Статті в журналах з теми "Locomotiv GT (Musical group)"

This study aims to determine the effect of playing bamboo percussion on the musical intelligence of children in Raudhatul Athfal Arafah Padang. The musical intelligence of children at Raudhatul Athfal Arafah Padang has not developed well, because of the low musical understanding of children in recognizing tempo, it can be seen when children are singing that many do not match the beats played by the teacher with a tambourine musical instrument or when clapping. The limited facilities and infrastructure for playing music for children have resulted in no opportunity for children to develop music playing activities at school. This study uses a quantitative approach with a quaishi experimental design, the data collection technique in this study is an action test on students. This research was conducted at Raudhatul Athfal Arafah Padang which consisted of two classes, one class was used as the experimental class group and the other class was used as the control class group. The experimental class group was 12 people and the control class group was 12 people. The data analysis technique in this study used the Normality Test, Homogeneity Test, and Hypothesis Testing. The results of the Hypothesis Testing in the post-test obtained tcount > ttable where 9.23 > 2.073 as evidenced by the significant level = 0.05 this means that there is a significant difference between the results of the intelligence of children in the experimental class playing bamboo percussion compared to the control class using clap.

Experiment activity is an essential part of science learning. <em>Suling </em>(flute), a traditional musical instrument from West Java, can be used as a learning media for sound wave concepts. Technology-based mobile can be used as an experimental tool is <em>Phypox</em>. This study aims to report using a combination of <em>Suling</em> and <em>Phypox</em> in experiment activities. The designed activity aims to engage students in critical thinking. The instrument for measuring critical thinking consists of five questions based on the critical thinking aspect: interpretation, analysis, evaluation, inference, and explanation. The study used a one-group pre-and post-test design on 32 8th-grade students at one of the junior high schools in West Java Province, Indonesia. The study procedure is a pre-test, discussion of <em>Suling</em>’s concepts, introduction to <em>Phypox</em> application, experiment activity, presentation, and post-test. Data analysis uses the normalized gain to compare the pre-and post-test. Experiment activities help students to understand frequency, open organ pipes concepts, and investigate the speed of sound produced by <em>Suling</em>. The study found a significant change in the pre-and post-test scores of students after experimenting, so it could be interpreted that the experimental activities using <em>Suling</em> and <em>Phypox</em> affected critical-thinking students.

<p><em>Supporting music has the power to represent the culture of a person or group at a particular time. He understood to have a basis for understanding, determining the ways and actions in each note produced. The color of the voice, the pitch and the musical work in each region have many differences. Because in essence, music is a work of art that is here is an aesthetic symbol of every different cultural community.Gamelan is a musical instrument that represents or depicts Javanese culture. Some Javanese gamelan in Surakarta, Yogyakarta and Cirebon, among others are Kyai Guntur Madu, Kyai Guntur Sari, Kyai Naga Wilaga and Gong Sekati. This orchestra has a pentatonic scale in the slendro scale system and the pelog scale system. Each gamelan has an honorary name as it deserves a sacred heirloom. slendro on the gamelan used as the research sample. While the independent variables are the frequency and color of the sound of each chord.</em><em></em></p>

Abstrak Tujuan penelitian ini adalah menguji keefektifan penggunaan alat musik hadroh sebagai media pembelajaran dengan bantuan metode drill terhadap kemampuan ritmis siswa kelas III SD Islam Al-Hilal Kartasura. Jenis Penelitian yang digunakan adalah quasi experimental dengan non-equivalent control group sebagai desain penelitiannya. Hasil pengujian hipotesis T-Test menunjukkan bahwa thitung>ttabel yakni 3,143 > 2,011. Hasil tersebut menunjukkan adanya perbedaan kemampuan ritmis siswa antara kelas eksperimen yang menggunakan alat musik hadroh berbantuan metode drill daripada media pembelajaran pada kelas kontrol. Hasil uji n-gain kelas eksperimen lebih unggul dan efektif dibandingkan kelas kontrol yaitu sebesar 0,6241 > 0,3342. Kedua hasil n-gain termasuk dalam kriteria “sedang”. Artinya, alat musik hadroh berbantuan metode drill lebih efektif terhadap kemampuan ritmis siswa. Kesimpulan dari penelitian ini adalah pada pembelajaran SBdP seni musik menggunakan alat musik hadroh berbantuan metode drill efektif terhadap kemampuan ritmis siswa kelas III SD Islam Al-Hilal Kartasura. The aim of this study was to test the effectiveness of using hadroh musical instruments as a learning media assisted with the drill method on the rhythmic abilities of grade III students at Al-Hilal Islamic Elementary School, Kartasura. The type of research used is quasi-experimental with a non-equivalent control group as the research design. The results of testing the T-Test hypothesis show that the tcount>ttable is 3.143 > 2.011. These results show that there are differences in students' rhythmic abilities between the experimental class which uses hadroh musical instruments assisted by the drill method compared to the learning media in the control class. The n-gain test results for the experimental class were superior and effective than the control class is 0.6241>0.3342. Both n-gain results are categorized as “medium”. This means that the hadroh musical instrument assisted by the drill method is more effective on students' rhythmic abilities. The conclusion of this research is that SBdP learning the art of music using hadroh musical instruments assisted by the drill method is effective for the rhythmic abilities of grade III students at Al-Hilal Islamic Elementary School, Kartasura.

<p class="Abstract">The organization of Romanian distance learning in music has been supported in terms of research, collaboration and financing by European projects, with the following achievements: training of teaching staff involved in distance learning, assistance in activities meant to introduce ICT in general schools, construction of a platform dedicated to distance learning activities, creating a database with instrumental accompaniments for singers, designing multimedia courses, assessing distance learning programs offered by the Academy of Music Gheorghe Dima in Cluj-Napoca.</p><p class="Abstract">The Prelude Training Programme on ICT in Music Education – a project aimed at developing a training programme for in-service music educators, as there are many ways in which technology helps educators meet instructional goals: Programs designed to help students develop their musicianship or improve their knowledge of notation and skill in reading notation, support with improvisation skills, notation and sequencing programs which assist students in composition activities.</p><p class="Abstract">Vemus - Virtual European Music Schools - a programme which focuses on teaching music notation or performing instruments, involving execution of rhythm patterns, melody, music scores; E-vocal learning, with simultaneous appearance of sound and notation, conducted by famous musicians. DIMA - Direct Impact of Multimedia Application - a platform that comprises courses, audio and video examples focusing on music history, performing and listening activities.</p><p class="Abstract">The partners proceed from various areas (higher education, innovation/development centers), and the projects were conceived to stimulate the implementation of ICT in the educational process in music, approaching teaching staff as a target group, and students as an interested party.</p>The need for such products was revealed by interviews and questionnaires and the results’ evaluation proved that the online environment can be accessed in order to develop educational resources, enrich lesson content, motivate and engage children in music education, deliver information and learning opportunities, stimulate children in their musical endeavors.

<p><strong>Background : </strong>Teenagers need support to get through the musical period, let alone living with their parents. In the conditions of the COVID-19 pandemic, the stressors experienced are even greater. Adolescents need non-pharmacological support to stay healthy. This study aims to determine the effect of progressive muscle relaxation on adolescent anxiety in orphanages.</p><p><strong>Subjects and Methods</strong>: This type of research is quasi-experimental. This research was conducted at the Mardhatillah Sukoharjo Orphanage, Central Java. The subjects were 42 people, divided into the control group (27 people) and the intervention group (15 people). Measurements were made before and before the intervention. The intervention group received the usual treatment plus progressive muscle relaxation for 4 weeks, while the control group was given the usual treatment. The measuring instrument uses HARS. Data were analyzed by paired t test not using the SPSS 21 program.</p><p><strong>Results:</strong> There was a significant difference between the treatment and control groups with a mean of 7.80 and 10.48 (p &lt; 0.001).</p><p><strong>Conclusion:</strong> Advanced muscle relaxation can reduce the anxiety of adolescents living in the Mardhatillah orphanage, Sukoharjo, Central Java.</p><p>Keywords: Progressive muscle relaxation; teenager; orphanage, anxiety</p>

The goal of this study was to evaluate the music perception of cochlear implantees with two different sound processing strategies. Methods: Twenty-one patients with unilateral or bilateral cochlear implants (Oticon Medical®) were included. A music trial evaluated emotions (sad versus happy based on tempo and/or minor versus major modes) with three tests of increasing difficulty. This was followed by a test evaluating the perception of musical dissonances (marked out of 10). A novel sound processing strategy reducing spectral distortions (CrystalisXDP, Oticon Medical) was compared to the standard strategy (main peak interleaved sampling). Each strategy was used one week before the music trial. Results: Total music score was higher with CrystalisXDP than with the standard strategy. Nine patients (21%) categorized music above the random level (>5) on test 3 only based on mode with either of the strategies. In this group, CrystalisXDP improved the performances. For dissonance detection, 17 patients (40%) scored above random level with either of the strategies. In this group, CrystalisXDP did not improve the performances. Conclusions: CrystalisXDP, which enhances spectral cues, seemed to improve the categorization of happy versus sad music. Spectral cues could participate in musical emotions in cochlear implantees and improve the quality of musical perception.

