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1
Harris, Judith. "Raise your voice." Early Years Educator 21, no. 8 (December 2, 2019): S14—S15. http://dx.doi.org/10.12968/eyed.2019.21.8.s14.
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Children's musical experience begins very early in their life, from hearing their mother's singing in the womb to spontaneous singing as they play. This is the first in a series of articles providing practical inspiration to develop their musicality.
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Custodero, Lori A. "Singing Practices in 10 Families with Young Children." Journal of Research in Music Education 54, no. 1 (April 2006): 37–56. http://dx.doi.org/10.1177/002242940605400104.
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This article addresses types and functions of singing practices in 10 families with 3-year-old children living in New York City, with illustrative cases of three families. Initial interviews were held with the parents in the families' homes. Between the initial visit and a follow-up visit 2-3 weeks later, parents observed their children and kept journals describing their engagement in music activity. Transcripts of interviews from each visit, field notes, and parent journals were reviewed for evidence of singing practices. Analyses revealed families used singing to “make special” routine activities and to create and maintain traditions. Parent and researcher observations of children's musical play were characterized by singing. Possible trends were suggested around learned song and spontaneous song. Implications for teaching and learning are considered in terms of what educators might learn from observations of both children's spontaneous play and from musical parenting. June 14, 2005 March 7, 2006
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Saito, Yoko, Kenji Ishii, Kazuo Yagi, Itaru F. Tatsumi, and Hidehiro Mizusawa. "Cerebral networks for spontaneous and synchronized singing and speaking." NeuroReport 17, no. 18 (December 2006): 1893–97. http://dx.doi.org/10.1097/wnr.0b013e328011519c.
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Chen-Hafteck, Lily. "Pitch abilities in music and language of Cantonese-speaking children." International Journal of Music Education os-31, no. 1 (May 1998): 14–24. http://dx.doi.org/10.1177/025576149803100102.
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The relationship between musical and linguistic pitch abilities in young children was explored. Developmental research demonstrated that abilities in pitch perception and production in early music and language development are closely integrated. Cross-cultural evidence also illustrated the influence of language characteristics on music, children's songs and spontaneous singing. A close examination into the singing ability of the Cantonese-speaking children in Hong Kong showed that pitch abilities in language can possibly enhance pitch accuracy in singing. It was therefore suggested that musical and linguistic abilities should be encouraged in close connection during early childhood.
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Sole, Meryl. "Crib song: Insights into functions of toddlers’ private spontaneous singing." Psychology of Music 45, no. 2 (July 8, 2016): 172–92. http://dx.doi.org/10.1177/0305735616650746.
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The aim of this study was to investigate, describe and understand the developmental function (musical and social/emotional) of nine toddlers’ private spontaneous songs. Between the initial interviews with the eight families and follow-up interviews 5 to 6 weeks later, parents observed their child at home twice a week for 4 consecutive weeks. When the child was alone at bedtime, the parents stood outside the bedroom door and completed a written Parent’s Observation and Reflection Form (PORF) describing and contextualizing what they heard on a minute-by-minute basis for the first 15 minutes of each session. Additionally, the parents collected audio recordings of the eight sessions using a smartphone that they placed inside the child’s room. Data sources included transcripts from family interviews, field notes, PORFs, and audio recordings. Findings suggest that many of the toddlers used solitary spontaneous singing at bedtime as a way to demonstrate and practice musical skill, reflect, experiment, self-soothe, and understand their own worlds. Spontaneous singing functioned to support these adaptive strategies during this intense developmental period. Further research is needed to understand the conditions and varieties of toddlers’ private spontaneous crib song.
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Shine, Neville P., Peter Lacy, Brendan Conlon, and Donald McShane. "Spontaneous Retropharyngeal and Cervical Emphysema: A Rare Singer's Injury." Ear, Nose & Throat Journal 84, no. 11 (November 2005): 726–27. http://dx.doi.org/10.1177/014556130508401116.
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Spontaneous retropharyngeal and cervical emphysema is rare. We describe a case that was unusual in its etiology: the result of singing. Although this condition is usually benign, hospital admission for close observation and supportive therapy is prudent.
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Goldberg, Jesse H., and Michale S. Fee. "Singing-Related Neural Activity Distinguishes Four Classes of Putative Striatal Neurons in the Songbird Basal Ganglia." Journal of Neurophysiology 103, no. 4 (April 2010): 2002–14. http://dx.doi.org/10.1152/jn.01038.2009.
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The striatum—the primary input nucleus of the basal ganglia—plays a major role in motor control and learning. Four main classes of striatal neuron are thought to be essential for normal striatal function: medium spiny neurons, fast-spiking interneurons, cholinergic tonically active neurons, and low-threshold spiking interneurons. However, the nature of the interaction of these neurons during behavior is poorly understood. The songbird area X is a specialized striato-pallidal basal ganglia nucleus that contains two pallidal cell types as well as the same four cell types found in the mammalian striatum. We recorded 185 single units in Area X of singing juvenile birds and, based on singing-related firing patterns and spike waveforms, find six distinct cell classes—two classes of putative pallidal neuron that exhibited a high spontaneous firing rate (>60 Hz), and four cell classes that exhibited low spontaneous firing rates characteristic of striatal neurons. In this study, we examine in detail the four putative striatal cell classes. Type-1 neurons were the most frequently encountered and exhibited sparse temporally precise singing-related activity. Type-2 neurons were distinguished by their narrow spike waveforms and exhibited brief, high-frequency bursts during singing. Type-3 neurons were tonically active and did not burst, whereas type-4 neurons were inactive outside of singing and during singing generated long high-frequency bursts that could reach firing rates over 1 kHz. Based on comparison to the mammalian literature, we suggest that these four putative striatal cell classes correspond, respectively, to the medium spiny neurons, fast-spiking interneurons, tonically active neurons, and low-threshold spiking interneurons that are known to reside in area X.
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Chan, Lisa P., Steven R. Livingstone, and Frank A. Russo. "Facial Mimicry in Response to Song." Music Perception 30, no. 4 (December 2012): 361–67. http://dx.doi.org/10.1525/mp.2013.30.4.361.
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We examined facial responses to audio-visual presentations of emotional singing. Although many studies have now found evidence for facial responses to emotional stimuli, most have involved static facial expressions and none have involved singing. Singing represents a dynamic ecologically valid emotional stimulus with unique demands on orofacial motion that are independent of emotion, related to pitch and linguistic production. Observers’ facial muscles were recorded with electromyography while they saw and heard recordings of a vocalist’s performance sung with different emotional intentions (happy, neutral, and sad). Audio-visual presentations successfully elicited facial mimicry in observers that were congruent with the performer’s intended emotions. Happy singing performances elicited increased activity in the zygomaticus major muscle region of observers, while sad performances evoked increased activity in the corrugator supercilii muscle region. These spontaneous facial muscle responses occurred within the first three seconds following onset of video presentation indicating that emotional nuances of singing performances can elicit dynamic facial responses from observers.
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Phelps, S. M., Z. Tang-Martínez, and M. Fernández-Vargas. "Singing, allogrooming, and allomarking behaviour during inter- and intra-sexual encounters in the Neotropical short-tailed singing mouse (Scotinomys teguina)." Behaviour 148, no. 8 (2011): 945–65. http://dx.doi.org/10.1163/000579511x584591.
