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Academic literature on the topic 'Honey Dos (Musical group)'

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Published: 26 July 2024

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Journal articles on the topic "Honey Dos (Musical group)"

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Cipta, Febbry, and Sandie Gunara. "Sirojul Ummah: Music in Social Interaction." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 153–60. http://dx.doi.org/10.15294/harmonia.v20i2.21456.

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This article describes music’s role in social interactions carried out by female members of the Marawis group Sirojul Ummah. The Marawis music is the medium they use in their efforts to convey Islamic knowledge and understanding, both for this group itself and for the surrounding community. The research method used is qualitative, in which data are collected from observations, interviews, and literature review, while the technique in analyzing data is done through a contextual approach. Social interaction in this study is viewed from the associative and dissociative aspects in the form of actions that include rational instrumental action, value rational action, effective action, and traditional action. Music is present in each of these actions. Music is both a subject and an object in social interaction, both in-groups, and out-groups. The associative and dissociative aspects of in-groups can be seen from how musical ideas and performances are developed and honed through practice activities. This activity is carried out because good musical performance is supported by techniques and methods of singing, playing, and presenting musical articulation, ornamentation, and harmonization. At the same time, the associative and dissociative aspects of out-groups can be seen from their activities in filling out events in society. The interaction process is built-in pleasant and informal situations which are shaped by an interest in music and family relationships. Since childhood, they have known each other; thus, they understand the characteristics of each person. Maturity, the maturity of thinking, and acting tend to avoid emotional conflicts that may occur. In this context, music is not only a medium for interaction, but can be a motivation in building these interactions.
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Hutka, Stefanie, Sarah M. Carpentier, Gavin M. Bidelman, Sylvain Moreno, and Anthony R. McIntosh. "Musicianship and Tone Language Experience Are Associated with Differential Changes in Brain Signal Variability." Journal of Cognitive Neuroscience 28, no. 12 (December 2016): 2044–58. http://dx.doi.org/10.1162/jocn_a_01021.

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Musicianship has been associated with auditory processing benefits. It is unclear, however, whether pitch processing experience in nonmusical contexts, namely, speaking a tone language, has comparable associations with auditory processing. Studies comparing the auditory processing of musicians and tone language speakers have shown varying degrees of between-group similarity with regard to perceptual processing benefits and, particularly, nonlinguistic pitch processing. To test whether the auditory abilities honed by musicianship or speaking a tone language differentially impact the neural networks supporting nonlinguistic pitch processing (relative to timbral processing), we employed a novel application of brain signal variability (BSV) analysis. BSV is a metric of information processing capacity and holds great potential for understanding the neural underpinnings of experience-dependent plasticity. Here, we measured BSV in electroencephalograms of musicians, tone language-speaking nonmusicians, and English-speaking nonmusicians (controls) during passive listening of music and speech sound contrasts. Although musicians showed greater BSV across the board, each group showed a unique spatiotemporal distribution in neural network engagement: Controls had greater BSV for speech than music; tone language-speaking nonmusicians showed the opposite effect; musicians showed similar BSV for both domains. Collectively, results suggest that musical and tone language pitch experience differentially affect auditory processing capacity within the cerebral cortex. However, information processing capacity is graded: More experience with pitch is associated with greater BSV when processing this cue. Higher BSV in musicians may suggest increased information integration within the brain networks subserving speech and music, which may be related to their well-documented advantages on a wide variety of speech-related tasks.
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Santosa, Hendra, I. Komang Werdi Darmawan, and Ni Putu Hartini. "NEMU–ANG, A NEW MUSICAL COMPOSITION." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 7, no. 1 (May 29, 2024): 47–55. http://dx.doi.org/10.31091/lksn.v7i1.2782.

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Nemu-Ang is an innovative Karawitan musical composition. The background of the musical artwork is from the phenomenon of appreciate the melody, which currently doesn't exist in almost every musical artwork. The main reason for that is that the lay public can't enjoy the work. This phenomenon inspired Karawitan's composition with the medium of the Gamelan Singapraga. This Karawitan music composition takes the object of honey as a central object because this honey has a multitude of benefits and a sweet taste that stands out, so this focuses on aspects of how honey is produced and the taste of honey itself. Nemu-Ang's innovative form of musical composition uses rhythm, melody, and harmonization from the Singapraga Gamelan to have a sweet taste like honey and the process of making it. The method for producing this work is Panca Stithi Ngawi Sani by Prof. Dr. I Wayan Dibia, and it is very easy to understand for ordinary people who want to create art. This method includes the ngawirasa (find the inspiration), ngawacak (object exploration), ngarencana (conception of the object), ngawangun (execution of the concept), ngebah (presentation/performed the artwork). Based on the results of applying this method, Nemu-Ang's work was very effective, and the work was realized as it should have a duration of 11 minutes. In the future, this work can be enjoyed by the wider community to become an inspiration for further musical works.
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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.