<p>In Turkish educational system, students’ secondary school grade point average (GPA) scores constitute the basic criteria in determining the high schools they will next attend. Students, who start their high school careers based on this grade, receive their education together with peers who have similar GPA scores. In these pivotal years which play a significant role in developing character, teenagers not only affect each other through interaction, but also shape their likes and dislikes collectively during this high school period. Music interest in students is also shaped during this process. <em> </em>This descriptive study has been conducted at nine high schools in central Konya. The sample group includes a total of 626 students, 195 of whom are from three high schools with high GPA scores, 193 from three high schools with average GPA scores, and 238 from three high schools with low GPA scores. The results of the study reveal not only certain similarities between the student groups, but also significant difference between the groups in terms of the will to play a musical instrument, the music genres the students prefer to listen, singers and bands the students follow, and whether or not to choose music as a career path.</p>

<p>Background Sampling in bronchoscopy can lead to acute consequences, such as intrabronchial bleeding, bronchospasm, and pneumothorax. Bronchoscopies make patients uneasy because they fear discomfort and difficulty breathing. Hypnotherapy, music therapy, and aromatherapy can help during bronchoscopies. Musicure is considered to assist people to grow well by sending "passive" musical impulses.</p><p>Objective The goal of this study was to see how well musicure helped bronchoscopy patients deal with pain.</p><p>Methods A quasi-experimental design with a pre-test, post-test, and control group was used. Patients with lung illness will undergo bronchoscopy and consecutive sampling at the Dr. Moewardi Surakarta Hospital in February-March 2020. The study subjects were divided into a treatment group with Musicure and a control group without music. Both groups were assessed with pain visual acuity score (VAS) at baseline and after bronchoscopy.</p><p>Results A total of 32 subjects with lung diseases whom bronchoscopy in this study. The treatment group showed a decreased pain VAS scale (-14.71±12.31). The treatment group pre-test pain score obtained 31.76±12.86, and the VAS post-scale average of 17.06±12.63. The changes in the VAS scale post-pretreatment group showed a decrease in average -14.71±12.31. The treatment group (p=0.002) obtained a p&lt;0.05, which means that the treatment group experienced a significant change in the VAS scale. There was a significant difference compared to the control (p&lt;0.05).</p><p>Conclusion Musicure is effective in inhibiting perception of pain that it will lower the VAS scale, therefore decreasing pain score. Pain in patients who undergo bronchoscopy will be more controlled, which makes it easier to act and decrease side effects after the action.</p>

<p><em>Latgalian music has a distinct place within the Latvian music market, which has itself inhabited a niche within the global music marketplace; the various processes of globalization have influenced Latgalian music groups and their members to varying degrees. This article aims to assess which musical styles are most popular amongst Latgalian groups and whether there are parallels with tendencies in the global music world in order to identify which global and local features are typical of Latgalian groups, and describe characteristic Latgalian album design in comparison with that of world-famous groups.</em></p><p><em>The article discusses the following groups: “Borowa MC”, “Bez PVN”, “Dabasu Durovys”, “Laimas Muzykanti”, “Green Novice”, “Sacramental” and Sovvaļnīks. Due to limitations in length, this research does not focus upon text analysis.</em></p><p><em>Research was carried out using the following resources: conversations with group members, internet resources, album reviews, press materials, and the author’s own observations as a member of a Latgalian music group.</em></p><p><em>The research is conducted from a comparative perspective, with the goal of highlighting global and local features that characterize Latgalian groups.</em></p><p><em>According to music critic Sandris Vanzovičs, almost all global music styles are represented in the music of Latgale, each inhabiting their particular niche (Gusāns 2015, 1). Evaluating the musical styles and album packaging of select Latgalian groups, it is possible to conclude that Latgalian groups, in ways that are not connected to dance music, reflect the main global tendencies in music, confirming the global location of the Latgale region. The influence of globalization is noticeable in the English-language names of some groups, e. g. “Green Novice”, “Sacramental”. However, local elements in the music are also present: 1) the use of the Latgalian language, 2) folk song melodies and lyrics used with contemporary interpretations, revealing culturohistorical information, and 3) the desire to design original album covers, trying as much as possible to avoid typical clichés or frequently-used motifs, and highlighting the local area. However, Latgalians still need to overcome the lack of interest or support outside the region for Latgalian music.</em></p>

Penelitian ini bertujuan untuk mengetahui efektivitas penerapan model pembelajaran atraktif berbasis <em>multiple intelligence</em>s dalam meremediasi miskonsepsi siswa tentang pemantulan cahaya pada cermin. Pada penelitian ini digunakan bentuk <em>pre-eksperimental design</em> dengan rancangan <em>one group pretest</em>-<em>post test design</em>. Alat pengumpulan data berupa tes pilihan ganda dengan <em>reasoning</em>. Hasil validitas sebesar 4,08 dan reliabilitas 0,537. Siswa dibagi menjadi lima kelompok kecerdasan, yaitu kelompok <em>linguistic intelligence, mathematical-logical intelligence, visual-spatial intelligence, bodily-khinestetic intelligence, dan musical intelligence</em>. Siswa membahas konsep fisika sesuai kelompok kecerdasannya dalam bentuk pembuatan pantun-puisi, teka-teki silang, menggambar kreatif, drama, dan mengarang lirik lagu. Efektivitas penerapan model pembelajaran <em>multiple intelligence</em>s menggunakan persamaan <em>effect size</em>. Ditemukan bahwa skor <em>effect size</em> masing-masing kelompok berkategori tinggi sebesar 5,76; 3,76; 4,60; 1,70; dan 1,34. Penerapan model pembelajaran atraktif berbasis <em>multiple intelligence</em>s efektif dalam meremediasi miskonsepsi siswa. Penelitian ini diharapkan dapat digunakan pada materi fisika dan sekolah lainnya.

<p>“]MA[ – The Space between the Interval” is the fourth movement of ]MA[, a multidisciplinary performance created in 2013 by Thingamajigs Performance Group (TPG) and performed at the UC Berkeley Art Museum and Pacific Film Archive. In 2019, group member Dylan Bolles conducted and recomposed a series of interviews in which TPG reflected on the process of making and performing ]MA[. We asked questions such as: How does embodiment create particular amalgamations of influence and technique that trouble distinctions between thoughts of East and West? How do cultural artifacts change when passed through different bodies and contexts? What are the underlying principles which allow for sometimes effortless musical communication between seemingly distant cultural representatives? Our conversations, disjointed as they are, intermingle both shared and previously unshared experiences from many years working together and apart on intercultural performance projects. What emerges is a glimpse into a process of intercultural integration in motion.</p>

The image of “Music teacher” and its semantic meanings. The object of the research is the semantic image of “music teacher” in the title of the famous novel by A. M. Remizov as a manifestation of the latent theme of continuity of generations in the environment of creative emigration. Music in this semantic field is a universal language uniting tradition, culture and modernity. 2. On the creation of two “musical” episodes. Based on the unknown letters of the musician and conductor N. L. Slonimsky, who belonged to the Parisian group of Remisov’s pupils, the article discovers the real subtexts of two stories devoted to the avant-garde music innovation and some experiments of the early 1930s within the novel. 2.1. Remizov and Varèse: on the typology of creative search. Author compares Remizov's intentions in transforming the form of autobiographical prose with the creative vector of composer Edgar Varèse and reveals similar features of modern culture. 2.2. Literary lesson for a professional musician. The image of Slonimsky in the structure of the novel Music teacher is related to the objectification of the equal force vector which defines similar tasks for literature and music art. The important conclusion of the article is an explanation of the significance of Alexander Blok’s image among denotatives of “music teacher” as an ideal creator able to perceive the historical time and culture by “inner hearing”.

<p><strong>Background:</strong> There has been significant progress in understanding the human brain with the development of modalities like functional magnetic resonance imaging (fMRI), positron emission tomography (PET) etc. Education is an important source of intellectual, emotional and cultural stimulus to the brain. In this resting fMRI study, we aim to map out specific regions in the brain in which changes occur relating to memory, language, motor, behavioural and cognitive functions after five years of undergraduate medical education and how this knowledge can bring us closer to understanding the brain and its functions and applications in clinical practice.</p><p><strong>Methods:</strong> A total number of 48 normal, healthy medical students from our medical college were included in the study, and were divided into two groups, the first group completed five years of under-graduate medical training and the second group consisted of individuals who had only 4 months of exposure to medical training. Resting state fMRI study was performed and seed-to-voxel based functional connectivity analysis method was used to derive between group differences</p><p><strong>Results: </strong>Out of the 48, 13 played one or more sport professionally, 8 were musically oriented with skills to play one or more musical instrument professionally and 9 had other talents (2-Good academic, 2-theatre, 3-dancing, 2-art like pottery and painting). <strong></strong></p><p><strong>Conclusions:</strong> There were significant differences in the right inferior temporal gyrus which is the seat of many cognitive functions like language, emotion and memory and the left cerebellar hemisphere, which is known to play a role in fine motor functions, language and visual learning.</p>

The bulbul family Pycnonotidae is an Old-World group of tropical birds that plays important roles in tree seed dispersal. The behavior and vocalization of bulbuls have been studied only in a few species. The present study’s objective is to describe, for the first time, the acoustic and social behavior of three species of bulbuls of the genus Pycnonotus: the Sooty-headed bulbul (P. aurigaster), the Streak-eared bulbul (P. conradi), and the Stripe-throated bulbul (P. finlaysoni). Field studies were conducted from November 2021 to May 2022 in the Cattien National Park, Dong Nai Province, Vietnam, where all three species are sympatric and tend to inhabit disturbed biotopes. We analyzed “observations”, that is, a single record of a bird or a group of birds of a given species. During each observation (about 800 in total), the behavior of the birds was described and, when possible, vocalizations were recorded. The total duration of phonograms of all three species amounted to ca 227 min. The sooty-headed and streak-eared bulbuls are social birds that kept pairs throughout the year, but often, especially during the non-breeding season, gathered in larger groups. Pair members and individuals from neighboring pairs maintained acoustic contact with each other all the time. To do so, they used calls: broadband calls (noise sounds without clear structure, but with a wide continuous frequency spectrum) emitted by streak-eared bulbuls, vs tonal calls (musical sounds showing one clearly defined frequency) by sooty-headed bulbuls. Both these species singing were only rarely observed, this possibly being due to reduced territorial behavior in these birds. The Stripe-throated bulbul differs from the other two in singing more frequently, along with producing calls, and the song could be used for territorial purposes. We assume that territorial behavior is better expressed in stripe-headed bulbuls than in the other two species. However, even stripe-throated bulbuls did not react to playback simulated territorial intrusion in our experiments. We assume that vocalizations play important roles in the communication of the three species because we noted these or those sounds in almost all observations. Moreover, we observed a general increase in vocal activity at the beginning of the breeding season (February–March). In addition, during this time, bulbuls were most often to sing.