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AbstractIn this study we determine whether brief interactions with unfamiliar conspecifics stimulate audible singing behaviour in the Neotropical short-tailed singing mouse (Scotinomys teguina). Specifically, we examine whether intra- or inter-sexual interactions elicit singing in males in a neutral-arena design. We conducted two experiments. In experiment 1, we recorded singing behaviour of male subjects both before and after a brief exposure to a female mouse. Males significantly increased their singing behaviour after the exposure to the female, as compared to prior to the exposure. In experiment 2, we compared the singing behaviour of male test subjects after a brief exposure with one of three different treatment animals: a male, a non-oestrous female and an oestrous female. We found that males are most likely to sing after an interaction with a female, regardless of her reproductive condition. Male subjects sang significantly less following an interaction with another male. Although spontaneous singing is known to occur in males and females, opposite sex elicited-singing behaviour was found to be sexually dimorphic. An interaction with a male was not effective in eliciting singing in females. In experiment 2, we also recorded incidences of allogrooming and allomarking by males during the interactions with males, non-oestrous females, and oestrous females. Male allogrooming and allomarking behaviours using the mid-ventral sebaceous gland tend to occur more frequently during interactions with females as compared to males, but were significantly different only in the case of allogrooming. Thus, this study clearly suggests sex differences in singing, allogrooming and allomarking, and a likely relationship between these behaviours and courtship in this Neotropical rodent.
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Dutta, Kishore. "Singing Sand Dunes: The Spontaneous Acoustic Emission from Granular Shear Flow." OALib 02, no. 09 (2015): 1–7. http://dx.doi.org/10.4236/oalib.1101761.
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Young, Susan. "Young children’s spontaneous vocalising: insights into play and pathways to singing." International Journal of Early Childhood 36, no. 2 (December 2004): 59–74. http://dx.doi.org/10.1007/bf03168200.
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Sláviková, Zuzana, and Eva Králová. "Emotions in Music and their Impact on the Emotions of Percipients: Research on Human Voice and Singing." Review of Artistic Education 21, no. 1 (June 1, 2021): 1–11. http://dx.doi.org/10.2478/rae-2021-0001.
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Abstract The field of psychology of singing is the least examined area so far, so in the research study we present the research survey from the field of human voice and singing. Music allows the access to the experience of emotions, which can then manifest itself in various changes at a psychosomatic level. New research findings can therefore be used very effectively in the field of music therapy or singing. The anthropological idea of this phenomenon is based on the fact that the human voice is an extremely sensitive physical and emotional tool through which it is possible to act on the body, psyche and spirit, in terms of complex personality development and to discover human contact with its deeper, archetypal components. The sound experience of singing can touch a person’s most basic existential experiences. In this study we want to reveal the underappreciated possibilities of using the human voice and singing in the field of music therapy and point out the purposeful development of vocal dispositions, in concord with the core of human personality (conscious and unconscious). Mainly owing to strong emotions, it has a significant impact on harmonisation of hemispheres, stimulation of all mental functions that leads to spontaneous revitalisation of the psyche and body and it subsequently leads to improved quality of life.
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Christiner, Markus, and Susanne Reiterer. "Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children." Brain Sciences 8, no. 9 (September 1, 2018): 169. http://dx.doi.org/10.3390/brainsci8090169.
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Musical aptitude and language talent are highly intertwined when it comes to phonetic language ability. Research on pre-school children’s musical abilities and foreign language abilities are rare but give further insights into the relationship between language and musical aptitude. We tested pre-school children’s abilities to imitate unknown languages, to remember strings of digits, to sing, to discriminate musical statements and their intrinsic (spontaneous) singing behavior (“singing-lovers versus singing nerds”). The findings revealed that having an ear for music is linked to phonetic language abilities. The results of this investigation show that a working memory capacity and phonetic aptitude are linked to high musical perception and production ability already at around the age of 5. This suggests that music and (foreign) language learning capacity may be linked from childhood on. Furthermore, the findings put emphasis on the possibility that early developed abilities may be responsible for individual differences in both linguistic and musical performances.
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Goldberg, Geoffrey. "Maḥazor Ha-Ḥayyim:Life-Cycle Celebration in the Song of the Ashkenazic Synagogue." AJS Review 33, no. 2 (November 2009): 305–39. http://dx.doi.org/10.1017/s0364009409990031.
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Joyous life-cycle events celebrated by American Ashkenazic Jews, especially those belonging to the more liberal denominations, invariably conclude with the singing of the wordssiman tov u-mazal tov, yehei lanu u-lekhol yisra'eil(May it bring good luck to us and to all Israel). Whether after the long anxious minutes of theberit milah, the struggle of the youngster through the Hebrew text and trope of thehaftarah, the calling up of the bridegroom (and the bride as well in most non-Orthodox synagogues) at anaufruf, or the breaking of the glass at a wedding, the spontaneous singing serves as a catharsis to relieve the built-up tensions of the communal ritual event as well as to express an outpouring of joy.
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Benetti, Lucia, and Eugenia Costa-Giomi. "Infant Vocal Imitation of Music." Journal of Research in Music Education 67, no. 4 (December 17, 2019): 381–98. http://dx.doi.org/10.1177/0022429419890328.
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Infant vocal production has been studied mainly from the perspective of language development. We studied it from the perspective of singing development by analyzing a 15-month-old’s imitations of songs. The infant wore a recording device that yielded a continuous, 16-hr audio recording of all the sounds produced by him and around him throughout the day. We listened to the audio file and identified instances in which his unprompted vocalizations resembled songs he had heard earlier. One imitation was recognized by his father, who then sang the song himself and engaged in imitative turn taking with the infant; the other imitation went unnoticed by his parents. Perceptual and acoustic analyses of the imitations and the song models showed that the infant imitated critical music features of the songs, including pitches, intervals, and rhythms. We discuss the use of new technologies for the study of singing development in infancy; such technologies facilitate the collection of spontaneous vocalizations that may go unnoticed by parents and make it possible to trace connections between music environment opportunities and specific singing outcomes in infants.
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Brisola, Elizabeth B. V., Vera Engler Cury, and Larry Davidson. "‘When I sing I use all my tools’: Singing to infants as an expression of creativity in mothers." International Journal of Music in Early Childhood 14, no. 2 (December 1, 2019): 181–92. http://dx.doi.org/10.1386/ijmec_00004_1.
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When considering singing as an everyday creative activity in which people engage, investigations of children singing are more easily found than those of adults singing. Mothers commonly sing to their infants as part of caregiving, for the most part in the intimacy of their homes, perhaps making their creativity less visible to researchers. The purpose of this article is to address mothers’ creative expression in singing to their infants and its implications on their psychological health. In order to do so, we first summarize knowledge derived from existing research literature pertaining to mothers’ creativity in singing to their infants. A review of eleven selected texts revealed the following themes: mothers discovering their creativity, being spontaneous, being present, expressing themselves, adapting song material, using their own life experiences, and having fun. Although mothers do not necessarily consider themselves to be creative singers, they often invent lyrics and create melodies, add new verses to songs according to their particular child, and adapt the lyrics to each situation. They make use of their life experiences as they express their thoughts, feelings and perceptions through song. As they sing to their infant, they live in the present moment and instil meaning to their relationship in fun-filled interactions. We then discuss this musical creative expression in terms of mothers’ psychological health. We propose that this musical activity contributes to mothers’ health during the complex and transforming experience of motherhood, bringing satisfaction, relief and fulfilment, contributing to their personal growth as they move towards self-actualization, as described by humanistic psychology.
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Guiard, Yves. "Failure to Sing the Left-Hand Part of the Score during Piano Performance: Loss of the Pitch and Stroop Vocalizations." Music Perception 6, no. 3 (1989): 299–314. http://dx.doi.org/10.2307/40285591.