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Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his worldview. Most of Zhu Jian’er’s life was in times of great turmoil associated with the Sino-Japanese liberation war, with the rigid ideological line of the Communist Party, with the excesses of the Cultural Revolution, etc. Consideration of the work of an outstanding composer through the prism of his personality became possible only in the twenty-first century, when Chinese society was completely freed from the pressure of ideology, which had long been felt after the policy of the Cultural Revolution in the country. Objectives. The purpose of this article is to systematize the historiographic information about the life-making of Zhu Jian’er in the context of the general trends in the development of Chinese musical culture of the twentieth and early twenty-first century. Methods. The methodology of the research is based on the scientific approaches necessary for the disclosure of the topic. The integrated research way is used that combines the principle of musical-theoretical, musical-historical and performing analysis. Results. The composer’s youth passed in Shanghai, occupied by the Japanese invaders. Great importance to the young man had a twenty-four-hour musical radio program, through which he became acquainted with European classical music. In 1945, the composer became the leader of the musical group of the Corps of Cultural Art of the Suzhou military district, and then the director and conductor of the orchestra. As soon as the country was liberated, the composer returned to Shanghai with many musicians from the military orchestra. He was appointed to the position of the head of the musical ensemble of the state film studio. In the summer of 1955, at the age of 33, Zhu Jian’er enrolled in the graduate school of the Moscow Conservatory. Returning to China in the summer of 1960, Zhu Jian’er was full of ambition and a desire to serve his homeland and people. However, the subsequent years of the Cultural Revolution for a decade deprived him of the possibility of full-fledged creativity. Own feelings receded into the background, the collective ousted the personal. In his music the composer presented the Cultural Revolution – with its false goals, ugly human relations, distorted values, unjustified sufferings. This idea formed the basis of the First Symphony. Many outstanding masterpieces of the composer have won major awards at home and abroad, bringing glory to Chinese music on the international music scene. People close to Zhu Jian’er noted that the composer was rarely seen among friends or acquaintances, he was silent and did not like to talk. He was very thin, and it was not clear how a fiery passion and great creative energy lived in such a weak body. The composer had a mild temperament, he never became angry with people and was careful in his statements. However, even such a kind and conflict-free person, faced with unhealthy trends in the music industry, was embroiled in legal proceedings related to “violation of rights” and was forced to fight for his reputation. But he was not afraid of reprisals, his energy and strong enthusiasm gave him strength. Despite the fact that Zhu Jian’er was always an ordinary person, immersed in his own affairs, he was not indifferent to the events in his country and the fate of the national culture. In addition, he was also worried about the international situation and the influence of China outside. The composer has always been interested in politics and collected information about musical culture abroad. He had his own understanding of the world, and he tried to hold an independent opinion, although, as a real creator, he was often visited by the spirit of doubt. Despite his painful body, Zhu Jian’er was a very tough and courageous man. In the years when China was shook by events that he considered as the national catastrophe, the composer retained loyalty to the power. It was not conformism, the musician sincerely loved his homeland and was ready to die for it, his position was that the mistakes would be corrected and the country would gain strength. These inner experiences deeply touched the composer’s mind and feelings, and were subsequently reflected in his music, being formed the unique musical style of his works. In recent years, as an elderly and painful man, Zhu Jian’er continued, in his words, “to pay off debts” – writing articles for various Shanghai music publishers, editing symphonic, orchestral and piano music, and writing a monograph. In most cases, this was underpaid or completely unpaid work. However, the composer was doing such work, considering it his duty. Conclusions. We can observe important milestones in the life-making of Zhu Jian’er, which radically influenced his multifaceted musical creativity. The outlook and civil position of the musician was formed during the years of the Sino-Japanese war of liberation. This enforced his ardent love for his native land and his people. Since he himself was physically unable to be in the ranks of the army, the desire to defend their homeland was expressed in the military songs by Zhu Jian’er. The critical attitude of the musician to the policy of the Cultural Revolution did not change his positive attitude towards life, but only made him think about the meaning of the artist’s life and purpose in society. The activities of the composer in the team of the military ensemble led him to realize the need for further professional development. The passionate desire to gain the highest stages of composer skills prompted Zhu Jian’er insistently to possess by this knowledge at the Moscow Conservatory and then at the Shanghai Conservatory. The composer honed his skills in the field of vocal, instrumental, chamber and choral music, however, the genre of the symphony in which the musician expressed his civic creed and view of the world became the pinnacle of his work.
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Hillman, Jessica. "“This Lovely Land Is Mine”: Milk and Honey's Restorative Nostalgia for Israel." TDR/The Drama Review 55, no. 3 (September 2011): 31–39. http://dx.doi.org/10.1162/dram_a_00092.

