Bibliografie tematiche / Brigada S (Musical group)

Letteratura scientifica selezionata sul tema "Brigada S (Musical group)"

Autore: Grafiati

Pubblicato: 27 luglio 2024

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Brigada S (Musical group)"

Towse, Esme. "Group Analysis and Improvisation: A Musical Perspective". British Journal of Music Therapy 11, n. 2 (dicembre 1997): 51–55. http://dx.doi.org/10.1177/135945759701100204.

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The writings of S. H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.

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Padulo, Johnny, Alin Larion, Olfa Turki, Ionel Melenco, Cristian Popa, Stefano Palermi, Gian Mario Migliaccio, Stefania Mannarini e Alessandro Alberto Rossi. "Ecological and Construct Validity of a New Technical Level Cuban Dance Field Test". International Journal of Environmental Research and Public Health 18, n. 24 (16 dicembre 2021): 13287. http://dx.doi.org/10.3390/ijerph182413287.

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

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Prachumwan, Komphorn, e Chalermpol Ataso. "Influence of Long-Term Communist Confrontation on Inducing Changes in Society and Musical Culture of Hmong Ethnic Group in Thailand". Asian Culture and History 12, n. 1 (18 dicembre 2019): 1. http://dx.doi.org/10.5539/ach.v12n1p1.

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The ethnic group ‘Hmong’, the descendants of Chinese ‘Miao’ group who migrated south to reside in Northern Thailand, is known to possess their own unique arts, culture, tradition, and music. However, the influence of social change seemed to largely affect the musical culture of Hmong ethnic, Khao Kho District, Phetchabun Province, in a multifactorial manner. Through different phases of a series of communist wars, the original musical cultures were subjected to the cumulative changes of social contexts, evolving toward modernization, at a great extent. In addition, not only the social changes have had a large impact on the Hmong ethnic’s musical cultures, but also on their ritual performances that require music as its core. This study aimed to elucidate the effect of social changes on musical culture by identifying the key contributing factors that determined Hmong’s musical performances and appreciation based on their historical features.

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Paşca, Eugenia Maria. "Number 13 / Part I. Music. 9. A Research of The Musical Education at George Breazul and Dmitri Borisovich Kabalevski". Review of Artistic Education 13, n. 1 (1 marzo 2017): 79–85. http://dx.doi.org/10.1515/rae-2017-0009.

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Abstract The musical language structure consists of living elements (because inside them the human`s musical language is synthesized), rich elements (because through them, people expressed their ideas and feelings), various elements ( as all cultures have formed and developed throughout history, their own and inexhaustible structures, transmitted through the ages, taken over, selected, enriched, extended). George Breazul was the first Romanian musician, who tried to conceptualize the embodiment of musical education through song, music play, and listening, starting from the specific acoustic universe, namely, children‟s folklore. Dmitri Kabalevski propsed the accomplishment of the musical education, based on the interpretation and listening of songs, belonging to a group of genders, which could represent musical styles and forms organized on themes. Originality and viability of the two visions, can be further noticed, because the logical organization of the acoustic material creates the circumstances for the listener‟s emotional auditory perception of the artistic message. The mutual interrelation and conditioning of elements which form the musical language generated the emphasizing and prominence of each one, within the musical speech, which is reflected in the educational process.

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Gfeller, Kate, Shelley Witt, Mary Adamek, Maureen Mehr, Jenny Rogers, Julie Stordahl e Shelly Ringgenberg. "Effects of Training on Timbre Recognition and Appraisal by Postlingually Deafened Cochlear Implant Recipients". Journal of the American Academy of Audiology 13, n. 03 (marzo 2002): 132–45. http://dx.doi.org/10.1055/s-0040-1715955.

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The purpose of this study was to compare the effect of structured training on recognition and appraisal of the timbre (tone quality) of musical instruments by postlingually deafened cochlear implant recipients. Twenty-four implant users (Nucleus C124M) were randomly assigned to a control or a training group. The control group experienced only incidental exposure to music in their usual daily routine. The training group participated in 12 weeks of training delivered via a laptop computer in which they were introduced to excerpts of musical instruments representing three frequency ranges and four instrumental families. Those implant recipients assigned to the training group showed significant improvement in timbre recognition (p < .0001) and timbre appraisal (p < .02) compared to the control group. Correlations between timbre measures and speech perception measures are discussed.