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An experiment compared the ability of classical pianists to sing, during keyboard performance, the right- and the left-hand part of the score being played. Upon instructions requiring them to "sing" one or the other voice of the score, the subjects spontaneously chose to sing and name the notes simultaneously, in keeping with the French traditional way of reading music, thus producing a two- dimensional tonal and verbal vocal act in response to each visual stimulus. Singing the right-hand part of the music, whether in unison with or in place of the right hand, while concurrently playing the left-hand part was judged easy by all subjects, and performance, typically, was correct in all respects. The other task, consisting of singing the left-hand part of the music, was judged more difficult by all subjects, and performance, more often than not, was poor. Careful inspection of the many errors that were recorded in the latter task revealed a few clear-cut regularities. Failures were vocal, but not manual. More specifically, vocal failures took place on the tonal dimension of the vocal response, but not on its verbal dimension: The song, but not the naming of the notes, was prone to fail, with either a loss of the pitch, or a systematic trend toward singing unduly—albeit accurately—the notes of the right-hand part. A number of subjects were found to display this intriguing tonal/verbal dissociation—naming a note at a pitch corresponding to another note—in a continuous regime. It is emphasized that this phenomenon amounts to the spontaneous production of musical events that belong to the Stroop category.
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Woolley, Sarah C. "Social context differentially modulates activity of two interneuron populations in an avian basal ganglia nucleus." Journal of Neurophysiology 116, no. 6 (December 1, 2016): 2831–40. http://dx.doi.org/10.1152/jn.00622.2016.
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Basal ganglia circuits are critical for the modulation of motor performance across behavioral states. In zebra finches, a cortical-basal ganglia circuit dedicated to singing is necessary for males to adjust their song performance and transition between spontaneous singing, when they are alone (“undirected” song), and a performance state, when they sing to a female (“female-directed” song). However, we know little about the role of different basal ganglia cell types in this behavioral transition or the degree to which behavioral context modulates the activity of different neuron classes. To investigate whether interneurons in the songbird basal ganglia encode information about behavioral state, I recorded from two interneuron types, fast-spiking interneurons (FSI) and external pallidal (GPe) neurons, in the songbird basal ganglia nucleus area X during both female-directed and undirected singing. Both cell types exhibited higher firing rates, more frequent bursting, and greater trial-by-trial variability in firing when male zebra finches produced undirected songs compared with when they produced female-directed songs. However, the magnitude and direction of changes to the firing rate, bursting, and variability of spiking between when birds sat silently and when they sang undirected and female-directed song varied between FSI and GPe neurons. These data indicate that social modulation of activity important for eliciting changes in behavioral state is present in multiple cell types within area X and suggests that social interactions may adjust circuit dynamics during singing at multiple points within the circuit.
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Müllensiefen, Daniel, Joshua Fry, Rhiannon Jones, Sagar Jilka, Lauren Stewart, and Victoria J. Williamson. "Individual Differences Predict Patterns in Spontaneous Involuntary Musical Imagery." Music Perception 31, no. 4 (December 2012): 323–38. http://dx.doi.org/10.1525/mp.2014.31.4.323.
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Involuntary musical imagery (INMI) describes the everyday phenomenon of having a tune stuck in the head. Research has established the ubiquity of this form of spontaneous cognition but the predictive role of individual differences is still debated. This study examines the impact of everyday musical behaviors and subclinical obsessive compulsive attributes on INMI experiences. In total 1,536 participants completed three online questionnaires; a novel inventory of musical behavior and INMI, and a standardized obsessive compulsion (OC) inventory. Exploratory factor analysis (N = 512) and structural equation modelling (N = 1,024) were applied. Everyday singing and music listening positively predict length and frequency of reported INMI episodes, respectively. No relationships were found with musical training. High OC was positively related to INMI frequency and disturbance, but only indirectly to INMI episode length and unpleasantness. The identified contributory factors of INMI experiences are discussed in the context of musical memory and spontaneous mental activity.
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EROL, MERIH. "Surveillance, urban governance and legitimacy in late Ottoman Istanbul: spying on music and entertainment during the Hamidian regime (1876–1909)." Urban History 40, no. 4 (May 3, 2013): 706–25. http://dx.doi.org/10.1017/s0963926813000187.
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ABSTRACT:The topic of this study is the control of urban space in late Ottoman Istanbul, particularly during the reign of Abdülhamid II (1876–1909). Issues of the control and surveillance of public gatherings and popular entertainment are investigated by focusing on the Greeks of Istanbul, the largest non-Muslim population in the city. The article is based on an investigation of petitions, the Ottoman Police Ministry records and spy reports on various planned and spontaneous, private and public activities, such as charity concerts, theatrical performances, and collective singing in private and public meetings.
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Sindelar, M. T., and C. Meini. "Music as a Helpful Instrument in the Treatment of Children with Asd in Their School Inclusion Program." European Psychiatry 41, S1 (April 2017): s304. http://dx.doi.org/10.1016/j.eurpsy.2017.02.193.
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Since birth infants are active and communicative partners engaged in protoconversations with caretakers. Motherese, the simplified language adults spontaneously use with infants, has a musical structure. We believe that for developmental and evolutionistic reasons music is a preferential tool to favor communication and to promote group identity. We carried on a musical experience with a group of autistic (ASD) children aged 5 to 7 years. Each child participated at their school with 10 typically developed classmates and their teachers. Our ASD children love music and enjoy playing and singing. With music, they overcome some communicative and social difficulties. Their bodily posture changed with music, facilitating joint attention and improvement of verbal language. When singing children learned linguistic skills, they ameliorated vowels’ pronunciation and understood how a question and an answer differ in melodic contour. Taking into account the unique sensory motor profile of each ASD child, we proposed rhythmic music with high proprioceptive input (for under-reactive children) and smooth and calming music for avoidant and easily overwhelming children in order to ameliorate intentionality and enlarge circles of communication. A combination of semistructured and spontaneous activity is the main components of our approach, which has both therapeutic and educational impacts. In the musical group, all the ASDs appeared to be more attentive, motivated, better performing and able to teach their acquired skills to their peers. Typical peers interact more with children with ASD with music. We consider this very helpful in the inclusion of ASD children in a school setting.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Corvo, Elisabetta, and Walter De Caro. "COVID-19 and spontaneous singing to decrease loneliness, improve cohesion, and mental well-being: An Italian experience." Psychological Trauma: Theory, Research, Practice, and Policy 12, S1 (August 2020): S247—S248. http://dx.doi.org/10.1037/tra0000838.
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Trollinger, Valerie L. "Relationships between Pitch-Matching Accuracy, Speech Fundamental Frequency, Speech Range, Age, and Gender in American English-Speaking Preschool Children." Journal of Research in Music Education 51, no. 1 (April 2003): 78–94. http://dx.doi.org/10.2307/3345650.
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This study is an investigation of the relationships among acoustical measurements of pitch-matching accuracy, speech fundamental frequency, speech frequency range, age, and gender in preschool children. Consideration was taken in applying known research concerned with the anatomical characteristics of the developing child voice to see if a relationship between the acoustic findings and anatomical structure and function was evident. Participants in the study were 70 English-speaking children, ages 36–71 months, from three geographical areas of the United States. Subjects were asked to engage in directed and spontaneous speech activities and short echo-singing activities. All speech and singing data were taped and subsequently analyzed for fundamental frequency (Fo) using the Cspeech acoustical voice analysis program. Results revealed (a) both speech Fo and speech range were the overall strongest predictors of pitch-matching accuracy (p < .0001) and (b) that age in months was a significant predictor (p = .03) of the ability to sing the lower pitches (C and D) used in the study. Gender also emerged as a significant predictor of pitch-matching accuracy, but not as strong as speech fundamental frequency or speech range. The acoustic findings supported previously established research findings concerned with child vocal anatomy and function.