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When Milk and Honey opened on Broadway in 1961, it presented a unique setting: the relatively new state of Israel. The musical superficially glorifies the future of an exciting new land. More deeply, we find “restorative nostalgia” for Israel's biblical roots, stemming from sublimated grief and disavowal of the Holocaust.
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Al-Eisa, Rasha A., Mahmoud Helal, Amani H. Aljahani, Rokayya Sami, Hamsa Jameel Banjer, Naseh A. Algehainy, Mohammad Y. Alshahrani, Amal Adnan Ashour, and Ali A. Alqarni. "Ochratoxin A oral mycotoxin and honey dietary intake effects on TNF-α immunology response, lactic acid bacteria microbial louds, β-glucuronidase enzyme activity, some hematological and biochemical parameters on mice." Materials Express 13, no. 7 (July 1, 2023): 1203–11. http://dx.doi.org/10.1166/mex.2023.2462.

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The current study aimed to evaluate ochratoxin A oral mycotoxin and the dietary intake effects of four honey varieties (Nigella sativa, moringa, sidr, and pumpkin–coded as NS, MO, SI, and PU respectively), on the TNF-α immunology response, lactic acid bacteria microbial louds (Lactobacilli and Bifidobacteria), β-glucuronidase enzyme activity, some hematological and biochemical parameters of mice. MO Honey Group + OTA Infection had the highest value of TNF-α immunology response at 445.17 pg/mL. It was followed by PU Honey Group + OTA Infection at 360.88 pg/mL, while NS Honey Group + OTA Infection reported the lowest at 210.03 pg/mL. Honey dietary intake efficiently increased the colonic probiotic bacteria counts Lactobacilli and Bifidobacteria, in the animal’s cecum from 0.93 in SI Honey Group + OTA Infection to 2.59 in MO Honey Group + OTA Infection and from 1.78 in PU Honey Group + OTA Infection to 3.22 in NS Honey Group + OTA Infection Log 10 CFU/g, respectively. The β-glucuronidases enzyme activity in the caecum contents of mice groups ranged from 0.31 μmol/g in PU Honey Group + OTA Infection to 0.36 μmol/g in SI Honey Group + OTA Infection. Positive and negative control mice groups reported 7.22 and 6.98 × 109 L−1; 8.09 and 8.44 × 1012 L−1 for white blood cell and red blood cell counts, respectively. The mean glutathione concentrations were from 3.17 ng/g in MO Honey Group + OTA Infection, to 4.32 ng/g in SI Honey Group + OTA Infection. Catalase activities ranged from 0.99 u/gin MO Honey Group + OTA Infection to 1.08 u/g in the PU Honey Group + OTA Infection. Honey dietary intake decreased malondialdehyde concentrations in infected mice groups and ranged from 3.84 nmol/g in NS Honey Group + OTA Infection to 5.47 nmol/g in MO Honey Group + OTA Infection. NS Honey Group + OTA Infection reported the lowest values for alkaline phosphatase as 70.15 U L−1, glucose as 6.12 mmol L−1, and urea as 4.89 mmol L−1. SI Honey Group + OTA Infection reported the highest values for AP as 75.52 U L−1 and urea as 5.78 mmol L−1. PU Honey Group + OTA Infection reported the lowest value for ALT as 55.47 U L−1 and the highest value for glucose as 7.88 mmol L−1.
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Sahin, Aynur, Suha Turkmen, Nizamettin Guzel, Ahmet Mentese, Suleyman Turedi, Suleyman Caner Karahan, Esin Yulug, et al. "A Comparison of the Effects of Grayanotoxin-Containing Honey (Mad Honey), Normal Honey, and Propolis on Fracture Healing." Medical Principles and Practice 27, no. 2 (2018): 99–106. http://dx.doi.org/10.1159/000487552.