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Lima, Daiane, Simone Regaçone, Anna Oliveira, Yara Alcântara, Eduardo Chagas e Ana Frizzo. "Analysis of the Effect of Musical Stimulation on Cortical Auditory Evoked Potentials". International Archives of Otorhinolaryngology 23, n. 01 (25 luglio 2018): 031–35. http://dx.doi.org/10.1055/s-0038-1651507.

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Introduction Cortical auditory evoked potentials (CAEPs) are bioelectric responses that occur from acoustic stimulations, and they assess the functionality of the central auditory system. Objective The objective of the present study was to analyze the effect of musical stimulation on CAEPs. Methods The sample consisted of 42 healthy female subjects, aged between 18 and 24 years, divided into two groups – G1: without musical stimulation prior to the CAEP examination; and G2: with stimulation prior to the examination. In both groups, as a pre-collection procedure, the complete basic audiological evaluation was performed. For the musical stimulation performed in G2, we used an MP4 player programmed to play Pachelbel's “Canon in D Major” for five minutes prior to the CAEP examination. To analyze the effect on the groups, the ear side and the ide–group interaction , a mixed analysis of variance (ANOVA) of repeated measures was performed. Box M test and Mauchly sphericity test were also performed. Results Test differences were considered statistically significant when the p-value was < 0.05 (5%). Thus, it was possible to observe that there was a statistically significant difference of the P2 component characterized by the decrease in the amplitude of response in the left ear in G2 when comparing the responses of CAEP with and without prior musical stimulation. Conclusion The result of the present study enabled us to conclude that there was a change in the response of CAEPs with musical stimulation.

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Athanasopoulos, George, e Nikki Moran. "Cross-Cultural Representations of Musical Shape". Empirical Musicology Review 8, n. 3-4 (24 ottobre 2013): 185. http://dx.doi.org/10.18061/emr.v8i3-4.3940.

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In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75 musicians’ associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group’s. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants’ responses point to profoundly different ‘norms’ of musical shape association, which may be linked to literacy and to the functional role of music in a community. 

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Dutchak, Violetta. "The Ukrainian Bandura as a Musical Instrument of the Chordophone Group". Journal of Vasyl Stefanyk Precarpathian National University 4, n. 2 (30 ottobre 2017): 125–33. http://dx.doi.org/10.15330/jpnu.4.2.125-133.

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The article examines the characteristics of the bandura as a plucked chordophone. A comparative analysis of the researches undertaken by outstanding musicologists, performers, ethno-organologists S. Lyudkevych, E. Hornbostel, C. Sachs, H. Khotkevych, Z. Shtokalko, and others is carried out. The morphology of the instrument and the main stages in its evolution are discussed. The stable and mobile elements of the bandura’s structure and tuning are described. The technical characteristics of the instrument in different periods of its evolution and the achievements of the bandura makers and bandurists of Ukraine and the Ukrainian diaspora are analyzed. The common and distinguishing features of the bandura and some kindred instruments are pointed out

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Tejada, Jesus, e Delia Serra. "The Effects of Static and Dynamic Visual Representations as Aids for Primary School Children in Tasks of Auditory Discrimination of Sound Patterns. An Intervention-based Study." International Journal of Emerging Technologies in Learning (iJET) 13, n. 02 (27 febbraio 2018): 60. http://dx.doi.org/10.3991/ijet.v13i02.7430.