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Rhodes, Alice. "Radical Birdcalls: Avian Voices and the Politics of the Involuntary." Essays in Romanticism 27, no. 2 (October 1, 2020): 101–14. http://dx.doi.org/10.3828/eir.2020.27.2.2.
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This essay investigates Romantic-era treatments of bird calls as “unpremeditated”, spontaneous, and involuntary. Looking at parrots, starlings, mockingbirds, gamecocks, and skylarks in the work of writers including John Thelwall, Percy Shelley, Thomas Beddoes, and Helen Maria Williams, I explore the way in which talking and singing birds are often understood through reference to materialist philosophy and the associationism of David Hartley. Taking Thelwall’s King Chaunticlere and John Gilpin’s Ghost, and Shelley’s ‘To a Sky-Lark’ and A Defence of Poetry as my main focus, I argue that these writers use materialist metaphors of unconscious avian utterance to make nuanced claims about the seemingly ambiguous role of the will in political speech.
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Liduma, Anna. "FACILITATION OF THE CHILD CREATIVITY THROUGH MUSICAL ACTIVITY AT PRESCHOOL." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2016): 426. http://dx.doi.org/10.17770/sie2016vol2.1413.
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The theoretical substantiation of the scientific article develops from the notion of fantasy by philosopher P. Dāle, the activity theory by A. Špona, the theory of five minds for future by H. Gardner, the three creativity aspects by R. Bebre. The essence of creativity structure components, human creativity holistic development, possibilities for creativity development stimulation at the sensitive preschool period have been established. The empirical research discovered that the child through musical reproductive activity accumulates self-experience due to the teacher’s support and realizes it as a self-dependent creative activity while listening to, singing, creatively manifesting the contents by movements and colours. The creativity promotion aids at preschool are the child’s spontaneous vocal and instrumental improvisation, integrative improvisation of sonorous gestures and movements.
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Synodi, Evanthia, Michalis Linardakis, Raimonda Sadauskienė, Asta Kochanskienė, and Dalia Rimavičienė. "Teachers’ Approach to Playfulness in the Process of Education/Learning in Lithuania and Greece." Journal of Pedagogy and Psychology "Signum Temporis" 7, no. 1 (June 1, 2015): 15–19. http://dx.doi.org/10.1515/sigtem-2016-0002.
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Abstract Playfulness is an integral part of pedagogy of play and includes elements such as humour, teasing, mimicry, riddles and rhymes, singing and chanting, shared activity in different contexts and with different resources (human and material), laughter, clowning, fooling around, inventing rules and rituals to begin, maintain and end play, wit, spontaneity, telling and laughing at jokes. Development of pre-school education in Lithuania and Greece has similarities and differences. The research was carried out in February/September, 2014 in pre-school education institutions of Lithuania and Greece. The chosen method of a research is a questionnaire, which was quantitatively analysed. 186 teachers in Lithuania and 197 teachers in Greece filled in a questionnaire. When analysing the data regarding the playful atmosphere teachers attempted to foster in kindergarten, the differences between the countries were statistically highly significant in all cases but one. In order to understand and maintain a playful education/learning, it is very important to observe children’s reactions, moods during both spontaneous and teacher-initiated activities for children (Broadhead, Wood, Howard, 2010). Teacher-initiated activities must be not less playful than the children’s spontaneous activity.
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Thompson, Grace Anne, and Larry Allen Abel. "Fostering Spontaneous Visual Attention in Children on the Autism Spectrum: A Proof-of-Concept Study Comparing Singing and Speech." Autism Research 11, no. 5 (January 22, 2018): 732–37. http://dx.doi.org/10.1002/aur.1930.
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Tubadji, Annie. "Culture and mental health resilience in times of COVID-19." Journal of Population Economics 34, no. 4 (May 19, 2021): 1219–59. http://dx.doi.org/10.1007/s00148-021-00840-7.
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AbstractThis paper aims to clarify the role of culture as a public good that serves to preserve mental health. It tests the evolutionary hypothesis that cultural consumption triggers a microeconomic mechanism for the self-defense of mental health from uncertainty. The COVID-19 pandemic offers a natural experiment of cultural consumption under increased uncertainty. Using primary data from a pilot survey conducted online during the pandemic and applying Probit and Heckman selection models, the study analyzes levels of happiness and propensity to help others. The results suggest that past consumption of culture is associated with higher happiness levels during crises. Moreover, spontaneous cultural practices (such as group singing) during times of uncertainty are associated with an increase in the pro-social propensity to help others. These findings highlight culture as a tool for promoting mental health at the micro level and social capital resilience at the aggregate level.
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Michelsen, A., and N. Elsner. "Sound emission and the acoustic far field of a singing acridid grasshopper (Omocestus viridulus L.)." Journal of Experimental Biology 202, no. 12 (June 15, 1999): 1571–77. http://dx.doi.org/10.1242/jeb.202.12.1571.
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An array of eight microphones, all at a distance of 15 cm, was used to make simultaneous recordings of the sounds emitted by courting male acridid grasshoppers of the species Omocestus viridulus. In this species, the movement pattern for sound production differs in the two hindlegs, and in most cases the leg facing the female moves with the larger amplitude. The sonic sound intensity (the total sound in the one-third octave bands with centre frequencies from 5 to 20 kHz) is maximal ipsilateral to the leg stridulating with the larger amplitude (the dominant leg). A spontaneous switch of dominance to the other leg may cause a significant change in the emitted sound power. The sound intensities contralateral to the dominant leg and frontal to the animal are, on average, approximately half (−3 dB) of the ipsilateral value, whereas the mean sound intensities behind and above the singer are approximately one-fifth (−7 dB) of the ipsilateral value. In most singers, the patterns of sound radiation are close to these mean values, but in some singers the radiation patterns are radically different. The sound radiated in various directions differs not only in terms of sound intensity but also with respect to the frequency spectrum, which was studied up to the one-third octave band with a centre frequency of 31.5 kHz. In particular, the ratio between the ultrasonic and sonic components is much smaller in the forward direction than in other directions. This may allow the courted female to hear whether the courting male is oriented directly towards her.
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Bahar, Mahdi, Johannes Johannes, Uswan Hasan, Indra Gunawan, Zulkarnain Zulkarnain, Hartati M, and Fatonah Fatonah. "Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): 47–55. http://dx.doi.org/10.33153/dewaruci.v16i1.3529.
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Innovation is a certainty for the development of folk music. The use of digital technology is part of the creation of folk music in the sense of evolution itself. Krinok music is one of Jambi’s traditional music themes. This music genre is a cultural wealth that has great potential for artistic development and advancement. Musical systems, melodic contours, musical grammar, and interval patterns make up the distinctive character of krinok music. The normative freedom of the singing text’s spontaneous expression in presenting this musical entity and its changes is the entity that colors this uniqueness. The contribution of digital technology in processing krinok music has the potential for reproduction and publication as an integral part of the creative process itself. The placement of krinok music as cultural property is an effort to process it creatively. The result was the birth of new music as a transformation of Jambi folk music called “bungo krinok” music. This creative activity is an effort to progress the Indonesian nation’s culture.
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Ge, Fenfen, Mengtong Wan, Anni Zheng, and Jun Zhang. "How to deal with the negative psychological impact of COVID-19 for people who pay attention to anxiety and depression." Precision Clinical Medicine 3, no. 3 (June 23, 2020): 161–68. http://dx.doi.org/10.1093/pcmedi/pbaa023.