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Objectives: Delayed healing and non-union of fractures have a significant effect upon patient morbidity. Studies have therefore largely concentrated on accelerating fracture healing. This study was intended to compare the effect of “mad honey” and propolis on fracture healing using radiological and histopathological analysis. Subjects and Methods: Femur fracture was surgically performed on 48 rats, followed by fixation. Animals were then divided into 8 groups: 2 control groups (15- and 30-day) and 6 treatment groups (15- and 30-day normal honey, 15- and 30-day “mad honey,” and 15- and 30-day propolis). Rats were sacrificed at the end of these periods, and radiological and histological examinations were performed. Results: Radiological healing in the propolis group after 15-day therapy was statistically better than in the control (p = 0.004) and normal honey (p = 0.006) groups. After 30-day therapy, healing in the propolis group (p = 0.005) and grayanotoxin-containing “mad honey” group (p = 0.007) were significantly better than in the control group. Histologically, there was a statistically significant difference between the 15-day propolis group and the other groups (control, honey, mad honey: p = 0.003, p = 0.003, and p = 0.002, respectively). We also found a statistically significant difference when the 30-day propolis group (p = 0.005) and “mad honey” group (p = 0.007) were compared to the control group. Conclusions: This study shows that grayanotoxin-containing “mad honey” and propolis can accelerate fracture healing.
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Deutsch, Ralph. "Note group selectable musical effects in an electronic musical instrument." Journal of the Acoustical Society of America 78, no. 4 (October 1985): 1455. http://dx.doi.org/10.1121/1.392817.

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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.

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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Apugo, Uchechukwu Ifeanyichukwu, and Onyebuchi Obia. "Modulatory Effects of Honey on Gastric Acidity and Plasma Postprandial Bicarbonate in Wistar Rats." Journal of Drug Delivery and Therapeutics 10, no. 3 (May 15, 2020): 48–50. http://dx.doi.org/10.22270/jddt.v10i3.3978.

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Introduction: Honey is a naturally occurring sweet substance of plant origin composed mainly of fructose, glucose, water, antioxidants and other constituents. Its enormous constituents confer it with medicinal and nutritive usefulness. Objectives: To assess the modulatory effects of honey on gastric acidity and plasma postprandial bicarbonate in wistar rats. Method: A total of 24 male wistar rats weighing 200-250g were divided into four groups of six rats each; Group I served as control, Group II received 50% Honey (10ml/kg), Group III received omeprazole (20mg/kg) and Group IV received a combination of Omeprazole and Honey. The pH of gastric effluents in each rat was measured 15, 30 and 45mins using a pH meter after administration of the respective substances in each group. Result and Discussion: Both honey and omeprazole respectively caused significant increases in the pH of gastric effluents, however, while that of honey was slow and steady, that of omeprazole was sharp and sustained. The 45-min pH level of omeprazole group was significantly higher than that of honey group. The combined group showed an initial sharp rise similar to omeprazole alone but gradually declined in the succeeding time interval. A combination of omeprazole and honey resulted in 27% reduction in the postprandial serum bicarbonate whereas omeprazole alone caused 41% reduction Conclusion: The present study concludes that honey modulated gastric pH to levels possibly favourable to gastric function by either a direct action of reducing gastric acidity or acting as an antacid or both. Honey therefore could be described as a buffer in omeprazole stimulated gastric acid inhibition and a potential antacid. Keywords: Honey, Gastric acidity, Gastric pH, bicarbonate.
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Dissertations / Theses on the topic "Honey Dos (Musical group)"

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Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.

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Waugh, Deborah. "Nexus : integrating musical traditions /." Thesis, View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37120335.

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Feldmeier, Mark Christopher 1974. "Large group musical interaction using disposable wireless motion sensors." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/33547.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 113-114).
One of the difficulties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer. Multiple tests of the system have been conducted, with groups ranging from fifteen to 200 participants. Results of these tests show the viability of the sensors as a large group interaction tool. Participants found the interface intuitive to use, effectively controlling such aspects of the music as style, tempo, voicing, and filter parameters. These tests also demonstrate the system's ability to detect both the activity level and dominant tempo of the participants' motions, and give considerable insight into methods of mapping these data to musical parameters that give participants direct feedback as to their current state. Furthermore, it is shown that participants, if given this direct feedback, will synchronize their actions and increase in activity level, creating a mutually coherent and pleasing outcome.
by Mark Christopher Feldmeier.
S.M.
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Hsieh, Su-Ching. "Cognition and musical improvisation in individual and group contexts." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/10019875/.