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It has been proposed that non-conventional presentations of visual information could be very useful as a scaffolding strategy in the learning of Western music notation. As a result, this study has attempted to determine if there is any effect of static and dynamic presentation modes of visual information in the recognition of sound patterns. An intervention-based quasi-experimental design was adopted with two groups of fifth-grade students in a Spanish city. Students did tasks involving discrimination, auditory recognition and symbolic association of the sound patterns with non-musical representations, either static images (S group), or dynamic images (D group). The results showed neither statistically significant differences in the scores of D and S, nor influence of the covariates on the dependent variable, although statistically significant intra-group differences were found for both groups. This suggests that both types of graphic formats could be effective as digital learning mediators in the learning of Western musical notation.

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Schiavio, Andrea, Jan Stupacher, Richard Parncutt e Renee Timmers. "Learning Music From Each Other: Synchronization, Turn-taking, or Imitation?" Music Perception 37, n. 5 (giugno 2020): 403–22. http://dx.doi.org/10.1525/mp.2020.37.5.403.

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In an experimental study, we investigated how well novices can learn from each other in situations of technology-aided musical skill acquisition, comparing joint and solo learning, and learning through imitation, synchronization, and turn-taking. Fifty-four participants became familiar, either solo or in pairs, with three short musical melodies and then individually performed each from memory. Each melody was learned in a different way: participants from the solo group were asked via an instructional video to: 1) play in synchrony with the video, 2) take turns with the video, or 3) imitate the video. Participants from the duo group engaged in the same learning trials, but with a partner. Novices in both groups performed more accurately in pitch and time when learning in synchrony and turn-taking than in imitation. No differences were found between solo and joint learning. These results suggest that musical learning benefits from a shared, in-the-moment, musical experience, where responsibilities and cognitive resources are distributed between biological (i.e., peers) and hybrid (i.e., participant(s) and computer) assemblies.

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Più fonti

Libri sul tema "Brigada S (Musical group)"

Korotich, A. V. S rokom sorok let. Sankt-Peterburg: Izdatelʹskiĭ dom "PervoGrad", 2020.

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Troĭ, Dilan. "Arii͡a︡": Legenda o dinozavre (s iskopaemykh vremen). Moskva: LEAN, 2000.

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Pizano, Daniel Samper. Les Luthiers de la L a la S. Buenos Aires: Ediciones de la Flor, 1991.

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Vasilʹeva, Natasha. 20 let s Akvariumom, ili, Pochti semeĭnyĭ alʹbom Natashi Vasilʹevoĭ. Tverʹ: Izd-vo LEAN, 1997.

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1951-, Haloun Karel, Lindaur Vojtěch 1957- e Mattuš Jan 1966-, a cura di. Bav se s volem o sobotě: Jasná páka & Hudba Praha, Jan Ivan Wünsch ; Jan Ivan Wünsch, Jasná páka & Hudba Praha. Modřice: Julius Zirkus, 2009.

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Misevich, Vladislav. "Pesni︠a︡ry": I︠a︡ roman s prodolzhenʹem pishu... = "Pesniary" : I am writing a serial novel. Moskva: Kabinetnyĭ uchenyĭ, 2018.

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Mišík, Vladimír. Vladimír Mišík: Letní rozhovor s Ondřejem Bezrem (1999) ; Sklízím, co jsem zasel (2006). 2^a ed. Brno: NC publishing, 2007.

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Kuzmanova, Daniela. Edin zhivot ne stiga da zhiveesh s muzikata na FSB. Sofii︠a︡: Kontrapunkti, 2011.

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Anstey, Robert G. Sandalspring: The life and times : notes and comments on the music, personality, growth and dissolution of a 60's band : a personal memoir. Sardis, B.C: West Coast Paradise Pub., 2002.

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Krulik, Nancy E. 98⁰ and rising to the top! New York: Pocket Books, 1999.

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Capitoli di libri sul tema "Brigada S (Musical group)"

Stauffer, George B. "Canonic Variations on “Vom Himmel hoch, da komm ich her”". In J. S. Bach, 523–36. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780195108026.003.0024.