<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>

<p>The purpose of the research is to determine which school musical instrument (recorder, bağlama, guitar) is more effective in reaching music lesson acquisitions. The research is on an experimental basis. In accordance with the aforementioned purpose, the effect of the experimental application on experimental groups has been identified.</p><p>The work group of the research consists of 6th grade students which are divided into three groups, namely 6A-6B-6C, in 75. Yıl Primary School in the city of Nevşehir. In order to discover the impact of recorder, bağlama and guitar on music class acquisitions, cognitive entry behaviors (pre-acquisitions) test have been designed by using expert view. Acquisitions and level of learning and practice skills of each of the classes which constitute the experiment group have been evaluated by 5-point Likert scale. Data gathered via the experiment have been analyzed via SPSS statistical software with One Way ANOVA, Pearson’s Correlation, Levene, Shapiro-Wilks, Kruskal-Wallis, Variance, and Scheffe tests.</p><p>In the results of the research, it has been observed that all of the three instruments have an impact on acquisitions. When expert views are examined, it was determined that all of the three instruments increased the level of success in different acquisitions.</p><p> </p><p><strong>Özet</strong></p><p>Araştırmanın amacı ilköğretim müzik dersi kazanımlarına ulaşılmasında hangi okul çalgısının (blok flüt, bağlama, gitar) daha etkili olduğunun belirlenmesidir. Araştırma deneysel niteliktedir. Söz konusu amaca yönelik olarak deneysel uygulamanın deney grupları üzerindeki etkisi belirlenmiştir. </p><p>Araştırmanın çalışma grubunu Nevşehir İli 75. Yıl İlköğretim Okulunun 6A-6B-6C şeklinde üç şubeden oluşan 6. Sınıf öğrencileri oluşturmaktadır. Blok flüt, bağlama ve gitar çalgılarının müzik dersi kazanımlarında etkisini ortaya çıkarmak amacıyla uzman görüşlerinden faydalanılarak bilişsel giriş davranışları (ön öğrenmeler) testi hazırlanmıştır. Deney grubunu oluşturan her bir sınıfın kazanımları öğrenme ve uygulama beceri düzeyleri 5’li Likert tipi derecelendirme ölçeği ile değerlendirilmiştir. Deney sonucunda elde edilen veriler SPSS istatistik programı ile One Way Anova, Pearson Korelasyon, Levene, Shapiro-Wilks, Kruskall-Wallis Varyans ve Scheffe testi kullanarak değerlendirilmiştir.</p><p>Araştırma sonucunda süreç içerisinde kazanımlar üzerinde her üç çalgının da etkili olduğu, uzman görüşleri incelendiğinde üç çalgının da farklı kazanımlarda başarı seviyesini arttırdığı tespit edilmiştir.<strong></strong></p>

Objective:Agenesis of the corpus callosum(AgCC) is a disorder in which the connection between the two brain hemispheres is congenitally absent. Previous research has suggested that the auditory system can be affected in individuals with AgCC (Demopoulos et al., 2015). However, the nature of AgCC’s effect on musical perception skills is unclear. This study investigated the impact of AgCC on the music perception skills in high-functioining adults using a brief version of the Profile of Music Perception Skills (PROMS; Zentner, M. & Strauß, H. 2017). It was hypothesized that individuals with AgCC would have diminished music perception abilities when compared to a neurotypical control group.Participants and Methods:Participants included 10 high-functioning adults with AgCC that had an intelligence quotation within the normal range (FSIQ>80) and 63 neurotypical controls who were recruited via Cloud Research. During the PROMS the participants were asked to listen to two different sound excerpts after which they were asked whether the second sound was the same or different from the first (correct answers= 2 points, uncertain answers= 1 point, and remaining answers not coded). The participants answered questions in four different areas of musical perception: Melody, Tuning, Accent, and Tempo.Results:Results indicated that there was not a significant difference between the control group and the AgCC participants on music perception skills on the overall PROMS scores F(1,72)= .365, P-value= .548. Tested individually, none of the 4 individual domains showed a significant difference: Melody F(1,72)=2.67, P-value= .107; Tuning F(1,72)= .271, P-value= .606; Accent F(1,72)= .017, P-value= .897; or Tempo F(1,72)=.106, P-value= .746.Conclusions:Contrary to the hypothesis of this study, the results showed that the participants with AgCC did not perform significantly differently in the PROMS total score when compared to neurotypical controls, nor were there significant differences in any of the four of the subtests (Melody, Tuning, Accent, and Tempo). Thus these high-functioning individuals with AgCC did not have deficient music perception abilities. These findings demonstrate that although the auditory system may be affected in some individuals with AgCC, we do not see differences in musical perception skills in high-functioning individuals with AgCC.

<p class="abstract"><strong>Background:</strong> Vocal sound is based on the complex yet co-ordinated interaction of phonatory system, resonatory system and respiratory system. Phonetography is a practicable and readily accessible method to investigate and map the quantitative potentialities of vocal output. The objectives of the present study were to determine the phonetogram of trained (Hindustani classical) singers, untrained singer sand non-singers elicited from singing as well as speech task to see if statistically significant differences were present which may indicate an effect of training.</p><p class="abstract"><strong>Methods:</strong> 90 female subjects between the ages 20-45 (mean age 34.2 years for trained subjects, 26.3 years for untrained subjects and 25.8 years for non-singers) divided into three groups each group consisting of 30 subjects. For the singing task, the individuals had to phonate |a| at habitual level by traversing through eight musical scales. In the speech task, the subjects were asked to count from one to twenty in Bengali at habitat level and at Sustainable cohorts of intensity. This was recorded using phonetogram software Dr. Speech (version 4). The parameters considered were fundamental frequency, intensity, semitones and area. </p><p class="abstract"><strong>Results:</strong> The study revealed that in both tasks singing and non-singing task for all three groups in all the four parameters of phonetogram significant differences were seen (p=0.000) at 95% level of confidence.</p><p class="abstract"><strong>Conclusions:</strong> The present study depicted the phonetographic profile of a genre of trained singers and tracked out the parameters on which differences are pronounced between a trained and untrained singer and non-singer.</p>

Evidence in animals and humans indicates that there are sensitive periods during development, times when experience or stimulation has a greater influence on behavior and brain structure. Sensitive periods are the result of an interaction between maturational processes and experience-dependent plasticity mechanisms. Previous work from our laboratory has shown that adult musicians who begin training before the age of 7 show enhancements in behavior and white matter structure compared with those who begin later. Plastic changes in white matter and gray matter are hypothesized to co-occur; therefore, the current study investigated possible differences in gray matter structure between early-trained (ET; <7) and late-trained (LT; >7) musicians, matched for years of experience. Gray matter structure was assessed using voxel-wise analysis techniques (optimized voxel-based morphometry, traditional voxel-based morphometry, and deformation-based morphometry) and surface-based measures (cortical thickness, surface area and mean curvature). Deformation-based morphometry analyses identified group differences between ET and LT musicians in right ventral premotor cortex (vPMC), which correlated with performance on an auditory motor synchronization task and with age of onset of musical training. In addition, cortical surface area in vPMC was greater for ET musicians. These results are consistent with evidence that premotor cortex shows greatest maturational change between the ages of 6–9 years and that this region is important for integrating auditory and motor information. We propose that the auditory and motor interactions required by musical practice drive plasticity in vPMC and that this plasticity is greatest when maturation is near its peak.

BACKGROUND: Musical artwork using Balinese flutes made from bamboo (timing buluh) by Agus Teja Sentosa, S.Sn is a combination of music played with flute as the main instrument which contains certain components resembling music therapy such as in western classical music by Antonio Lucio Vivaldi. AIM: This study aims to determine the improvement of cognitive function and increase in serum dopamine in the elderly after listening to music with Balinese flute as the main instrument. METHOD: The current study allocated 18 subjects in the control group listened to western classical music by Antonio Lucio Vivaldi, while 18 subjects in the intervention group listened to western classical music and music from Balinese flute as the main instrument by Agus Teja Sentosa, S.Sn. MoCA-Ina assessment and examination of serum dopamine levels were carried out initially and 21 days after listening to music intervention. RESULTS: The mean increase in cognitive function score was higher in the intervention group (5.22; p < 0.001) than in the control group (4.67; p < 0.001), this increase was not statistically significant with a value of p = 0.562 (p > 0.005). The mean increase in dopamine levels in the control group (3.60) was greater than in the treatment group (3.56), but the mean increase was not statistically significant (p = 0.085). CONCLUSION: There was a significant relationship between listening to the main instrumental Balinese flute music and the improvement of cognitive function, especially in the memory domain in all study subjects, but the mean increase in cognitive function and serum dopamine level did not reach statistical significance.

<p style="text-align: justify;">Recently, Thailand's educational policy focused on developing learners’ potential according to multiple intelligences. The research objectives were to develop the multiple intelligences (MI) promotion model and an MI screening test for Thai learners and propose policies to encourage MI so that learners can reach their full potential. The sequential mixed method was applied. First, the model and the MI screening test were developed. The participants were two groups of key informants, comprising 93 and 185 participants, respectively. The sample group consisted of 460 primary and secondary school students selected through multistage random sampling. The MI screening test consisted of characteristics of 45 behavioral observations. The result showed that the developing model was the “A2D model or AAD.” This model consisted of three components: nine areas of intelligence, eight continuity mechanisms, and two success conditions. The MI screening result revealed that most learners had outstanding bodily–kinesthetic intelligence, accounting for 40.4%. The least prominent aspect was musical intelligence, representing 16.2%. The proposal policies comprised (a) The aspect of foundation for learning management with access to the A2D model, consisting of four sub-policy proposals, and (b) The aspect of encouraging learners to develop their full potential, consisting of six sub-policy proposals.</p>

<p class="VARKeywords">This article sets a framework for computer-based visualisations of cultural heritage sites. The project focuses on a workflow for a visualisation illustrated on a specific solution for the site of Çukuriçi Höyük, a tell settlement in Turkey. With the virtual presentation, an interdisciplinary research group tries to offer complex scientific results to the general public as well as to experts. The team utilised data acquisition and communication techniques, interpretative approaches, and dissemination methods. The three-dimensional (3D) outcome is based on a large amount of scientific data, usually available only via analogue or digital publications for a specialised audience. The work focused on constructed and personal authenticity to reach the viewer’s feelings. As an interpretative narrative, the daily lives of the inhabitants were selected. A communication plan was constructed, and a video animation with narration and a musical background was selected as the most appropriate communication tool. The movie was divided into four chapters <em>(Introduction, Neolithic Period, Chalcolithic Period </em>and <em>Early Bronze Age Period</em>). A separate webpage was designed to provide additional information when the video is viewed online. The webpage was divided into tabs that describe each chapter and three additional topics (<em>Visualisation Process, Further Reading, </em>and <em>Credits</em>). The video was shared in different settings, e.g. at public talks and on social media. The process resulted in a complex workflow that consists of several stages: data acquisition, first interpretation, 3D model creation, communication plan, second interpretation, 3D model adjustment, and dissemination output. Each stage of the workflow serves as an example to show the types of nodes these parts can include. The result is a flexible framework with predefined process stages, which can be re-used for similar projects.</p><p>Highlights:</p><ul><li><p>Computer-aided visualisations bring hidden cultural heritage to life –an individual outcome for Çukuriçi Höyük, a tell settlement in Turkey.</p></li><li><p>The interdisciplinary team combined data acquisition and communication techniques, interpretative approaches, and dissemination methods for achieving the best result.</p></li><li><p>Integrative framework optimises the information and communication potential of virtual visualisations with the help of pre-defined workflow stages.</p></li></ul>

