (up to 300 burrows m–2). Based on the camera traps, we determined that burrow counts overestimated fiddler-crab densities by 47% in 2019. There was, on average, one crab detected for every two burrows observed. This result suggests that estimates of densities of M. pugnax based on burrow counts should be reduced by half. Minuca pugnax is an ecosystem engineer that can influence saltmarsh functioning and the magnitude of that influence is related to its density. Our results imply that the populations of M. pugnax in the expanded range are currently having minor impacts on marshes relative to larger populations in the historical range, but their impact will increase as the populations grow.

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Ajizatunnisa, Ajizatunnisa, Sri Wahyuni, Lud Waluyo, and Fuad Jaya Miharja. "Booklet development based on research identification of fiddler crab (Uca spp.) diversity in mangrove ecosystem." Jurnal Pendidikan Biologi Indonesia 4, no. 1 (March 28, 2018): 61. http://dx.doi.org/10.22219/jpbi.v4i1.5337.

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The purpose of this development study is to develop research-based booklet for the identification of fiddler crab (Uca spp.) diversity. Some people do not yet know the ecological benefits of fiddler crabs. This is apparent when some people take fiddler crabs to serve as decorative crabs. The product specifications expected in the development of this medium are booklets. Therefore, it takes a companion learning media that can lead the local community to implement self-learning in the form of booklet because their interest of reading is very less, especially when reading a book that is colorless and has a lot of words. Booklet that is packed with interesting and accompanied by pictures is an alternative solution. The development method used in the research is Exploration, Explanation, and Evaluate (3E) model. The research was conducted by developing the research result into a booklet based on the diversity of fiddler crabs in mangrove ecosystem. The booklet validation consists of two lecturers from the Department of Biology Education at the University of Muhammadiyah Malang which is a material expert and learning media expert. The result of this research is booklet very valid with the percentage of material expert validity 81.25% and learning media expert 95.13%.

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Reis, Marcelo, and Will F. Figueira. "Age, growth and reproductive biology of two endemic demersal bycatch elasmobranchs: Trygonorrhina fasciata and Dentiraja australis (Chondrichthyes: Rhinopristiformes, Rajiformes) from Eastern Australia." Zoologia 37 (December 17, 2020): 1–12. http://dx.doi.org/10.3897/zoologia.37.e49318.

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Bottom-dwelling elasmobranchs, such as guitarfishes, skates and stingrays are highly susceptible species to bycatch due to the overlap between their distribution and area of fishing operations. Catch data for this group is also often merged in generic categories preventing species-specific assessments. Along the east coast of Australia, the Eastern Fiddler Ray, Trygonorrhina fasciata (Muller & Henle, 1841), and the Sydney Skate, Dentiraja australis (Macleay, 1884), are common components of bycatch yet there is little information about their age, growth and reproductive timing, making impact assessment difficult. In this study the age and growth (from vertebral bands) as well as reproductive parameters of these two species are estimated and reported based on 171 specimens of Eastern Fiddler Rays (100 females and 71 males) and 81 Sydney Skates (47 females and 34 males). Based on von Bertalanffy growth curve fits, Eastern Fiddler Rays grew to larger sizes than Sydney Skate but did so more slowly (ray: L∞ = 109.61, t0 = 0.26 and K = 0.20; skate: L∞ = 51.95, t0 = -0.99 and K = 0.34 [both sexes combined]). Both species had higher liver weight ratios (HSI) during austral summer. Gonadal weight ratios (GSI) were higher in the austral winter for Eastern Fiddler and in the austral spring for Sydney Skates.

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Ventura, Robson, Ubiratã A. T. da Silva, Kelly Cottens, Walter A. Boeger, and Antonio Ostrensky. "Restocking Ucides cordatus (Decapoda: Ocypodidae): interespecific associations as a limiting factor to the survival of released recruits." Brazilian Journal of Oceanography 58, no. 3 (September 2010): 207–12. http://dx.doi.org/10.1590/s1679-87592010000300003.

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Simulations in the laboratory were used to investigate whether survivorship rates of Ucides cordatus youngsters produced in the laboratory are significantly affected by other crab species after their release in natural environments. Furthermore, it was investigated whether the release of first instar juveniles instead of megalopae would reduce the mortality related to interspecific predation. A preliminary estimate of the crab community structure in the target area of a restocking program was undertaken and indicated a great dominance of fiddler crabs (Uca spp). Based on this information, experiments were conducted to assess the ecological relationship between Ucides cordatus megalopae and first instar juveniles and fiddler crabs of different size classes in the presence of mangrove sediment, simulating natural conditions, as well as in the absence of any kind of refuge. It was observed that fiddler crabs not only compete with, and prey on U. cordatus youngsters, both as megalopae and juveniles. Furthermore, it was observed that the predation behavior of fiddler crabs is exercised only by individuals with carapaces wider than 0.5 cm. The results of the assay simulating natural conditions showed that, even when sediment was provided as a refuge, the same pattern was observed, with survivorship rates significantly lower in the presence of Uca crabs.

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Geringer, John M., Kasia Bugaj, and Katie A. Geringer. "Irish Fiddle and Western Classical Violin: Listener Perceptions and Acoustical Differences." String Research Journal 11, no. 1 (July 2021): 5–17. http://dx.doi.org/10.1177/19484992211020686.

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This report is a summary of two studies. In the first, we compared examples of Irish fiddle performances with Western classical violin performances. Acoustical analyses showed that both classical examples produced average spectral centroids higher in frequency, higher harmonic to noise ratios, more use of vibrato, more disjunct intervals, and less ornamentation. Expert listeners described the classical examples as resonant, ringing, and brighter. Tone in the Irish examples was characterized as varied, gritty, and full-bodied. In the second study, we asked 72 music majors to listen to different recordings and respond in two ways. The first section consisted of extremely brief examples of four different solo violin styles: classical, jazz, old-time fiddle, and Irish. The second section consisted of longer examples of either Irish or classical performances. The listeners were asked to describe salient features of each. They frequently identified the following characteristics of the Irish excerpts: grace notes, double stops, ornamentation, and dance-like. In contrast, classical extracts were described using the terms: vibrato, melody, intervals, and extended technique. Implications for music listening are discussed.

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