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Abstract In 1747 Bach was invited to join Lorenz Christoph Mizler’s Society of Musical Sciences, a group of distinguished musicians who discussed musical writings and works contributed by members and circulated by packet. Bach’s major contribution was the Canonic Variations on “Vom Himmel hoch” for Organ, BWV 769, a set of five canons on Luther’s popular Christmas chorale. According to Mizler, Bach printed the work after sharing it with the Society in manuscript form. The printed version, appearing around 1748, contains three three-part canons followed by two four-part canons. The final variation is a contrapuntal tour de force, featuring multiple canons at various intervals. Bach later entered a revised version of the Canonic Variations into the portfolio containing the “Great Eighteen” Chorales, shifting the final variation to the middle of the set and changing the title of the work to match those of the other settings in the portfolio.

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Williams, Martin. "John Lewis And The Modern Jall Quartet Modem Conservative". In The Jazz Tradition, 168–78. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195078152.003.0014.

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Abstract One could say that the Modern Jazz Quartet actually began in 1946 as the rhythm section of Dizzy Gillespie ‘s orchestra: two years later, in fact, four titles were rather obscurely recorded by Milt Jackson, John Lewis, Kenny Clarke, Al Jackson on bass, plus Chano Pozo on Conga drum. However, in August 1951 the “Milt Jackson Quartet “ assembled for a recording date, and its members decided they liked playing together. Percy Heath came in on bass for Ray Brown, Milt Jackson on vibraphone, John Lewis on piano, Kenny Clarke on drums. Lewis soon became musical director, and the group was called the Modern Jazz Quartet. Success was gradual, and the Quar tet ‘s career was interrupted several times as its members briefly took other jobs. Then in 1955, Clarke left and Connie Kay became the group ‘s drummer.

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Brunner, Anja. "Local Cosmopolitan Bikutsi". In Out of the Absurdity of Life: Globale Musik, 84–100. Norient Books, 2012. http://dx.doi.org/10.56513/vlgz1905-3.

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The pop variant of Bikutsi music discussed in this paper is currently one of the most popular dance music styles in Cameroon. Its roots lie in local musical traditions of the Beti ethnic group, however, it also makes use of features and practices associated to pop-rock music around the world. Taking this use of pop-rock music in Bikutsi as a starting point, in this paper, Bikutsi pop is discussed within the framework of collective «aesthetic cosmopolitanism» as proposed by Motti Regev. Drawing on the field theory of Bourdieu, he situates pop-rock characteristics within specific ethno-national cultural fields, understanding them as intrinsic to local musical practices. In this perspective, musicians do not just make use of «global» or «Western» pop-rock features taken from an «outside». Rather, Bikutsi pop occurs at the intersection of a worldwide field of pop-rock music and the specific Cameroonian ethno-national cultural field(s). Regarding ethnographic research, this perspective may challenge our field research strategies, as it questions common boundaries between inside and outside the field and highlights similarities rather than differences.

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Duda, Larysa. "THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS". In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.

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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex approaches are distinguished. The authentic method is inherent mainly in the art of kobzars-bandurists, who were the authors of dumas, historical and other songs and created them simultaneously with the bandura accompaniment. The classical method has been dominant since the second half of the XXth century up until now. The modern approach occurs mainly from the end of the XXth century. The transformation of folklore samples often consists in changing the genre of the original source, the environment of performance, the functional purpose of the work, the appearance of instrumental bandura accompaniment, the change of group singing into solo performance or vice versa. Genres of Ukrainian musical folklore are widely represented in the art of bandura players in Ukraine and abroad. As a result of the analysis of creativity for a bandura of the second hakf of the XX – beg. XXI centuries, in particular artists of the Ukrainian diaspora, it was found that musical folklore to a greater or lesser extent became the subject of works by L. Haidamaka, O. Herasymenko-Oliinyk, Н. Kytasty, R. Levytsky, V. Mishalow, Y. Oliinyk, P. Potapenko , M. Teliga, Z. Shtokalko and others. It is determined that vocal-instrumental arrangements of folk songs, instrumental arrangements of dance music, as well as instrumental works based on Ukrainian musical folklore, occupy an important place in the work of bandura performers and composers in Ukraine and abroad.