<p>The purpose of this study is to analyse the opinions of pre-service classroom teachers among music education. Qualitative method is used in the study and the study is a descriptive study. Study group is consisted of the 16 4^th grade students who receive education in Adnan Menderes University Faculty of Education Department of Classroom Teaching. Criterion sampling is used from purposive sampling methods in the study. To determine the opinions of pre-service classroom teachers among music education semi-structured interview technique was carried out. Results of the study indicated that pre-service classroom teachers think music has positive effects on children and various things can be thought with music. Four of the participants see themselves inadequate in giving music education while half of the participants see themselves efficient and other four of the participants claim they are better than most of the classroom teachers around. Results has also shown that pre-service classroom teachers think that a classroom teacher should play the recorder, sight-read and write down scores, should have the musical culture and instrument knowledge, should develop materials, play an instrument except recorder, have the knowledge of the repertoire, know teaching methods, conduct the national anthem, sing properly and be creative. </p><p> </p><p><strong>Özet</strong></p><p>Bu çalışmanın amacı, sınıf öğretmeni adaylarının müzik eğitimine ilişkin görüşlerini ortaya koymaktır. Araştırıma nitel araştırma türünde ve betimsel bir niteliktedir. Araştırmanın çalışma grubunu Adnan Menderes Üniversitesi Eğitim Fakültesi Sınıf Öğretmenliği Anabilim Dalı 4. sınıfta öğrenim görmekte olan 16 sınıf öğretmeni oluşturmaktadır. Araştırmada amaçlı örnekleme yöntemlerinden ölçüt örnekleme kullanılmıştır. Katılımcıların müzik eğitimine ilişkin görüşlerini belirlemek amacıyla öğrencilerle yarı yapılandırılmış görüşme yapılmıştır. Araştırmadan elde edilen sonuçlar doğrultusunda sınıf öğretmeni adaylarının, müziğin çocuk üzerinde olumlu etkileri olduğunu ve müzikle farklı şeylerin kavratılabileceğini düşündükleri ortaya konmuştur. Katılımcıların yarısı kendilerini müzik eğitimi verme konusunda yeterli görürken, dört katılımcı kendisini yetersiz görmekte, diğer dört katılımcı da durumlarının etraflarındaki sınıf öğretmenlerine göre iyi olduğunu ileri sürmektedirler. Ayrıca araştırmanın bulguları sınıf öğretmeni adaylarının bir sınıf öğretmeninin blokflüt çalabilmesi, nota okuyup yazabilmesi, müzik kültürüne ve çalgı bilgisine sahip olması, materyal geliştirebilmesi, blokflüt dışında bir çalgı çalabilmesi, dağarcık bilgisine sahip olması, öğretim yöntemi bilmesi, istiklal marşını yönetebilmesi, doğru şarkı söyleyebilmesi, yaratıcı olması gerektiğini düşündüklerini ortaya koymuştur.</p>

Sedentary behavior and obesity are becoming international concerns. Children spent less time in physical activity and sports due to several reasons. Changing children’s behavior should involve a holistic approach. Furthermore, multiple intelligence could contribute to promoting active children's behavior. This study aimed to evaluate the content of the sports summer camp curriculum which was developed by multiple intelligence theory. Moreover, the effect on children's behavior was observed in the implementation of the curriculum. This research was conducted by a qualitative-quantitative combination research design (mixed method). There were 82 elementary school students (age 9.70 ± 1.18 years old) who participated as a research sample with the approval of their parents. As a result, there were eight intelligence profiles that were implemented into this curriculum. The intelligence was bodily-kinesthetic, linguistic, logical-mathematical, musical, visual-spatial, interpersonal, intrapersonal, and naturalist. Furthermore, based on their multiple intelligence profile, bodily-kinesthetic performed excellently in every activity. In addition, there is no significant difference in students’ involvement among multiple intelligence groups during the summer camp (Sig. >0.05). In conclusion, each intelligence was involved in the activity. Furthermore, each multiple intelligence group could involve in every activity.

Introduction: Parkinson disease is the second most common neurodegenerative disease which requires a complex approach including pharmacological and non-pharmacological treatment. While kinesiotherapy is a must in Parkinson’s disease patients, dance therapy in rehabilitation programs is not often taken into consideration. Dance therapy is a challenging non-pharmacological treatment which merges physical activity with musical synchronization, socialization , disease acceptance and creativity with daily activities. The aim of this study is to evaluate the effect of dance therapy on the quality of life, functionality and decrease of depression in Parkinson patients. Material and method: We developed a case control study to evaluate the benefit of dance therapy in Parkinson Patients. The study group consisted in 10 patients from “Puterea Sperantei Project”. The intervention consisted in 40 minutes/day of dance therapy during two weeks. First control group consisted of 10 patients admitted to Cluj-Napoca Rehabilitation Hospital for two weeks. The second control group consisted in 5 patients enrolled in the “Puterea Sperantei Project” which did not attended dance classes. All three groups followed standard therapy: kineto-therapy and ergo-therapy. To assess the effect of dance therapy we used: Beck scale, Parkinson Disease Questionnaire (PDQ-39) and a satisfaction questionnaire which we developed, for the dance therapy. Results and discussions: In the study group we registered an improvement of depression symptoms (p=0,017) and an increase in the life quality (p=0,005). In the hospital control group and in the “Puterea Speratei Project” control group there was no decrease in the depressions score (p >0,05). However, the quality of life increased also in the control group enrolled in the Rehabilitation Hospital, probably due to medication change. The mean of satisfaction questionnaire for dance therapy in the study group was 39,70 from a maximum of 48 points. Conclusions: Dance therapy is a holistic non-pharmacological therapy which improves the depression index, the quality of life and functionality of Parkinson disease patients. This initial results raise the possibility of including dance therapy as an alternative of non-pharmacological therapy in the rehabilitation programs for Parkinson Disease Patients.

<p style="text-align: justify;">Aim. The purpose of this study was to investigate the level of psychological well-being of elderly and senile people who regularly engage in academic choral singing, and to identify factors related to this. Methods. A qualitative analysis was carried out to analyze the statements of the participants of two Moscow academic choirs of elderly people about the influence of choral singing on their physical and mental well-being. A quantitative comparison was made between the two groups of participants - choir members (46 people 57-91 years old; M=73,6&plusmn;7,8), and a control group of people of the same age, but not involved in singing (56 people 52-82 years old; M=67,1&plusmn; 6,8) - in terms of psychological and life well-being were conducted. The following measures were used: 1) the Russian version of the С. Ryff psychological well-being questionnaire, 2) a questionnaire regarding the socio-demographic information and the satisfaction with basic life circumstances, 3) a questionnaire (only for choristers) regarding the characteristics of musical and vocal-choral activity and their impact on the well-being of respondents. Results. The detailed statements of the choristers testify to the positive impact of choral singing on their physical and psychological well-being. The level of psychological well-being of elderly and senile people is largely determined by the well-being of important life circumstances. Engagement of elderly people in the academic choral singing has a significant effect in terms of increasing the psychological well-being of participants only if the level of well-being of the main life circumstances is high. The duration of engagement in the choir singing negatively correlates with the level of psychological well-being of the participants.</p>