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The aims of this research are to investigate how improvisatory skills develop in individuals and teams. It focuses upon the effect of musical expertise in different musical genres on the development of improvisatory skills. Multi methods were applied in the research and classified into four phases. The first phase involved a self-case study implementing deliberate self regulated practice based on a planned sequential model; a) sight-reading; b) memorising; and c) improvising; over 8 weeks in a trained classical musician. Additionally, the self-case study used two commissioned musical compositions matched in length, harmony and structure, one in the classical genre the other in jazz. In the 2nd phase, semi-structured interviews were conducted with novice and expert improvisers. The final phases included experiments studying sightreading, memorising and improvising as a duo and observations and interviews relating to ensemble rehearsals and improvisation with cross genre compositions. The findings suggest that learning to improvise is frustrating and anxiety provoking. Seven elements were found to be important in acquiring musical skills and domain knowledge acquisition: physiological adaptation and developing reading music skills; establishing auditory schemata; automaticity; use of memorisation strategies; analytic strategy application; and improvising to a coherent musical structure. The findings also show that sight-reading and improvising share similarities in their characteristics when learning to improvise as a duo. Issues such as communicating to the audience, performance identity and connecting to the context are essential in the duo improvisation performance. The findings indicate that a 'concept of break-points' (Poole, 1983) take place during the latter stage of the ensemble improvisation process where changes occur across all three elements, musical structure, social structure and communicative behavior. (Bastien and Hostager, 2002:21) Factors such as leadership, group member characteristic, resource, information flow, the creative environment and collateral structure can influence the quality of group improvisation performance.
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Suner, Sedef. "Preschool Children As A User Group: Design Considerations For Musical Toys." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614074/index.pdf.

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Early musical experiences are very important for social, cognitive and physical development of children, as well as their future musical competences. Preschools present this environment with various musical materials. However, suitability of these materials in terms of developmental needs of children and educational goals is questionable. The purpose of this study is to transfer knowledge from relevant literature to design considerations of musical toys for preschool children. Literature review was conducted to determine various aspects to be considered while designing musical toys by compiling knowledge from developmental psychology and pedagogy literature
governments
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Weinberg, Gil 1967. "Interconnected musical networks : bringing expression and thoughtfulness to collaborative group playing." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/28287.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.
Includes bibliographical references (p. 211-219).
(cont.) In order to addressee the latter challenge I have decided to employ the digital network--a promising candidate for bringing a unique added value to the musical experience of collaborative group playing. I have chosen to address both challenges by embedding cognitive and educational concepts in newly designed interconnect instruments and applications, which led to the development of a number of such Interconnected Musical Networks (IMNs)--live performance systems that allow players to influence, share, and shape each other's music in real-time. In my thesis I discuss the concepts, motivations, and aesthetics of IMNs and review a number of historical and current technological landmarks that led the way to the development of the field. I then suggest a comprehensive theoretical framework for artistic interdependency, based on which I developed a set of instruments and activities in an effort to turn IMNs into an expressive and intuitive art form that provides meaningful learning experiences, engaging collaborative interactions, and worthy music.
Music today is more ubiquitous, accessible, and democratized than ever. Thanks to technologies such as high-end home studios, audio compression, and digital distribution, music now surrounds us in everyday life, almost every piece of music is a few minutes of download away, and almost any western musician, novice or expert, can compose, perform and distribute their music directly to their listeners from their home studios. But at the same time these technologies lead to some concerning social effects on the culture of consuming and creating music. Although music is available for more people, in more locations, and for longer periods of time, most listeners experience it in an incidental, unengaged, or utilitarian manner. On the creation side, home studios promote private and isolated practice of music making where hardly any musical instruments or even musicians are needed, and where the value of live group interaction is marginal. My thesis work attempts to use technology to address these same concerning effects that it had created by developing tools and applications that would address two main challenges: 1. Facilitating engaged and thoughtful as well as intuitive and expressive musical experiences for novices and children 2. Enhancing the inherent social attributes of music making by connecting to and intensifying the roots of music as a collaborative socialritual. My approach for addressing the first challenge is to study and model music cognition and education theories and to design algorithms that would bridge between the thoughtful and the expressive, allowing novices and children an access to meaningful and engaging musical experiences.
by Gil Weinberg.
Ph.D.
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Martins, Áudrea da Costa. "Linhas, vozes e tracks : a textura na composição musical de crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36016.