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Abstract Background The fear of insecurity and uncertainty caused by the 2019 coronavirus disease (COVID-19), the separation and loss of certain important relationships, and great changes in lifestyle have awakened strong emotional responses, which may cause psychological problems in the general population. However, there is little research on how people who pay attention to anxiety and depression cope with the negative psychological impact during an epidemic or major disaster. This study aimed to identify what behaviors can effectively reduce negative emotions during an epidemic. Methods From 1 February to 8 March 2020, we conducted a web-based survey and collected information on general demographic data. Probable depression, anxiety symptoms, and coping behaviors were assessed with the Patient Health Questionnaire-9, Generalized Anxiety Disorder-7, and self-made coping behaviors questionnaires. Result Among 17 249 responders, 7923 and 9326 completed assessments of depression and anxiety respectively, and all responders completed the coping behaviors questionnaires. Our survey population showed a high prevalence rate of possible depression disorders (2746 of 7923, 34.66%) and anxiety disorders (5309 of 9326, 56.93%). Compared with other groups, the elderly, women, people of lower education, and people with lower income were more likely to suffer depression and/or anxiety. In terms of marital status, the cohabiting group showed the highest rate of depression and/or anxiety. Among the careers, students and housewives were high-risk groups suffering from depression and/or anxiety. After adjusting for social-demographic factors (e.g. age, sex), depression and anxiety were positively associated with self-injury, doing housework, and having sex or masturbating, and negatively associated with singing, drawing, or writing, dating friends online, singing, attending lectures, and doing yoga. Conclusion Our findings identified some spontaneous coping behaviors that can probably relieve the psychological impact of vulnerable groups during the COVID-19 epidemic.
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Pinxten, Rianne, Denitza Pavlova, Marcel Eens, and Veerle Darras. "Effects of nestboxes and males on female song activity in the European starling: an experimental study." Behaviour 144, no. 10 (2007): 1255–71. http://dx.doi.org/10.1163/156853907781890968.
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AbstractEnvironmental, contextual or social factors influencing song in female songbirds have been little studied. Female European starlings Sturnus vulgaris sing robustly throughout most of the year, except during the breeding season when their song production dramatically decreases. Here we experimentally investigated the effect of the presence of males and/or nestboxes on song production in captive female starlings during the breeding season. Spontaneous song activity of two experimental groups and one control group (housed with nestboxes, but no males) was observed for one month from the end of March onwards. Additionally, we tested whether female song rate is related to oestradiol plasma levels. The experimental results showed that song rate significantly decreased with the progressing of the breeding season and this process seemed not to be regulated by oestradiol. Nestboxes clearly promoted song production, as previously found in male starlings, while the presence of males negatively affected female song rate. Taken together these results indicate that, in the course of the breeding period, the suppressive influence of the day length and the presence of males on female song production override the stimulating effect of nestboxes, and that engagement in breeding activities is largely incompatible with singing in female starlings.
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Tirado, Isabel A. "The Village Voice: Women's Views of Themselves and Their World in Russian Chastushki of the 1920s." Carl Beck Papers in Russian and East European Studies, no. 1008 (January 1, 1993): 70. http://dx.doi.org/10.5195/cbp.1993.57.
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This was the call of a peasant woman, most likely a teenager, prompting her friends and neighbors to join her in composing and singing chastushki, the short ditties that enlivened all youth gatherings. The humorous songs were the spontaneous creation of young people of both sexes for an audience their own age. At times ironic, biting, or plain silly, chastushki expressed the composers' views on almost all facets of the young peasant's life: love, homelife, the way to dress, the changing countryside, and the world beyond the village. We know little about the views of the young peasant woman in the Russian countryside just after the Revolution. She is rarely the subject of scholarship, and her voice is seldom heard in the rich literature of the 1920s. In the wake of the revolutions of 1917 peasants made up 80 percent of the population; their children nineteen years of age· or younger accounted for half of the rural population, with females making up half of that age group. As the expression of the village young people, the chastushka is an invaluable historical source that captures the tension between old and new. This interpretative essay seeks to use chastushki as a tool in reconstructing aspects of post-revolutionary peasant mentalite-that is, the views, attitudes, and mores of peasant society.
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Hahnloser, Richard H. R., and Michale S. Fee. "Sleep-Related Spike Bursts in HVC Are Driven by the Nucleus Interface of the Nidopallium." Journal of Neurophysiology 97, no. 1 (January 2007): 423–35. http://dx.doi.org/10.1152/jn.00547.2006.
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The function and the origin of replay of motor activity during sleep are currently unknown. Spontaneous activity patterns in the nucleus robustus of the arcopallium (RA) and in HVC (high vocal center) of the sleeping songbird resemble premotor patterns in these areas observed during singing. We test the hypothesis that the nucleus interface of the nidopallium (NIf) has an important role for initiating and shaping these sleep-related activity patterns. In head-fixed, sleeping zebra finches we find that injections of the GABAA-agonist muscimol into NIf lead to transient abolishment of premotor-like bursting activity in HVC neurons. Using antidromic activation of NIf neurons by electrical stimulation in HVC, we are able to distinguish a class of HVC-projecting NIf neurons from a second class of NIf neurons. Paired extracellular recordings in NIf and HVC show that NIf neurons provide a strong bursting drive to HVC. In contrast to HVC neurons, whose bursting activity waxes and wanes in burst epochs, individual NIf projection neurons are nearly continuously bursting and tend to burst only once on the timescale of song syllables. Two types of HVC projection neurons—premotor and striatal projecting—respond differently to the NIf drive, in agreement with notions of HVC relaying premotor signals to RA and an anticipatory copy thereof to areas of a basal ganglia pathway.
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Stachyra, Krzysztof, and Anita Łucjan-Kowalska. "Opening space at school for creative activity based on music." Problemy Opiekuńczo-Wychowawcze 587, no. 2 (February 29, 2020): 24–33. http://dx.doi.org/10.5604/01.3001.0013.8195.
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The aim of the article is to analyse the ways of using creative music-based activities in the educational process. The authors emphasize the marginal role that art plays in contemporary school, including music. At the same time, they emphasize the need to change this state of affairs, convincing about the huge, unused potential of using music-based activities to build relationships, improve mood, develop creativity and emotional and social competence. The use of musical activities on educational grounds may go beyond the typical activities known from music lessons. Building space for experiencing creative forms of contact with art, expression, spontaneous singing or improvisation, enabling multi-sensory art experience, can result in measurable benefits for both students and the teacher, being the answer to the challenges of modern education. An additional benefit of conducting such classes is the opportunity to observe the functioning of students, ways of coping with social situations, and assumed roles in the group. The article presents practical examples of the implementation of musical activities under the “ZA PROGIEM – wyprawy odkrywców project. The reactions of children participating in these activities testify to their great commitment, they also show that properly selected musical activities can have a positive impact on the child's behaviour in a very short time. Conclusions from the implementation of the activities under the project indicate that music-based – or more broadly art-based – activities, present so far, in the presented form, in pedagogy to a very limited extent, may prove to be an effective tool to support teachers’ work and student development.
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Porges, Stephen W., Katherine E. Bono, Mary Anne Ullery, Olga Bazhenova, Andreina Castillo, Elgiz Bal, and Keith Scott. "Listening to Music Improves Language Skills in Children Prenatally Exposed to Cocaine." Music and Medicine 10, no. 3 (July 29, 2018): 121. http://dx.doi.org/10.47513/mmd.v10i3.636.