<p>Repertuar muzyki bożonarodzeniowej z lat 1945-2005 ugruntowanej na rodzimej tradycji kolędowej przedstawia się jako dość obszerna część twórczości polskich kompozytorów. Jest to zjawisko zróżnicowane, obejmujące różne sposoby traktowania materiału kolędowego, rozmaite rozwiązania z zakresu formy, techniki kompozytorskiej, wielorakie rodzaje składów wykonawczych i różnorodne odcienie ekspresji dźwiękowej. Znajdujemy tu m.in.: częste nawiązania do polskiej muzyki ludowej, stylizacje historyzujące, język romantyczny i neoromantyczny, archaizacje, emanacje nowego języka dźwiękowego (sonorystyka, punktualizm, aleatoryzm, nowoczesna harmonika, technika repetytywna, klastery). W grupie opracowań kolęd (część I: <em>Opracowania kolęd</em>) kompozytorzy najczęściej wykorzystują powszechnie znane kolędy i pastorałki. W wypadku opracowań na chór <em>a cappella</em> i opracowań wokalno-instrumentalnych inspiracja płynie zarówno z tekstu słownego, jak i z melodii opracowanej kolędy (np. przez eksponowanie jej motywów w strukturze głosów kontrapunktujących). Wśród stosowanych technik kompozytorskich dominują środki konwencjonalne, nawiązujące stylistycznie do muzyki epoki romantyzmu lub wcześniejszych epok. Sporadycznie tylko tradycyjnej melodii kolędowej towarzyszą współczesny język harmoniczny i nowe środki wyrazu. W opracowaniach pastorałek często dochodzi do głosu stylizacja polskiego folkloru muzycznego – w melodyce (np. użycie skal charakterystycznych dla muzyki niektórych regionów Polski), rytmice (wykorzystywanie rytmów tanecznych), harmonice i fakturze (puste kwinty, dźwięki burdonowe). Szczególnie często twórcy nawiązują do muzyki Podhala. Instrumentalne opracowania mają natomiast z reguły charakter użytkowy – służą do gry w kościele, celom dydaktycznym, muzykowaniu domowemu. Grupa kompozycji (część II: <em>Kompozycje</em>), które odwołują się do rodzimej tradycji kolędowo-pastorałkowej, dystansując się jednocześnie od praktyki opracowań, aranżacji itp., jest dużo bardziej zróżnicowana, zarówno pod względem tekstowym, jak i muzycznym. W utworach wokalnych i wokalno-instrumentalnych uderza rozległość warstwy literackiej, obejmującej teksty z dawnych epok, XIX w., poezję współczesną, twórczość ludową, teksty łacińskie. W ślad za tym idzie daleko posunięta różnorodność środków i technik kompozytorskich, konwencji stylistycznych i typów ekspresji. Z jednej strony pojawiają się archaizacje – nawiązania do organum, chorału gregoriańskiego, rytmiki i harmoniki modalnej, dawnych form, z drugiej – ludowe stylizacje, neobarok, kompozycje romantyzujące, dzieła oparte na współczesnym języku dźwiękowym. Równie wielką rozmaitość zauważamy w sposobach traktowania tradycyjnego materiału kolędowego, począwszy od nasycenia nim struktury motywicznej kompozycji (materiał tematyczny, imitacje, snucie motywiczne), po okazjonalne cytaty, a nawet takie sytuacje, gdzie nowo skomponowana muzyka unika cytatu, a mimo to – w różny sposób – przywołuje kolędowo-pastorałkowy nastrój. Podobnie rzecz ma się z kompozycjami instrumentalnymi. Są pośród nich takie, w których melodia kolędy staje się czynnikiem konstrukcyjnym, na drugim zaś biegunie sytuują się utwory, w którym cytat z kolędy pojawia się okazjonalnie, pełniąc rolę symbolu.</p><p> </p><p><strong>Christmas Carol as a Source of Inspiration in the Works of Polish Composers in 1945-2005</strong></p>SUMMARY<p>The repertoire of Christmas music from 1945-2005, consolidated on the native Christmas carol tradition, can be perceived as a vast part of the works of Polish composers. It is a diverse phenomenon, comprising various ways of treatment of the Christmas carol material, various solutions in the form, composer’s technique, various kinds of the artist forces, and various shadows of sound expression. We may fi nd here inter alia: frequent references to Polish folk music, historicizing stylizations, Romantic and neo-Romantic language, archaizations, emanations of a new sound language (sonorism, punctualism, aleatorism, modern harmonica, repetitive technique, clusters). In the group of adaptations of carols (Part I – Adaptation of Carols) the composers frequently make use of commonly known carols and pastorals. In the case of adaptations for a choir a cappella and vocal-instrumental adaptations, the inspiration stems from both the verbal text and melody of the adapted carol e.g. by emphasizing its motifs in the structure of counterpoint voices). Among applied composer’s techniques, conventional means dominate which stylistically refer to the music of Romantic or previous epochs. Only sporadically the traditional carol melody is accompanied by modern harmonic language and new means of expression. In the adaptation of pastorals the stylization of Polish musical folklore is very often heard – in the melody pattern (e.g. the use of scales characteristic of the music of some regions in Poland), in rhythmicity (the use of dancing rhythms), in harmony and texture (empty fi fths, bourdon sounds). The composers particularly frequently refer to the music of the Podhale region. Instrumental adaptations are usually of practical character – they serve to be played in church, for didactic purposes, to play music at home. The group of compositions (Part II – Compositions) which refers to the native carol-pastoral tradition, while at same time distancing itself from the practice of arrangements etc., is far more diverse both as far as the text and melody is concerned. In vocal and vocal-instrumental works the vastness of the literary layer is striking; it comprises the texts from old epochs, 19th century, modern poetry, folk works, and Latin texts. This is followed by a variety of means and composer’s techniques, stylistic conventions, and types of expression. On the one hand, there are archaizations – references to the organum, Gregorian chorale, rhythmicity and modal harmony of old forms, on the other hand – folk stylizations, neo-Baroque, romanticizing compositions, work based on modern sound language. We may also perceive a great variety in the way of treating traditional carol, material from fi lling with it the motif structure of the composition (thematic material, imitation, motif repetitions) to occasional citations, and even to such situations where newly composed music avoids a citation, nevertheless it refers to the carol-pastoral mood). The same applies to the instrumental compositions. There are compositions in which the melody of a carol is a constructive factor; at the opposite end there are musical pieces in which the citation from a carol appears occasionally, playing the role of a symbol.</p>

<em>Tromba marina</em>, instrument wywodzący się z monochordu, znany od czasów średniowiecza, podobnie jak wiele innych, nie znalazł swojego trwałego miejsca w muzyce profesjonalnej. W niniejszym artykule zwraca się uwagę na pewien „epizod”, który stał się udziałem tego specyficznego chordofonu, a któremu z literaturze muzykologicznej nie poświęcono dostatecznej uwagi.<p>Instrument ten miał swoje pięć minut w muzyce francuskiej około połowy XVII wieku. W 1660 Lully wykorzystał <em>trombae marinae</em> w w ustepach baletowych opery Cavallego <em>Xerxes</em>, wystawionej z okazji ślubu Ludwika XIV z Marią Teresą Habsburg, zaś w 1661 roku na dworze Króla Słońce powołano zespół składający się pięciu z muzyków grających na krumhornach i <em>trombae marinae</em>. Dlatego prawdopodobnie Molierowski Monsieur Jourdain na kartach „Mieszczanina szlachcicem” wyraził pragnienie dołączenia interesującego nas instrumentu do zespołu grającego na organizowanym w jego domu przyjęciu.</p><p>Jedynym znanym z nazwiska wirtuozem tego instrumentu był Jean Baptiste Prin (ok. 1699-1742), który sporządził zachowany do dzisiaj zbiór 216 utworów na <em>tromba marina</em> oraz napisał w roku swojej śmierci traktat <em>Memoire sur la trompette marine, </em>w którym wyraził żal, że ukochany instrument „umiera” wraz z nim.</p><p>Spośród wielu różnych nazw, jakie nadawano temu kuriozalnemu instrumentowi (<em>tuba marina</em>, <em>tuba maritima</em>, <em>Trumscheit</em>, <em>Marientrompette)</em>, najpóźniejsze historycznie, bo pochodzące dopiero z XIX wieku, są nazwy wskazujące na używanie go przez zakonnice. Są to trzy określenia w języku niemieckim bazujące na złożeniach Nonne- (zakonnica) z dodaną nazwą instrumentu lub określeniem jego funkcji w zespole: Nonnengeige, Nonnentrompette, Nonnenbas. Ich istnienie dowodziłoby, iż na niemieckim obszarze językowym jeszcze w tym stuleciu zakonnice posługiwały się w swojej praktyce muzycznej interesującym nas instrumentem.</p><p>Cecil Adkins i Alis Dickonson, autorzy monografii poświęconej historii, budowie i zachowanym egzemplarzom <em>tromba marina</em>, a także związanej z tym instrumentem praktyce wykonawczej i repertuarowi, wskazali 29 ośrodków zakonnych (w tym 26 klasztorów żeńskich), w których kultywowano grę na <em>Nonnengeige</em>, konstatując iż była to specjalność zakonnic (w mniejszym stopniu zakonników) z Europy Środkowej. Do wymienionych przez tych autorów ośrodków, dzięki najnowszym badaniom jesteśmy w stanie obecnie dodać kolejne: klasztor augustianek św. Jakuba auf der Hülben w Wiedniu oraz serwitek w Insbruku oraz trzy kolejne klasztory w niemieckojęzycznej części Szwajcarii. Co więcej, możemy także poszerzyć geograficzny obszar występowania w klasztorach praktyki gry na <em>tromba marina</em> w kierunku północno wschodnim. Mamy bowiem dowody kultywowania jej w klasztorach benedyktynek z Sandomierza i Lwowa oraz klarysek ze Starego Sącza, a także w bursie jezuickiej w Krakowie. Dodatkowo można przypuszczać, iż instrumenty takie posiadał także klasztor cystersów w Obrze.</p><p>W klasztornej praktyce muzycznej instrument mógł pełnić cztery różne funkcje: być wykorzystywany w praktyce śpiewu chorałowego, co jest najsłabiej udokumentowane, służyć jako instrument fundamentalny realizujący wraz z <em>organami basso continuo</em> lub jako substytut trąbek w obsadach wokalno-instrumentalnych, ponadto zespół złożony w trzech lub czterech <em>trombae marinae</em> z towarzyszeniem kotłów mógł wykonywać fanfary.</p><p>Jeśli chodzi o obszar dawnej Rzeczypospolitej, najwięcej informacji na temat kultywowania gry na <em>tromba marina</em> pochodzi z Sandomierza, gdzie grające na tym instrumencie zakonnice są nam znane z nazwiska i gdzie zachowały się rękopisy poświadczające tę zapomnianą praktykę.</p><p> </p>SUMMARY<p><em>Tromba marina</em>(trumpet marine) – the instrument originated from the monochord and known from the Middle Ages – was not widely used in professional music. That special chordophone had, however, its day in French music about the mid-seventeenth century. In 1660 Jean Baptiste Lully used trombae marinae in ballet sections of Francesco Cavalli’s opera Xerxes, and in 1661, at the court of Louis XIV a group of fi ve musicians was formed, who played crumhorns and trombae marinae. The only virtuoso of this instrument, known by name, was Jean Baptiste Prin (ca. 1699-1742), who made a collection of 216 pieces for trumpet marine (tromba marina).</p><p>Out of the many names of the instrument (tuba marina, tuba maritima, Trumscheit, Marientrompette), the historically latest names are the nineteenth-century ones showing that it was used by nuns. There are three names in German, based on the compounds Nonne (nun) with the name of the instrument or with designation of its function in a musical group: Nonnengeige, Nonnentrompette, and Nonnenbas, which would prove that nuns still played the trombae marinae in the German-speaking area as late as in the nineteenth century.</p><p>Cecil Adkins and Alis Dickinson, the authors of the monograph devoted to tromba marina, listed 29 monastic centers (of which 26 were nuns’ convents), in which the playing of Nonnengeige was cultivated, and come to the conclusion that in the eighteenth century this was the specialty of Central European nuns. We can add some more names to those recorded by the two authors: the St. Jakob Augustinian nunnery in Vienna, the Servite Nunnery in Innsbruck, and three convents in the German-speaking part of Switzerland. Furthermore, we can also broaden the geographical range of the practice of playing tromba marina towards North-East because we have evidence that it was cultivated in the convents of Benedictine nuns of Sandomierz and Lvov, the convent of St. Clare in Stary Sącz, as well as in the Jesuit chapel in Krakow.</p><p>The instrument in question exercised different functions in the performing practice in monasteries: it was used in the practice of chorale singing, it served as a fundamental instrument in the basso continuo section, it appeared as a substitute for trumpets in the vocal-instrumental forces, fi nally – as part of a group consisting of three or four trombae marinae and kettledrums, it played fanfares.</p>