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Atti di convegni sul tema "Brigada S (Musical group)"

Begić, Amir, Jasna Šulentić Begić e Ivana Pušić. "NASTAVA GLAZBE I DJECA S DOWNOVIM SINDROMOM". In Persons with disabilities in arts, science and education. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2024. http://dx.doi.org/10.59014/kflt6075.

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Music is often used in the upbringing and education of children with Down syndrome because of the different possibilities for achieving developmental and therapeutic goals. Music has been found to favour the emotional development of children with Down syndrome, especially in identifying and recognizing emotions. Additionally, actively engaging in music for children with Down syndrome has positive effects on the acquisition and development of socio-emotional, motor, cognitive, and communication abilities and skills and helps them with self-organizing and encouraging their social interaction. Namely, music can facilitate parent-child interaction with Down syndrome and increase a child’s attachment to their parents. In addition, music can stimulate the psycho-emotional expression of children with Down syndrome, which is reflected through thinking, concentration, reasoning, and mood. Children with Down syndrome are happy to participate in musical activities, and respond well to music, and want to participate in group musical activities. Teaching music is especially useful for both learning and class interaction because music and musical activities will increase the self-esteem of a child with Down syndrome. In this paper, we will present the observations obtained through the case study procedure, i.e. the systematic observation of a student with Down syndrome in the teaching of the subject of Music Culture during the three school years, i.e. from 2018/19 until 2020/21. The student, along with a teaching assistant, currently attends the eighth grade in a Slavonian school and studies according to the regular teaching programme with the adjustment of content and individualized procedures in all subjects. We will present the peculiarities of her school learning as well as the educational needs that served as a starting point in creating an individualized curriculum in the subject of Music Culture. Through systematic observation and research diary, we monitored the development of abilities as well as the acquisition of knowledge and skills of the student during the teaching of the subject Music Culture, and we will present learning strategies and sociological forms of work that we applied in working with students.

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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.

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The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.

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SHIMIZU, Daisuke, Tadahiko FUKUDA e Midori KEZUKA. "51 Examination on Measured Equivalent Sound Pressure Level and Sensory Evaluation for PWC Operating Sound". In Small Engine Technology Conference & Exposition. 10-2 Gobancho, Chiyoda-ku, Tokyo, Japan: Society of Automotive Engineers of Japan, 2002. http://dx.doi.org/10.4271/2002-32-1820.

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<div class="htmlview paragraph">When evaluating the sound generated by PWC (personal water craft), it is essential to study the measurement method for the PWC sound itself. However, it is equally important to identify the influence on the people in the neighbor of shoreline by being exposed to the sound from a group of PWC running around on waters. Such influence can be grasped in relation to the results of sensory evaluation.</div> <div class="htmlview paragraph">LAeq (equivalent continuous A-weighted sound level) was measured on PWC's running in various patterns and different numbers, while sensory evaluation was performed to obtain the data for the feelings the exposed persons would have about the sound. In this way the correlation between the sound pressure level and its perception by the people were analyzed.</div> <div class="htmlview paragraph">LAeq is the mixture of natural sound at the test site and the sound from the PWC(s) running in the predetermined patterns. We analyzed how the measured sound pressure level changes by the distances from the shoreline and the numbers of PWC's in operation.</div> <div class="htmlview paragraph">SD method (Semantic Differential Method) was applied for the sensory evaluation, in which the persons subjected to the test described the impression of the sound and vibration without his or her visual perception. Twenty six (26) persons took part in the test, and they made an assessment using twenty (20) pairs of adjectives of opposite meanings. Then, the gathered data was processed by varimax rotation in regard to two (2) factors, and the separated factors were named “noisy factor” and “musical factor”. Cluster analysis was performed for twelve (12) running patters, and they were grouped into three (3) clusters. The results of sound pressure measurements and the factor analysis verified the correlation between LAeq and “noisy factor” in person's perception. As expected, LAeq is also related to the distance from the PWC to the shoreline, as well as the number of PWC's in operation.</div> <div class="htmlview paragraph">The finings from these testing will make the good reference material in establishing the requirements to assure the good environmental conditions.</div>

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