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The effectiveness of listening to music, as an intervention to improve language skills, was tested with young children prenatally exposed to cocaine. In addition to the prenatal exposure to cocaine, these children often share family experiences such as substance abuse, poverty, and mental illness that are prevalent in chronically stressed families in which abuse and trauma are likely to occur. In the current study 62 children, between the ages of 17 and 30 months, who were receiving a center-based intervention program, participated in a 16-week music-based trial. The trial consisted of listening to music 5 days a week for 16 weeks. During the first week music listening sessions were 50-minutes and during the subsequent 15 weeks the daily listening sessions were 10 minutes. Participants were randomly assigned to three groups: a filtered music group that listened to vocal music filtered to emphasize frequencies within the bandwidth of spontaneous human speech, an unfiltered music group that listened to the same vocal music in its original unaltered form, and a control group that only received the standard early intervention services provided by the preschool. Outcomes were evaluated with assessments for expressive and receptive language skills. Results document that children, who listened to either the filtered or unaltered music, showed greater gains on language skills than the control group. The findings suggest that providing scheduled times to listen to vocal music similar to a mother singing a lullaby would provide a simple cost-effective language intervention. Keywords: language skills; music therapy; prenatal cocaine exposure; children; Polyvagal Theory.
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Bebbington, D. W. "Culture and Piety in the Far West: Revival in Penzance, Newlyn, and Mousehole in 1849." Studies in Church History 44 (2008): 225–50. http://dx.doi.org/10.1017/s0424208400003612.
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A brief but classic account of a Cornish revival is to be found in Salome Hocking’s book Some Old Cornish Folk, published in 1903. Writing semi-fictionally but also semi-ethnographically about a number of years before, the author, herself sprung from Cornish Methodism, described the thronging penitents, the exuberant singing and the ‘thrill of excitement’ that went through the village. Crucially she commented on the circumstances. The revival, she explained, had arisen ‘at a time when no one was thinking about it, and no special services were being held. It seemed to have nothing to do with the preacher either…’ The event, she was suggesting, was entirely spontaneous. Although it was triggered by a young girl going forward to kneel as a convert below the pulpit, the subsequent stir was not the result of any earlier contrivance. The awakening was unexpected, not planned. Much of the writing about revivals – periodic episodes of religious enthusiasm attended by mass conversions in evangelical Protestantism – revolves around this distinction. Nineteenth-century advocates of revivals, in America as well as in the British Isles, contrasted the older pattern in which ‘Christians waited for them as men are wont to wait for showers of rain’ with the later way in which the episodes were promoted by ‘systematic efforts’. Subsequently historians have taken up the theme. John Kent, the leading commentator on English revivals of the Victorian era, while recognizing the existence of planning among some early nineteenth-century Methodists, places the dividing line between the prevalence of contagious spontaneity, and the use of devices to achieve conversions, after 1860.
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Wrazen, Louise. "Privileging Narratives: Singing, the Polish Tatras, and Canada." Articles 27, no. 2 (September 13, 2012): 60–80. http://dx.doi.org/10.7202/1013113ar.
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The traditional singing of Górale from the Tatra mountain region of Podhale favours a single phrase of melody and two lines of text. The narrative significance of this singing is traced from homeland to diaspora: collectively, these songs constitute a regional narrative that in Poland provided the framework for personal expressions constructed spontaneously in performance and embedded in social discourse; in Canada, the individual story is subsumed in favour of a collective narrative that locates a meaningful space between these two worlds. Ultimately, the centrality of music in the experience and deliberate expression of difference within an evolving multicultural, transnational, globalized reality is reinforced.
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Seki, Yoshimasa. "Cockatiels sing human music in synchrony with a playback of the melody." PLOS ONE 16, no. 9 (September 3, 2021): e0256613. http://dx.doi.org/10.1371/journal.pone.0256613.
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It is known among aviculturists that cockatiels imitate human music with their whistle-like vocal sounds. The present study examined whether cockatiels are also able to sing “in unison”, or, line up their vocalizations with a musical melody so that they occur at the same time. Three hand-raised cockatiels were exposed to a musical melody of human whistling produced by an experimenter. All the birds learned to sing the melody. Then, two out of these three birds spontaneously joined in singing during an ongoing melody, so that the singing by the bird and the whistling by the human were nearly perfectly synchronous. Further experiments revealed that the birds actively adjusted their vocal timing to playback of a recording of the same melody. This means cockatiels have a remarkable ability for flexible vocal control similar to what is seen in human singing. The proximate/ultimate factors for this behavior and implications for musicality in humans are discussed.
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Ko, Meng-Ching, Vincent Van Meir, Michiel Vellema, and Manfred Gahr. "Characteristics of song, brain-anatomy and blood androgen levels in spontaneously singing female canaries." Hormones and Behavior 117 (January 2020): 104614. http://dx.doi.org/10.1016/j.yhbeh.2019.104614.
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Pavlova, Denitza, Rianne Pinxten, and Marcel Eens. "Female Song in European Starlings: Sex Differences, Complexity, and Composition." Condor 107, no. 3 (August 1, 2005): 559–69. http://dx.doi.org/10.1093/condor/107.3.559.
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Abstract While male song and its functions have been well studied, female song has often been overlooked. In this study, we provide a detailed description of the spontaneous female song in a well-studied northern temperate songbird, the European Starling (Sturnus vulgaris). We compared the song organization, complexity, and composition of female and male starlings housed in large outdoor aviaries. Overall, the general organization was similar in both sexes, and some females sang complex song bouts of more than 30 seconds of uninterrupted song. Although some females were capable of singing the four phrase-type categories typically found in male song bouts (whistle, variable, rattle, and high-frequency phrase types), a significantly lower proportion of females sang all four categories of phrase type as compared to males. Our results also revealed large individual variation in song characteristics among females: repertoire size varied between 11 and 36 phrase types, while average song bout length ranged between 10 and 26 seconds. All song parameters (total repertoire size, song bout length, and repertoire size within the four different phrase categories) were significantly lower in females than in males. Nevertheless, except for the number of rattle phrase types, song parameters overlapped between the sexes demonstrating that some females produced a more complex song than some males. Canto de la Hembra en Sturnus vulgaris: Diferencias entre Sexos, Complejidad y Composición Resumen. Mientras que el canto del macho y sus funciones han sido bien estudiados, el canto de las hembras ha sido menos estudiado. En este estudio, brindamos una descripción detallada del canto espontáneo de la hembra en una especie bien estudiada de ave canora del norte templado, Sturnus vulgaris. Comparamos la organización del canto, la complejidad y la composición entre machos y hembras en aviarios de gran tamaño emplazados al aire libre. En total, la organización general fue similar en ambos sexos, y algunas hembras cantaron unidades de canto complejas durante más de 30 segundos de modo ininterrumpido. Aunque algunas hembras fueron capaces de cantar las cuatro categorías de tipos de frases típicamente halladas en las unidades de canto de los machos (silbido, variable, matraqueo y tipos de frases de alta frecuencia), una porción significativamente menor de las hembras cantó todas las cuatro categorías de tipos de frases en comparación con los machos. Nuestros resultados también revelaron gran variación individual entre hembras en las características del canto: el tamaño del repertorio varió entre 11 y 36 tipos de frases, mientras que la duración promedio de la unidad de canto fluctuó entre 10 y 26 segundos. Todos los parámetros examinados del canto (tamaño total del repertorio, duración de la unidad de canto y tamaño del repertorio dentro de las cuatro categorías diferentes de frases) fueron significativamente menores en las hembras que en los machos. A pesar de ello, a excepción del número del tipo de frases de matraqueo, los pará metros del canto se superpusieron entre los sexos, implicando que algunas hembras produjeron un canto más complejo que algunos machos.