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Esta pesquisa aborda a composição musical coletiva, acústica e eletrônica, de estudantes de música com idades entre 10 e 12 anos. Tem como objetivo analisar as diversas manifestações envolvendo a textura musical, destacando o modo como se vinculam à noção de tempo e aos processos de inferência que subsidiam a atividade da criação musical. Os sujeitos são 16 alunos regulares de duas escolas públicas, que frequentaram oficinas de composição ministradas pela pesquisadora. A concepção do estudo situa a pesquisa na área da Epistemologia Genética de Jean Piaget, cujo corpo teórico dá sustentação à investigação na área da Educação Musical. Os dados foram coletados no período de novembro de 2010 a abril de 2011, mediante a inserção da pesquisadora no ambiente de trabalho, onde observou e realizou entrevistas com base no referencial teórico adotado. A tomada de decisões durante o processo composicional encontra apoio nas inferências e nas noções de sucessão, duração e simultaneidade, inerentes à noção de tempo. Apesar das diferenças no que diz respeito à abordagem composicional e nos resultados sonoros dos produtos musicais, as manifestações texturais presentes nas peças acústicas e eletrônicas apresentam similaridades em muitos aspectos. A textura musical, importante dimensão estrutural da música, é parâmetro fundamental no exercício da composição musical, oferecendo ampla margem para experimentação e expressão criativa de seus autores. Sendo assim, este trabalho poderá suscitar novas abordagens frente à prática composicional em grupo na sala aula, contribuindo para uma melhor compreensão da produção musical dos estudantes.
The present research is an approach to acoustic and electronic collective musical composition by music students aged between 10 and 12. It aims to analyze the several demonstrations which involve musical texture, pointing out the way those are attached to the conception of time and the processes of inference which grant musical creation activity. The subject-matter is composed by 16 regular students from public schools who attended workshop on composition guided by the researcher. The conception of such study places the research in the area of Jean Piaget´s Genetic Epistemology whose theoretical body gives support to investigation in Musical Education area. The data have been collected during the period of November 2010 to April 2011 in the researcher´s work environment in which she performed interviews based on the adopted theoretical reference. The decision-making during the compositional process meets support in the inferences and in the concepts of sequence, length and simultaneousness which are inherent in time concept. In spite of the differences as to the compositional approach and the sound results of the musical products, the textural manifestation in the acoustic and electronic pieces proved to be similar in many aspects. The musical texture, important structural dimension in music, is a fundamental parameter in the exercise of composition. It offers a wide rank for the experimenting and creating expression of its authors. So, this work can bring new approaches in the compositional practice in group in the classroom which will provide a better comprehension in the student’s musical production.
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Martin, Christopher Alan. "‘We Feed Off Each Other’: Embodiment, Phenomenology and Listener Receptivity of Nirvana’s In Utero." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143406900.

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Wallace, Matthew R. "Holding back the flood Thom Yorke, Radiohead, and post-industrial capitalism /." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/MWallace2007.pdf.

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Senior Honors Thesis--Regis University, Denver, Colo., 2007.
"May 2006." Date of submission on Certificate of Authorship: 30 April 2007. Title from PDF title page (viewed June 26, 2007). Includes bibliographical references.
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Beegle, Amy C. "Children at work in their musical expression : a classroom-based study of small group improvisation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11204.

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Books on the topic "Honey Dos (Musical group)"

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Reagon, Bernice Johnson. We who believe in freedom: Sweet Honey in the Rock-- still on the journey. New York: Anchor Books, 1993.

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Roberts, M. B. Brooks & Dunn: The honky tonk truth. Minocqua, Wis: W.C. Books, 2001.

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Niimi, J. Murmur. New York: Continuum, 2005.

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Janet, Mills. Group tests of musical abilities: Teacher's guide. Windsor: NFER-Nelson, 1988.

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Paytress, Mark. Guía musical de Nirvana. México, D.F: Grupo Editorial Tomo, 2001.

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Ezequiel, Sánchez Jorge, ed. Sumo. Buenos Aires: Clarín, 2008.

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Ezequiel, Sánchez Jorge, ed. Babasonicos. Buenos Aires, Argentina: Clarín, 2007.

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Ezequiel, Sánchez Jorge, ed. Luis Alberto Spinetta. Buenos Aires: Clarín, 2007.

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Ezequiel, Sánchez Jorge, ed. Soda Stéreo. Buenos Aires, Argentina: Clarín, 2008.

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Ezequiel, Sánchez Jorge, ed. Los Fabulosos Cadillacs. Buenos Aires: Clarín, 2008.

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Book chapters on the topic "Honey Dos (Musical group)"

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Nedela, Mary R. "Musical Emotions." In The Group Therapist's Notebook, 73–81. 2nd edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315457055-12.

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Odena, Oscar. "Developing secondary students’ creativity through guided group composition and performance." In Musical Creativity Revisited, 47–64. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: SEMPRE studies in the psychology of music: Routledge, 2018. http://dx.doi.org/10.4324/9781315464619-4.

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Herzog, Amy. "Dark Times: Fabulation, Synchrony, and the Musical Moment Reprised." In When Music Takes Over in Film, 15–34. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_2.

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AbstractThis chapter takes up the formulation of the ‘musical moment’ in relation to questions of temporality, synchrony, and history. Drawing on the theories of Gilles Deleuze and Henri Bergson, the musical moment is read through three contemporary case studies: Andrea Arnold’s American Honey (2016), Hiro Murai’s music video for Flying Lotus and Kendrick Lamar’s ‘Never Catch Me’ (2014), and Barry Jenkin’s Moonlight (2016).
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Cartwright, Phillip, and Kadeshah Swearing. "Group Work: Application and Performance Effectiveness in Musical Ensembles." In New Leadership in Strategy and Communication, 329–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19681-3_20.