The goal of this research was to determine the impact of an intervention program containing music-accompanied sport and dance activities on the quality of pupils’ body posture at the elementary level of education in physical and sports education classes. The research sample comprised Ʃ 102 pupils at the primary level of education, 53 of whom were boys with a decimal age of 8.83±0.69 and 49 were girls with a decimal age of 8.77±0.68. They were subjected to testing according to the Klein and Thomas method modified by Mayer. The output results of the posture diagnostics confirmed the significant effect of targeted exercises on the overall posture of boys with a substantial effect (Z=-6.131, p<0.05, r=0.60 – substantial effect). The greatest influence in the boys’ group was confirmed in the general spine curvature in the sagittal plane (Z=-5.209, p<0.05, r=0.51 – substantial effect). In the girls’ group, the targeted movement program was confirmed to have a substantial effect on overall body posture (Z=-5.793, p<0.05, r=0.59). In all other segments, it was significantly manifested with a medium effect. It was concluded that none of the participants had flawless posture. After the application of the intervention program, good posture was demonstrated by 62.2% of boys and 61.1% of girls. In the output test, the posture of 37.7% of boys and 38.8% of girls was incorrect. None of the pupils was diagnosed with very bad posture after the application of the intervention program. The relationship between BMI and posture assessment of the respondents was assessed. The results of the correlation of BMI values (r=0.007, p>0.05) and overall body posture did not show statistical dependence in both sexes. The intervention program including music-movement and dance elements had a significant effect on improving the posture quality of both boys and girls. The program supported by a musical piece was perceived positively by the pupils for its variety and emotionality. The program should be applied in the physical education classes at a frequency of minimum 2 times a week.

Background: Professional and pre-professional musicians are characterized by physical and psychological demands inherent to their musical activity, and therefore at risk for developing performance related musculoskeletal pain. Physical and psychological demands are known to influence human pain modulation. Objectives: In this study we compared the influence of a physically and emotionally stressful task on pain thresholds in musicians with and without shoulder pain. Study Design: A single-blinded randomized and controlled crossover study design was used to compare the effects of a physical versus emotional testing procedure on pressure pain thresholds (PPTs) in musicians with and without shoulder pain. Setting: All data were obtained in the field (e.g., at the physiotherapy accommodation in the Royal Conservatory). Methods: During the physical testing procedure, the subjects performed an isometric exercise of the glenohumeral external rotators. The emotional task comprised watching “unpleasant” images selected from the International Affective Picture System. The outcome was the assessment of change in PPTs before and after the physical and emotional task. Results: Our results indicate similar effects of both protocols in either group, i.e., musicians with and without shoulder pain (P > 0.05). All musicians showed elevated PPTs at local and remote areas after isometric exercise (P < 0.05). The emotional stress task increased PPTs at remote areas only (P < 0.05). Limitations: Despite the small sample size of musicians without shoulder pain, a power of 78.5% was achieved to detect the necessary effect size of Cohen’s d = 1. Furthermore, comparing these results with those of non-musicians (both healthy subjects and patients with shoulder pain) might reveal information regarding the specific adaptations. Finally a high variability was observed in shoulder disability (i.e., SDQ-scores) as typically seen in a population with shoulder pain. Conclusions: In musicians with and without regional shoulder pain, no significant differences were found with respect to pain modulation during a physically and an emotionally stressful task. Both interventions adequately activated central and widespread pain inhibitory mechanisms in both groups. Key words: Pressure pain threshold, PPT, exercise induced hypoalgesia, exercise induced analgesia, stress induced hypoalgesia, shoulder pain, musicians, regional pain:

The world of robotics has long been trying to teach the essence of engineering by using robots as a subject. A process of robot production and operation is said to have the total essence of engineering education, and the actual manufacturing of robots has certainly been motivational for students. For this reason, robotics researchers and those in educational institutions such as universities and technical colleges in particular have worked hard on robot education. However, researchers have been faced with a dilemma: a report of educational activities, however, has not been regarded as a research paper, even though they have worked so hard on it. This special issue intends to resolve the dilemma and convey their educational activities in educational literature. From a scientific point of view, we will utilize robots in robot education to activate human resource development in robotics in terms of both quantity and quality. Learning sciences researchers focus on what educational content they want to give and get back through various learning processes that enable such education. More specifically, they analyze what activities in what educational contexts yield what effects to what extent, thereby facilitating learning of higher quality than ever. The same attempt may be possible for education using robots. Various practices that give us hope for good results have been conducted independently. Comparison of those practices may result in the extraction of a principle to bring about learning of higher quality. A single report itself on a practice is not likely to be a research paper. Instead, in an effort to promote robotics itself, a compilation of processes and results of various educational attempts with various clear and specific subgoals that are comparable and examinable can be a precious group of research papers from which principles of attempts in engineering education are drawn. The formation of a community in which practices are conducted, processes and results are shared, and further practices are planned is highly likely to improve the overall quality of practices. This special issue provides the first step towards such formation of a new community based on such a compilation of new research. Educational research papers, common assets for the formation of such community, are thus required to clearly include the following contents which constitute an education literature. • Purpose of learning: Learners with what background knowledge acquire what and to what extent. • Activity program: The purpose of learning is achieved specifically through what activities, in what order, implemented for what period of time. • Learning process: During the course of the program, what specific learning activities are observed. • Assessments: Whether expected activities are made, to what extent the purpose is achieved, and whether activities and results seen are beyond what was expected. If at least the above items come to be known from one practice, subsequent practices can be improved and new goals can be set. At the same time, the practices can be observed on other occasions. Once an original “learning score,” like a musical score, is manifested, it will be able to be improved or edited. As no two musical performances are the same as a written musical score, no two practices will be the same as one “learning score.” However, that does not mean that the “learning scores” and their processes in practice are not subjects of research. As musical scores and performances are studied for the next composition and more impressive performance, “learning scores” and their outcomes in practice are the subjects of research aimed at designing better future processes and conducting practices of higher quality. The attempts in this special issue are expected to inspire more and more elaborative papers and to improve the quality of practices that utilize the results. This time, the first time, we had as many as 39 contributions from the public. We asked referees to select those that would constitute as diverse a collection as possible, and they finally adopted 29 contributions. We are sure that with these contributions as our point of departure, the accumulation of results will continuously engender next-dimension practices in the future. Let us now overview the papers selected this time and discuss their findings for the future contributions in three areas: purpose, contrast, and assessment. Please forgive us if the discussions overlap to some extent, but they include factors that are more related than independent. < Contrast in Purpose and Result > Goal setting is normally difficult in educational research. As a result, the most common mistake is that goals are set that are overly ambitious. The fact the goal of compulsory education currently set by the Ministry of Education, Culture, Sports, Science and Technology is a “zest for living” serves to indicate that the idea “the bigger the educational goal, the better” prevails. Big goals cannot be accomplished at once, however, so clearer and more specific interim goals of half-year, one-year, and four-year duration need to be set. To link the subject of research to the next practice, we have to specify as clearly as possible what interim activities and what results we expect. Otherwise, we will have vague results which do not merit papers. An example of a real story to show what a specific goal is like is warranted here. A researcher teaching biology in a liberal arts course, in the final examination after all the lectures, tasked his students with the following: “name, in their order of importance, technical terms that you had not intended to remember but actually did during the course, and explain their definitions in that order in the time allotted.” The task may seem far-fetched, but he actually expected a certain list of terms and their explanations. He had in fact intended for the students to be able to reproduce the terms on the list and be able to explain them; he had explained them by introducing the terms in a well-prepared order, using them repeatedly, encouraging the students to use them, and setting an opportunity for the students to explain them among themselves. Such effort made this practice popular among the students and made the task performance exceed his expectations. This practice program and the report of its process could be of very high quality as subjects of research. We can carefully track which of the planned activities facilitated learning, how active they were, and what level of results were brought for each term. If the students’ answers include important items that the students learned spontaneously although the teacher did not mean to teach them to that extent, this practice clearly “produced higher results than expected.” If we can review the records of the learning process (e.g., videos of the classes, records of the students’ conversations, copies of notes taken by the students in each lecture, etc.), we can at least guess which of the activities at what point in time produced the more-than-expected results, and we can produce a specific plan for the next practice. Thus, it is very beneficial to specify the educational goals before working on practices. < Contrast > Learning sciences are asking less and less for socalled “control groups” for their research. This is because, for the betterment of the next practice, it is more efficient to use the time for reviewing the process of a successful practice than making a single factor comparison, because what we want to know is not whether it worked but how it worked in relation with other factors. There are many reasons a practice gives the desired results or not, and they interact. Therefore, even if a cause or contributing factor to a successful outcome is identified, it can not be the only factor behind its success. This does not mean, however, that educational research should not compare at all, rather than that, if there are two or more paths to the successful accomplishment of a specific goal, comparing of them allows factors associated with the results to be identified more easily. In that sense, when devising a new way of teaching, it is often meaningful to compare both the processes and results of the first practice and second practice with slightly adjusted approach based on the results of the first practice. Regarding education using robots, there is an idea that the tangible nature of robots has educational effects on students through their physical experiences that can not be expected from classroom lectures alone. Here is an imaginary example. Suppose that a class previously allowed students to deal with an object only on a computer screen, but now the students are provided with a real model. Now suppose this real model has had some effects, but not to the level expected. In the second year, the class again includes operations on the screen in its introductory period, and, after the students have discussed the robot’s operation, a hands-on experience is provided. As a result, the second practice has almost the expected results despite the fact that the discussion on the operation on the screen has reduced the time for the operation of the real object. Now, how can this result be documented in a paper? In other words, how can this practice be reported in such a way that the reporter and readers may develop the next practice? A conclusion that “a hands-on experience may be important but the length of time does not affect the results” does not focus on what class is to be devised next. First of all, such conclusion misses the point in terms of the successful experience the second time. Now suppose that this practice is video-recorded at a level of resolution high enough to allow the comparison of the processes of the first and second classes. Reviewing the progression of the first class, we find that the model is introduced too early for the students to understand how to operate the real object and time is wasted over it. For this reason, the students utilize only about two-thirds of the expected length of time assigned to operation of the real object. Reviewing the progression of the second practice, we find that the length of time for discussion of the screen operation is just about one-third of the length of time assigned to the real object operation in the first class; that is, the length of time to operate the real object that is thought to be reduced is almost the same as that utilized in the first class. The first and the second classes are compared as Table 1. Although it may seem to be an afterthought, the results of the comparison of the two practices will be concluded as “to effectively learn from the actual object operation, the balance between the length of time to clarify what to do in the actual object operation and then the length of time to actually operate the object is apparently more important than the total length of time assigned to the actual object operation.” Some of the papers adopted this time should have manifested such comparison for an easier-to-understand result. < Assessment > Assessing what was learned as a result of teaching is more difficult than normally thought. Suppose we ask students the question, “In what year was Natsume Soseki (a Japanese famous novelist) born?” Which of the students should we give a higher score: a student who answers “1867” correctly, or a student who answers, “In the middle of the 19th century, probably,” based on the year of the Meiji Restoration, the year of the outbreak of the Thirty Year’sWar, and other betterknown years? In this case, the latter student often has more historical perspective than does the former. Tests require various problem-solving processes, depending on the way the questions are posed (or one’s understanding of what was asked). In that sense, an assessment is defined as “an interpretation of a cognitive process that, from a behavior observed by an approach, leads to the behavior.” The “approach” here is the equivalent of the test question above (i.e., the action of asking the year of Soseki’s birth), and “the behavior observed” is the equivalent of the answer of each student. The essence of an assessment depends on what the cognitive process that drew the answer interpreted from the behavior is. In this case, the answers of the two students imply that the cognitive process of the former student may only be to refer to a chronological table; on the other hand, that of the latter may be closer to a process of making an inference from a series of relevant events structured in memory as modern history. If one needs to confirm whether such interpretation is true, the student can be asked to elaborate in the assessment, i.e., the student can be asked a couple of similar questions, and the overall tendency of his observable behaviors may be interpreted. This suggests educational research consisting of continuous assessments rather than of a single collective assessment. In fact, the former involves elaboration but gives stable interpretations. Scoring the students by their performance over a couple of weeks of practice totaling several hours, performance that allows their behaviors to be observed, based on a confident, down-to-earth grade, is easier than scoring the students by their performance in once-a-week classes in a large lecture hall where individual reactions are invisible to the teacher and assessment is based only on the result of a single examination. Accordingly, if a practice is the subject of research, its results do not have to depend only on the final, single examination. Also, relying on a subjective assessment, which is more difficult to interpret, is not necessarily a wise thing to do. A stable assessment is achieved by continuously providing opportunities for behavioral observations in which cognitive processes are easy to interpret. Practices utilizing robots givemore opportunities for student observation for the purpose of assessment than other classes (e.g., mathematics or philosophy) in the sense that the students “externalize what they think” with a real subject. Educational research on robot education should take advantage of this. This argument can be countered by an argument that it is impossible to analyze such a great amount of data on the learning process, such as video. One of the answers to this counterargument is that it is good to keep as much data as possible to, when necessary, analyze it as needed. Now we look back the example of the imaginary classroom of experiential learning that we saw when we discussed the comparison. When we interpret the results of the two practices, if the length of time for actual object operation is focused on, we may first measure only the point in question from the video. Simply doing so ends up the discussion in the above example. Although time cannot be measured without a video record, measuring time is sufficient for one to be able to write a paper in the above example. In that sense, data on a leaning process is worth recording. In addition, if a further hypothesis, i.e., there is a difference in results depending not only the length of time but also how to use the time by each team between a group that performed a specific actual object operation and a group did not perform it, is generated, the video may be viewed again, and the occurrence of the specific activity alone can be focused on as a subject of analysis. Adding a report of learning process analysis results led by such a hypothesis not only facilitates the practice results to be brought into a paper but also serves as a strong factor that may lead to the next practice, the next educational study, and the next paper. Those researchers who have been involved in engineering education utilizing robots may each have individual hypotheses for better ways of teaching from their own individual experiences. Clarifying the instructional goal itself is the subject of research. By being aware of a hypothesis, translating a “better way of teaching” into reality in line with the hypothesis, clarifying an instructional goal, determining from a series of learning processes to what extent the goal can actually be accomplished, and reporting all of them to leave them to cooperative examination, those rules of thumb can be turned into learning principles. This special issue is, in that sense, the first step to new learning research.