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Modouw, Wigati Yektiningtyas. "Fungsi Ehabla Pada Masyarakat Sentani, Papua." ATAVISME 10, no. 1 (June 29, 2007): 1–20. http://dx.doi.org/10.24257/atavisme.v10i1.228.1-20.
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Ehabla is one of oral poetry in Sentani, Papua that is almost extinct. It is sung spontaneously, without background of notes and memorization. The singer prepares plot and theme that will be elaborated in the performance, Ehabla can be transcribed into 4 lines that is dominated by repetition and parallelism. The first line is repeated in the third line, the second line is repeated in the fourth line. Essentially, the third and the fourth lines are the repetition of the first and the second lines. The repetition is enriched by synonym and reduplication. Ehabla that expresses the socio-cultural life of Sentani people can be used as media of (1) education (pedagogical system) that teaches hard work, cooperation, pride, respecting tradition, proud of birthplace, respecting natural environment; (2) reflection of Sentani people's idealization on ideal village, ideal society, and ideal leaders; (3) legitimacy of traditions; (4) forcing and watching; (5) sharpening the emotion of religion and belief; and (6) entertainment. For Sentani people who live in some remote areas in some islands, the singing and function of ehabla are still responded even though its socialization is not positively responded by the young generation. For Sentani people who live near the city, the singing and function of ehabla are not again responded by both old and young generation. This is caused by the influence of new traditions, technology, and globalization. The only function that is still alive is the function of entertainment.
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Sukmawati, Noni. "Literary Performance in the Act of Pendendang." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 65. http://dx.doi.org/10.24821/ijcas.v3i1.1835.
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This study is aimed to find out the power of pendendang as the main actor in Sastra Pertunjukan (Literary Performance), an art performance which places literature – in this case pantun or verse as the spoken literature of Minangkabau – as the main medium. Pantun is delivered through berdendang or singing tradition which is accompanied by an instrument named saluang. Hence this performance is so called saluang dendang performance. The main strength of this performance is the selection of the pantun delivered by pendendang and his ability to build a contextual connection or to interact with the audience or the surroundings.Pendendang combines the pantun with the new pantun and creates new ones spontaneously and contextually in his live performance. Therefore, this art performance of Minangkabau is also a literary performance because of the main strength lies on the pantun that are delivered. Framed in the theoretical proposition of Pierre Felix Bourdieu, this study tries to recite the role and the pendendang’s strength to improvise in his efforts to create an interesting performance for the audience, through his selection of pantunthat is delivered spontaneously and his mastery, habitus and position in the performance.
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Brown, Sara Black. "From Meditation to Bliss: Achieving the Heights of Progressive Spiritual Energy through Kirtan Singing in American Gaudiya Vaishnava Hinduism." Religions 12, no. 8 (August 4, 2021): 600. http://dx.doi.org/10.3390/rel12080600.
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Kirtan is a musical worship practice from India that involves the congregational performance of sacred chants and mantras in call-and-response format. The style of kirtan performed within Gaudiya Vaishnava Hinduism is an expression of Bhakti Yoga, “the yoga of love and devotion”, and focuses on creating a personal, playful, and emotionally intense connection between the worshipper and their god—specifically, through words and sounds whose vibration is believed to carry the literal presence of Krishna. Kirtan is one of many Indian genres that uses musical techniques to move participants through a progression of spiritual states from meditation to ecstasy. Kirtan-singing has become internationally popular in recent decades, largely thanks to the efforts of the Hare Krishna movement, which has led to extensive hybridization of musical styles and cultural approaches to kirtan adapted to the needs of a diasporic, globalized community of worshippers. This essay explores the practice of kirtan in the United States through interviews, fieldwork, and analysis of recordings made at several Krishna temples and festivals that demonstrate the musical techniques that can be spontaneously deployed in acts of collective worship in order to create intense feelings of deep, focused meditation and uninhibited, expressive bliss.
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Toiviainen, Petri. "Modeling the Target-Note Technique of Bebop-Style Jazz Improvisation: An Artificial Neural Network Approach." Music Perception 12, no. 4 (1995): 399–413. http://dx.doi.org/10.2307/40285674.
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In cognitive science and research on artificial intelligence, there are two central paradigms: symbolic and analogical. Within the analogical paradigm, artificial neural networks (ANNs) have recently been successfully used to model and simulate cognitive phenomena. One of the most prominent features of ANNs is their ability to learn by example and, to a certain extent, generalize what they have learned. Improvisation, the art of spontaneously creating music while playing or singing, fundamentally has an imitative nature. Regardless of how much one studies and analyzes, the art of improvisation is learned mostly by example. Instead of memorizing explicit rules, the student mimics the playing of other musicians. This kind of learning procedure cannot be easily modeled with rule- based symbolic systems. ANNs, on the other hand, provide an effective means of modeling and simulating this kind of imitative learning. In this article, a model of jazz improvisation that is based on supervised learning ANNs is described. Some results, achieved by simulations with the model, are presented. The simulations show that the model is able to apply the material it has learned in a new context. It can even create new melodic patterns based on the learned patterns. This kind of adaptability is a direct consequence of the fact that the knowledge resides in a distributed form in the network.
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Goller, F., and R. A. Suthers. "Role of syringeal muscles in controlling the phonology of bird song." Journal of Neurophysiology 76, no. 1 (July 1, 1996): 287–300. http://dx.doi.org/10.1152/jn.1996.76.1.287.
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1. The contribution of syringeal muscles to controlling the phonology of song was studied by recording bilateral airflow, subsyringeal air sac pressure, electromyograms (EMGs) of six syringeal muscles, and vocal output in spontaneously singing brown thrashers (Toxostoma rufum). 2. EMG activity in musculus syringealis ventralis (vS), the largest syringeal muscle, increases exponentially with the fundamental frequency of the ipsilaterally generated sound and closely parallels frequency modulation. 3. The EMG activity of other syringeal muscles is also positively correlated with sound frequency, but the amplitude of their EMGs changes only a small amount compared with variation in the amplitude of their EMGs correlated with changing syringeal resistance. The elevated activity in all syringeal muscles during high-frequency sounds may reflect an increased need for structural stability during the strong contractions of the largest syringeal muscle (vS). 4. Several syringeal mechanisms are used to generate amplitude modulation (AM). The most common of these involves modulating the rate of syringeal airflow, through activity by adductor (m. syringealis dorsalis and m. tracheobronchialis dorsalis) and abductor (m. tracheobronchialis ventralis) muscles, which change syringeal resistance, switch sound production from one side of the syrinx to the other, or produce rapid oscillatory flow changes. Variation in the phase relationship between AM and EMG bursts during oscillatory airflow suggests complex biomechanical interaction between antagonistic muscles. 5. AM can also arise from acoustic interactions of two independently generated sounds (beat notes) including cross talk signals between the two syringeal halves. In this latter mechanism, sound generated on one side radiates slightly out of phase with the source from the contralateral side, resulting in lateralized AM generation.
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Yagil, Yoram, Martin Hessner, Herbert Schulz, Claudia Gosele, Larissa Lebedev, Ronit Barkalifa, Marina Sapojnikov, Norbert Hubner, and Chana Yagil. "Geno-transcriptomic dissection of proteinuria in the uninephrectomized rat uncovers a molecular complexity with sexual dimorphism." Physiological Genomics 42A, no. 4 (December 2010): 301–16. http://dx.doi.org/10.1152/physiolgenomics.00149.2010.