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Sheppard, Eileen. "A Musical Instrument Making Group and Their Altered States." In Mild Altered States of Consciousness, 213–24. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-53452-2_11.

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Stephens-Himonides, Cynthia, Margaret Young, and Melanie Bowes. "Innovation and Leadership in Group Teaching Across the Lifespan." In The Routledge Companion to Women and Musical Leadership, 309–20. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003024767-27.

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Diment, Aleksandr, Padmanabhan Rajan, Toni Heittola, and Tuomas Virtanen. "Group Delay Function from All-Pole Models for Musical Instrument Recognition." In Lecture Notes in Computer Science, 606–18. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-12976-1_37.

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Powrie, Phil. "The Acoustic Wound: Reflections on the Crystal-Song in Five American Films." In When Music Takes Over in Film, 35–54. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_3.

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AbstractThis chapter develops the concept of the ‘crystal-song’ which crystallises turning points in a film. It does not illustrate or echo what we see; rather, it articulates a privileged musical moment of intense affect, ‘wounding’ the image/music nexus as does Barthes’s punctum for the photograph. The crystal-song is the piece that stands out from the others by a combination of intensity and critical insistence. The chapter explores such moments in five recent US films. The first is the diegetically performed song that gives its title to the film in American Honey (2016) and Beautiful Boy (2018). The second explores references in the dialogue to the music we hear: a diegetic song that is referred to by the characters but not performed by them (Lady Bird, 2017); the third, a non-diegetic song in a film where performed music is constantly present and talked about (Call Me by Your Name, 2017). The final and more sustained case is a diegetically performed piano piece from La La Land (2016) which demonstrates that the musical moment does not have to be a single song with lyrics, nor the spectacular performance that is usually found in film musicals, La La Land included, but can also be a much-repeated musical motif. All of these musical moments have a critical and focal function, shaping audience affects and our perception of the narrative.
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Thomas, Kyle A. "Laying Down the RUG: Andrew Lloyd Webber, the Really Useful Group, and Musical Theatre in a Global Economy." In The Palgrave Handbook of Musical Theatre Producers, 325–32. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_32.

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Schiavio, Andrea, Henrique Meissner, and Renee Timmers. "8. Influences of Physical and Imagined Others in Music Students’ Experiences of Practice and Performance." In Psychological Perspectives on Musical Experiences and Skills, 165–88. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.08.

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Musical tasks are commonly undertaken either individually or within a group setting, often with the additional presence of an audience. While these scenarios entail distinct social contexts, our study delves into crossovers: we explore how the social dimension permeates individual contexts and, conversely, how individual experiences are woven into social settings. To do so, we asked music higher education students based in the Netherlands and the United Kingdom to reflect on their felt experiences of others who may be imagined or physically present during individual and group practice or performance. Qualitative findings highlight the role of perspective-taking and attentional focus, the experienced differences between in-person communication and imagined intersubjectivity, the role of trust and opportunity for creative freedom, and the strongly valenced implications of the perspectives on self and others. These themes are seen as opening avenues for further investigation with relevance to music education to explicitly consider how students experience and think about others.
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Conference papers on the topic "Honey Dos (Musical group)"

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Martiri, Edlira, Bian Yang, and Christoph Busch. "Protected Honey Face Templates." In 2015 International Conference of the Biometrics Special Interest Group (BIOSIG). IEEE, 2015. http://dx.doi.org/10.1109/biosig.2015.7314618.

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Ruilova, Allen. "Creating realistic CG honey." In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280720.1280784.

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Gorodscy, Fábio, Guilherme Feulo, Nicolas Figueiredo, Paulo Vitor Itaboraí, Roberto Bodo, Rodrigo Borges, and Shayenne Moura. "Computer Music Research Group - IME/USP Report for SBCM 2019." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10443.

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The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.
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Calegario, Filipe, Giordano Cabral, and Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.
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Uthayashangar, S., P. Dhamini, M. Mahalakshmi, and V. Mangayarkarasi. "Efficient Group Data Sharing In Cloud Environment Using Honey Encryption." In 2019 IEEE International Conference on System, Computation, Automation and Networking (ICSCAN). IEEE, 2019. http://dx.doi.org/10.1109/icscan.2019.8878759.

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Pimenta, Marcelo, Rodrigo Schramm, and Marcelo Johann. "LCM-Ufrgs Research Group Report: What are we doing in Computer Music?" In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10442.

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Fontes, Flaviano Dias, Giordano Ribeiro Eulalio Cabral, and Geber Lisboa Ramalho. "An open source platform to assist the creation of group playlists through artificial intelligence algorithms." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19442.