ABSTRACT Purpose To investigate the influence of musical instrument practice on temporal auditory abilities and on the results of cortical potentials related to auditory events (P300) in a group of young musicians compared to individuals without experience in musical practice. Methods This is a prospective cross-sectional observational study. In total, 34 individuals between 18 and 30 years old, of both sexes, took part and were divided in two groups: Group I (GI), composed of musicians (n=16), and Group II (GII), composed of non-musicians (n=18). All participants underwent behavioral evaluation of temporal auditory processing, composed of Duration Pattern Sequence Test (DPS), Pitch Pattern Sequence Test (PPS), Random Gap Detection Test (RGDT) and electrophysiological evaluation – Long Latency Auditory Evoked Potential – P300. GI also answered a specific questionnaire to characterize musical practice. Results We observed statistically significant differences with superior performance of GI compared with GII in all behavioral tests (p<0.001*). The groups’ performance was similar regarding the latency and amplitude parameters analyzed from LLAEP-300 data (p>0.05). Conclusion The findings show a positive influence of musical practice toward the improvement of auditory abilities of temporal ordering and resolution. All participants presented adequate cortical functioning of the central auditory nervous system, without significant differences between musicians and non-musicians when considering P300 amplitude and latency.

Mindfulness meditation is a form of self-regulatory training for the mind and the body. The relationship between mindfulness meditation and musical aesthetic emotion processing (MAEP) remains unclear. This study aimed to explore the effect of temporary mindfulness meditation on MAEP while listening to Chinese classical folk instrumental musical works. A 2 [(groups: mindfulness meditation group (MMG); control group (CG)] × 3 (music emotions: calm music, happy music, and sad music) mixed experimental design and a convenience sample of university students were used to verify our hypotheses, which were based on the premise that temporary mindfulness meditation may affect MAEP (MMG vs. CG). Sixty-seven non-musically trained participants (65.7% female, age range: 18–22 years) were randomly assigned to two groups (MMG or CG). Participants in MMG were given a single 10-min recorded mindfulness meditation training before and when listening to music. The instruments for psychological measurement comprised of the Five Facet Mindfulness Questionnaire (FFMQ) and the Positive and Negative Affect Schedule (PANAS). Self-report results showed no significant between-group differences for PANAS and for the scores of four subscales of the FFMQ (p &gt; 0.05 throughout), except for the non-judging of inner experience subscale. Results showed that temporary mindfulness meditation training decreased the negative emotional experiences of happy and sad music and the positive emotional experiences of calm music during recognition and experience and promoted beautiful musical experiences in individuals with no musical training. Maintaining a state of mindfulness while listening to music enhanced body awareness and led to experiencing a faster passage of musical time. In addition, it was found that Chinese classical folk instrumental musical works effectively induced aesthetic emotion and produced multidimensional aesthetic experiences among non-musically trained adults. This study provides new insights into the relationship between mindfulness and music emotion.

Abstract Introduction The importance of temporal ordering and sequencing in the auditory system is discussed because these are considered basic functions for language. Objective To verify the correlation between the practice of choir music and the temporal ordering in elderly with no prior formal musical experience. Method The study design is cross-sectional. The sample consisted of 85 elderly individuals of both genders, ≥ 60 years old, and it was composed of 43 elderly individuals with no prior formal musical experience but choir participation (research group) and 42 elderly individuals who never sang in a choir and had no music training during their life (control group). The research group was divided based on three categories of choir time. The performances of the research and control groups were compared with pitch pattern sequence (PPS), verbal condition (PPSverb), humming condition (PPShum), and duration pattern sequence (DPS) tests. Results The mean PPShum and PPSverb showed a statistically significant difference by choir time with a different mean of PPShum between the no singing experience group (59%) and the > 10 years of singing experience group (90%) (p = 0.02). Regarding the averages of PPSverb, there was a statistically significant difference between the no singing experience (23%) and > 10 years of choir time (54%) (p = 0.02) groups. Conclusion The findings indicate a better performance in the temporal ordering of the elderly who are not formal musicians but who have choir experience in the research group in relation to those with no choir experience in the control group.

<p>In overcoming stress disorders in students, special media are needed that are able to be a stimulus in learning management and individual stress. Action or effort that can be done is to use music therapy techniques. Sape' or also called Sampe is a musical instrument or instrument originating from the Dayak Kenyah and Kayan tribes. The purpose of this study is to apply Sape Dayak music therapy for junior high school students who are prone to stress. This study uses a quantitative approach, with the type of pre-experimental method with one group pre- and post-design. Where the population in this research is class X Aceh Singkil Muhammadiyah Middle School Students, with a total of 31 students. data collection technique using a stress measurement instrument, namely DASS 42. Music therapy has an effect on reducing stress levels in class X students of SMP Muhammadiyah Gunung Meriah. On the first day and the second day of the study, there was a significant difference between stress levels before and after music therapy was carried out in the X grade group of Aceh Singkil Muhammadiyah Middle School Students. Thus, it can be concluded that music therapy has an effect on reducing stress levels in the class X group of Aceh Singkil Muhammadiyah Middle School Students.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0072/a.php" alt="Hit counter" /></p>