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Investigation of proteinuria, whose pathophysiology remains incompletely understood, is confounded by differences in the phenotype between males and females. We initiated a sex-specific geno-transcriptomic dissection of proteinuria in uninephrectomized male and female Sabra rats that spontaneously develop focal and segmental glomerulosclerosis, testing the hypothesis that different mechanisms might underlie the pathophysiology of proteinuria between the sexes. In the genomic arm, we scanned the genome of 136 male and 111 female uninephrectomized F2 populations derived from crosses between SBH/y and SBN/y. In males, we identified proteinuria-related quantitative trait loci (QTLs) on RNO2 and 20 and protective QTLs on RNO6 and 9. In females, we detected proteinuria-related QTLs on RNO11, 13, and 20. The only QTL overlap between the sexes was on RNO20. Using consomic strains, we confirmed the functional significance of this QTL in both sexes. In the transcriptomic arm, we searched on a genomewide scale for genes that were differentially expressed in kidneys of SBH/y and SBN/y with and without uninephrectomy. These studies identified within each sex differentially expressed genes of relevance to proteinuria. Integrating genomics with transcriptomics, we identified differentially expressed genes that mapped within the boundaries of the proteinuria-related QTLs, singling out 24 transcripts in males and 30 in females, only 4 of which ( Tubb5, Ubd, Psmb8, and C2) were common to both sexes. Data mining revealed that these transcripts are involved in multiple molecular mechanisms, including immunity, inflammation, apoptosis, matrix deposition, and protease activity, with no single molecular pathway predominating in either sex. These results suggest that the pathophysiology of proteinuria is highly complex and that some of the underlying mechanisms are shared between the sexes, while others are sex specific and may account for the difference in the proteinuric phenotype between males and females.
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Kanetro, Bayu, and Sri Luwihana. "KOMPOSISI PROKSIMAT DAN KANDUNGAN BAKTERI ASAM LAKTAT OYEK TERBAIK DARI PERLAKUAN PENAMBAHAN KACANG TUNGGAK (Vigna unguiculata) BERDASARKAN TINGKAT KESUKAANNYA Proximate Composition and Lactic Acid Bacteria of The Best Oyek from The Treatment of Cowpeas." Jurnal Agritech 35, no. 03 (October 6, 2015): 261. http://dx.doi.org/10.22146/agritech.9335.
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Oyek or dried growol was traditional food from Kulonprogo Yogyakarta that was made of cassava through spontaneous fermentation by soaking in water. After that, the cassava was formed, steamed, and dried. Oyek could be utilized as main food for substituting rice, but the protein of oyek was lower than rice. This research was conducted to determine the best treatment of oyek based on the preference of the oyek that were made of variation of germinated and ungerminated cowpeas flour addition (oyek treatment). This research was also to determine the proximate composition especially the increase of protein and lactic acid bacteria of the best treatment of oyek compared with oyek without cowpeas addition(control). The result of this research showed that the 30% flour of cowpeas sprout as source of protein could be added in the best oyek without altering its overall preference. The result of this research showed the chemical composition of the best oyek compared to oyek control were significant different, esspecially protein. The protein of the best oyekincreased 4.9 times compared to control. The lactic acid bacteria decreased for processing growol to oyek. The lactic acid bacteria of the best oyek was higher than control, that were 3.10 x 10 1(CFU/g sampel) respectively.Keywords: Oyek, protein, lactic acid bacteria, germination, cowpea 3 and 4.0 x 10 1ABSTRAKOyek atau growol yang dikeringkan adalah makanan tradisional dari Kulonprogo Yogyakarta yang dibuat dari ubi kayu/ singkong melalui tahap fermentasi secara spontan dengan cara perendaman dalam air, selanjutnya dicetak, dikukus menjadi growol dan dikeringkan. Oyek dapat dimanfaatkan sebagai pangan pokok alternatif pengganti beras, namunkadar proteinnya lebih rendah daripada beras. Penelitian ini bertujuan untuk menentukan oyek perlakuan terbaik yang dibuat dengan variasi penambahan tepung kacang tunggak yang dikecambahkan dan tidak dikecambahkan berdasarkan tingkat kesukaannya. Selain itu, penelitian ini ditujukan untuk menentukan komposisi kimia proksimat khususnyapeningkatan kadar protein dan kandungan bakteri asam laktat (BAL) oyek terbaik dengan penambahan kacang tunggak dibandingkan oyek tanpa penambahan kacang tunggak (kontrol). Hasil penelitian menunjukkan bahwa oyek terbaik yang diterima panelis dan tingkat kesukaannya tidak berbeda nyata dengan kontrol yaitu oyek dengan penambahan tepung kacang tunggak yang dikecambahkan sebesar 30%. Kadar protein oyek tersebut meningkat 4,9 kali terhadap kontrol. Kandungan bakteri asam laktat menurun selama pengolahan growol menjadi oyek. Kandungan bakteri asamlaktat oyek tersebut lebih tinggi daripada kontrol yaitu berturut-turut 3,10 x 103 dan 4,0 x 101 (CFU/g sampel).Kata kunci: Oyek, protein, bakteri asam laktat, perkecambahan, kacang tunggak
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Dean, Bronya. "Spontaneous singing in early childhood: An examination of young children’s singing at home." Research Studies in Music Education, August 25, 2020, 1321103X2092413. http://dx.doi.org/10.1177/1321103x20924139.
Full textAbstract:
Spontaneous singing is widely acknowledged as an important part of young children’s everyday musical experience. However, its fleeting and often private nature makes it difficult to study. Research into young children’s singing at home frequently relies on data gathered through parental reporting, and studies are often limited to small sample sizes. In this article, I explore the nature, extent and contexts of spontaneous singing among 15 three- and four-year-old children at home. Continuous audio recording was used to collect naturalistic data during the children’s normal everyday routines. This innovative method resulted in data that could be analysed quantitatively to provide a comprehensive overview of spontaneous singing in young children’s everyday home lives that has so far been missing from the literature. Analysis showed that all the children sang spontaneously. The singing behaviours they displayed were similar to those described in the literature, but contrary to some of the literature, the most prevalent singing behaviours were improvisatory. Spontaneous singing occurred during many everyday activities; however, the strongest influence on singing was found to be the social context in which it took place. The children used different ways of singing when interacting socially or when playing on their own, with most singing occurring when children were on their own, potentially unnoticed by adults.
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Roengbuthra, Warawut, and Bussakorn Sumrongthong. "Phi Faa Ritual Music of the Northeastern Part of Thailand." Voices: A World Forum for Music Therapy 6, no. 1 (March 1, 2006). http://dx.doi.org/10.15845/voices.v6i1.244.
Full textAbstract:
This article describes the indigenous peoples belief underlying the Phi Faa or the Shaman's ritual. The research focused on the components of the Phi Faa ritual as well as its music and how they interact. This study was comprised of site visits to each of the fourteen provinces in the Northern Isarn region of Thailand where data was collected from each regional cultural center. It was found that Phi Faa rituals were mainly in the following seven provinces: Skon Nakorn, Mukdahan, Nakorn Phanom, Udonthani, Kalasin, Khon Khaen and Chaiyaphum. It was also determined that the musical instrument used the most often in this ritual was the khean (a mouth organ) and the rhythm of the lyrics were sung in the Isarn style named "Moh Lum". In the Phi Faa rituals, this style is specifically referred to as "Lamlong". In all the observed ailment rituals, Lamlong was sung by the medium and accompanied by the Khean to praise the ghosts as well as plead with them to come aid the people suffering from sickness. In addition, the Medium consulted oracles to discover the cause(s) of the sickness. Even though the melodies of each song among the seven provinces are more similar than different, the lyrics were completely different due to the medium's spontaneous or improvised delivery. One notable departure from the general pattern of the Phi Faa ritual was found in the Kalasin province which was made up of mostly instrumental music with hardly any singing of lyrics.