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Recommendation systems are a constantly expanding study area, with applications in various fields such as e-commerce, films, music to promote the user’s suggestions. When we talk about music, we have more than 20 years of studies trying to solve the problem of a good generation of playlists that maximizes the satisfaction of a larger number of listeners. For automated automatic playlist generation methods focusing on a user group, we have the collaborative filter as a more assertive method to get the user’s not likely, to improve the performance of group recommendation algorithms we store the preferences of users Especially I did not like it by placing the availability of using this data as an algorithm input parameter. The platform described in This paper is intended to facilitate testing between these recommendation systems, standardizing data entry, and facilitating requests. The use of GraphQL as a framework associated with Apollo as a library, greatly facilitates the integration of these APIs, as the separation of data sources makes it possible to associate Spotify data with Deezer or Apple Music data, these data are stored in the database of the connection, so that in future requests it will no longer be necessary to consult the Spotify API, thus facilitating the consumption of data from the artificial intelligence algorithms, as well as a possible sharing of songs between services, since all services have an ISRC code to identify the songs.
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Yadegari, Shahrokh, John Burnett, Eito Murakami, Louis Pisha, Francesca Talenti, Juliette Regimbal, and Yongjae Yoo. "Becoming: An Interactive Musical Journey in VR." In SIGGRAPH '22: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3532834.3536209.

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Kyogu Lee and Minsu Cho. "Mood Classfication from Musical Audio Using User Group-Dependent Models." In 2011 Tenth International Conference on Machine Learning and Applications (ICMLA 2011). IEEE, 2011. http://dx.doi.org/10.1109/icmla.2011.96.

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Kim, Jaehun, Minz Won, Xavier Serra, and Cynthia C. S. Liem. "Transfer Learning of Artist Group Factors to Musical Genre Classification." In Companion of the The Web Conference 2018. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3184558.3191823.

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Reports on the topic "Honey Dos (Musical group)"

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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Chejanovsky, Nor, Diana Cox-Foster, Victoria Soroker, and Ron Ophir. Honeybee modulation of infection with the Israeli acute paralysis virus, in asymptomatic, acutely infected and CCD colonies. United States Department of Agriculture, December 2013. http://dx.doi.org/10.32747/2013.7594392.bard.

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Honey bee (Apis mellifera) colony losses pose a severe risk to the food chain. The IAPV (Israeli acute paralysis virus) was correlated with CCD, a particular case of colony collapse. Honey bees severely infected with IAPV show shivering wings that progress to paralysis and subsequent death. Bee viruses, including IAPV, are widely present in honey bee colonies but often there are no pathological symptoms. Infestation of the beehive with Varroa mites or exposure to stress factors leads to significant increase in viral titers and fatal infections. We hypothesized that the honey bee is regulating/controlling IAPV and viral infections in asymptomatic infections and this control is broken through "stress" leading to acute infections and/or CCD. Our aims were: 1. To discover genetic changes in IAPV that may affect tissue tropism in the host, and/or virus infectivity and pathogenicity. 2. To elucidate mechanisms used by the host to regulate/ manage the IAPV-infection in vivo and in vitro. To achieve the above objectives we first studied stress-induced virus activation. Our data indicated that some pesticides, including myclobutanil, chlorothalonil and fluvalinate, result in amplified viral titers when bees are exposed at sub lethal levels by a single feeding. Analysis of the level of immune-related bee genes indicated that CCD-colonies exhibit altered and weaker immune responses than healthy colonies. Given the important role of viral RNA interference (RNAi) in combating viral infections we investigated if CCD-colonies were able to elicit this particular antiviral response. Deep-sequencing analysis of samples from CCD-colonies from US and Israel revealed high frequency of small interfering RNAs (siRNA) perfectly matching IAPV, Kashmir bee virus and Deformed wing virus genomes. Israeli colonies showed high titers of IAPV and a conserved RNAi pattern of targeting the viral genome .Our findings were further supported by analysis of samples from colonies experimentally infected with IAPV. Following for the first time the dynamics of IAPV infection in a group of CCD colonies that we rescued from collapse, we found that IAPV conserves its potential to act as one lethal, infectious factor and that its continuous replication in CCD colonies deeply affects their health and survival. Ours is the first report on the dominant role of IAPV in CCD-colonies outside from the US under natural conditions. We concluded that CCD-colonies do exhibit a regular siRNA response that is specific against predominant viruses associated with colony losses and other immune pathways may account for their weak immune response towards virus infection. Our findings: 1. Reveal that preventive measures should be taken by the beekeepers to avoid insecticide-based stress induction of viral infections as well as to manage CCD colonies as a source of highly infectious viruses such as IAPV. 2. Contribute to identify honey bee mechanisms involved in managing viral infections.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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