Objective: This randomized controlled trial was conducted to investigate the effect of a musical snow globe on reducing pain associated with vaccine administration in infants 2-6 months of age. Method: The sample of the study consisted of 78 infants (experimental group (EG):39, control group (CG): 39 babies) who applied to the family health center between the specified dates and met the case selection criteria. The Face, Legs, Activity, Crying, and Comfort (FLACC) Scale was used to assess infants' pain before, during, and after immunization. Heart rate and oxygen saturation in the infants' blood were measured as part of the study. During vaccine administration, infants in the experimental group were shown a snow globe with music, while infants in control group were vaccinated with a routine health application. Results: There was no statistically significant difference (p>.05) between the SpO2 values before the interventions (EG: 99.46 CG: 99.56) and the SpO2 values after the interventions (EG: 96.30 CG: 96.05) of the babies in the experimental and control groups; In heart rates, there was no statistically significant difference (p>.05) between befoere the interventions (EG:127.31 CG:127.71) and after the interventions (EG:140.10 CG:147.66) values. However, a significant difference was found between SpO2 (EG: 95.20 CG: 93.23) and heart rate values (EG: 145.76 CG: 157.33) during the intervention (p.05); however, the FLACC scores of the infants in the experimental group were lower than the infants in the control group at the time of the intervention (EG: 3.89 CG: 6.92) (p

Background: Music is long known to have therapeutic effect. It can be a mean to improve adaptive behavior, communication, functioning, and understanding of emotion for ASD Children. In form of rhythm therapy, music is mainly used to stimulate rhythm internalization to achieve better focus and more coordinated movements. In addition to its use to obtain non-musical skills, rhythm therapy can also achieve client occupational performance in playing musical instruments. Method: The design of this study is quasi experiment with control group pretest-posttest design. 30 samples of ASD ages 3 -10 years were divided into groups of intervention using rhythm therapy, and control group using occupational therapy standard for 12 weeks .The Test of Gross Motor Development (TGMD), Short Sensory Profile (SSP)and Gilliam Autism Rating Scale (GARS) were administered before and after intervention. Result: The Mann U Whitney result showed TGMD scores showed 0.125 ( p > 0,05), SSP scores showed 0,000 (p< 0,05) and GARS scores showed 0,001 ( p< 0,05). Conclusion: It can be concluded that there was no effect of rhythm therapy on motor of ASD children. There is an effect of rhythm therapy ob sensory of ASD Children, and there is an effect of rhythm therapy on the symptoms of ASD Children

Kon Tum is a province located in an important geopolitical position, with 28 ethnic groups living together, of which 7 ethnic groups are local groups: Xo Dang, Ba Na, Gie Trieng, Gia rai, Brau , Ro Mam and Hre with many different cultural characteristics, [1, p.1]. A system of plentiful tangible and intangible cultural heritages bears the distinctive characteristics of the forest culture area, upland farming culture and gong culture. Mr. Koichiro Matsuura - General Director of UNESCO at the ceremony of announcing the Central Highlands Gong Culture, said: “I have enjoyed the very unique Vietnamese style of gong music and have also seen very unique musical instruments in the gong orchestra of ethnic groups in the Central Highlands. This is a very unique traditional culture of Vietnam. It's very wonderful and unique…” [5, p.1]. Nowadays, under the impact of socio-economic conditions, the exchange and integration increase; the culture of the Ba Na ethnic group is undergoing strong changes. We can easily see that, from the daily routines such as eating, clothing, accommodation, travel...to voice, customs and beliefs, as well as images, patterns... are changing. Through the process of researching and surveying ideas of artists, village elders and experts on the Ba Na ethnic group in Kon Tum province, we generalize the changes in traditional culture of the Ba Na ethnic group in Kon Tum province. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0726/a.php" alt="Hit counter" /></p>

Objective: This article aimed to assess the relationship between musical training and age-related changes in binaural, temporal, and spatial processing abilities. Design: A standard group comparison study was conducted involving both musicians and nonmusicians. The effect of musical training was assessed using a battery of psychoacoustical tests (interaural time and level difference thresholds: ITD & ILD, binaural gap detection threshold, and virtual auditory space identification test) and subjective ratings (Spatial-Hearing subsection of Speech, Spatial, and Quality of Hearing scale in Kannada). Study sample: A total of 60 participants, between 41 and 70 years, were divided into three groups of 20 each, based on their age (41–50, 51–60, and 61–70 years). Each of these three groups was subdivided into two, one comprising 10 musicians (vocalists practicing South-Indian classical music) and the other comprising 10 nonmusicians. Results: Multivariate analyses of variance revealed that musicians performed significantly better ( p < .001) than nonmusicians in all the tests. Analyses of variance showed that whereas age had no effect ( p > .05) on performance in any of the tests in musicians, age affected the performance of nonmusicians significantly in terms of ITD ( p = .02) and ILD ( p = .01) thresholds. Conclusion: Musical training appears to have the potential to slow down age-related decline in binaural, temporal, and spatial processing.

Sleep deprivation causes cognitive problems such as difficulty in establishing a cause-effect relationship, decreased problem-solving abilities, loss of concentration and attention. This study aims to determine the effect of sleep deprivation on interval, chord, rhythmic, melodic dictation skills and perception in students with Musical Hearing Reading and Writing (MHRW) activity, which has a high relationship with learning and memory. The experimental research was conducted with 18 students (14 men and 4 women) who volunteered to participate (Age: 22±2.1, Mean Body Mass Index: 24,6 ± 2.3). To determine the levels of effect of sleeplessness in the study group, the present experimental study made use of the pre-test – post-test model. Although the participants' pretest and post-test success levels were not statistically significant in intervals and chords (p> .05), a statistically significant decrease was found in rhythmic dictation and melodic dictation writing success levels (p < .05). These findings clearly show that sleep deprivation which negatively affected musical learning and memory consolidation significantly decreases the achievement levels of students in MHRW.

Introduction Generative algorithms have been used for many years by computer musicians like Iannis Xenakis (Xenakis) and David Cope (Cope) to make complex electronic music composition. Advances in computer technology have made it possible to design music algorithms based upon specific pitch, timbre and rhythmic qualities that can be manipulated in real time with a simple interface that a child can control.jam2jam (Brown, Sorensen, & Dillon) is a shareware program developed in java that uses these ideas and involves what we have called Networked Improvisation, which ‘can be broadly described as collaborative music making over a computer network’ (Dillon & Brown). Fig. 1: jam2jam interface (download a shareware version at http://www.explodingart.com/.) Jamming Online With this software users manipulate sliders and dials to influence changes in music in real time. This enables the opportunity for participants to interact with the sound possibilities of a chosen musical style as a focused musical environment. Essentially by moving a slider or dial the user can change the intensity of the musical activity across musical elements such as rhythm, harmony, timbre and volume and the changes they make will respond within the framework of the musical style parameters, updating and recomposing within the timeframe of a quaver/eighth note. This enables the users to play within the style and to hear and influence the shape and structure of the sound. Whilst real time performance using a computer is not new, what is different about this software is that through a network users can create virtual ensembles, which are simultaneously collaborative and interactive. jam2jam was developed using philosophical design principals based on an understanding of ‘meaning’ gained by musicians drawn from both software, live music experiences (Dillon, Student as Maker) and research about how professional composers engage with technology in creative production (Brown, Music Composition). New music technologies have for centuries provided expressive possibilities and an environment where humans can be playful. With jam2jam users can play with complex or simple musical ideas, interact with the musical elements, and hear the changes immediately. When networked they can have these musical experiences collaboratively in a virtual ensemble. Background The initial development of jam2jam began with a survey of the musical tastes of a group of children between the ages of 8-14 in a multi racial community in Delaware, Ohio in the USA as part of the Delaware Children’s Music Festival in 2002. These surveys of ‘the music they liked’ resulted in the researchers purchasing Compact Discs and completing a rule based analysis of the styles. This analysis was then converted into numerical values and algorithms were constructed and used as a structure for the software. The algorithms propose the intensity of range of each style. For example, in the Grunge style the snare drum at low intensity plays a cross stick rim timbre on the second and fourth beat and at high intensity the sound becomes a gated snare sound and plays rhythmic quaver/eighth note triplets. In between these are characteristic rhythmic materials that are less complex than the extreme (triplets). This procedure is replicated across five instruments; drums, percussion, bass, guitar and keyboard. The melodic instruments have algorithms for pitch organisation within the possibilities of the style. These algorithms are the recipes or lesson plans for interactive music making where the student’s gestures control the intensity of the music as it composes in real time. A simple interface was designed (see fig. 1) with a page for each instrument and the mixer. The interface primarily uses dials and sliders for interaction, with radio buttons for timbrel/instrument selection. Once the software was built and installed students were observed using it by videotaping their interaction and interviewing both children and teachers. Observations, which fed into the developmental design, were drawn on a daily basis with the interface and sound engine being regularly updated to accommodate students and teacher requirements. The principals of observation and analysis were based upon a theory of meaningful engagement (Brown, “Modes”, Music Composition; Dillon, “Modelling”, Student as Maker). These adjustments were applied to the software, the curriculum design and to the facilitators’ organisational processes and interactions with the students. The concept of meaningful engagement, which has been applied to this software development process, has provided an effective tool for identifying the location of meaning and describing modes of creative engagement experienced through networked jamming. It also provided a framework for dynamic evaluation and feedback which influences the design with each successive iteration. Defining a Contemporary Musicianship Networked improvisational experiences develop a contemporary musicianship, in which the computer is embraced as an instrument that can be used skillfully in live performance with both acoustic/electric instruments and other network users. The network itself becomes a site for a virtual ensemble where users can experience interaction between ‘players’ in real time. With networked improvisation, cyberspace becomes a venue. Observations have also included performances between two distant locations and ones where computers on the network simultaneously ‘jammed’ with ‘live’ acoustic performers. The Future The future of networked jamming is exciting. There is potential for these environments to replicate complex musical systems and engage participants in musical understandings, linking gesture and sound with concepts of musical knowledge that are constructed within the algorithm and the interface. The dynamic development of Networked Jamming applications involve designs which apply philosophical and pedagogical principles that encourage and sustain meaningful engagement with music making. These are sufficiently complex to allow the revisiting of musical experiences and knowledge at increasingly deeper levels. Conclusion jam2jam is a proof of concept model for networked jamming environments, where people and machines play music in collaborative ensembles. Network jamming requires a contemporary musicianship, which embraces the computer as an instrument, the network as an ensemble and cyberspace as venue for performance. These concepts facilitate access to the ensemble performance of complex musical structures through simple interfaces. It provides the opportunity for users to be creatively immersed in the simultaneous act of listening and performance. jam2jam represents an opportunity for music-makers to have interactive experiences with musical knowledge in a way not otherwise previously available. It enables children, adults and the disabled to enter into a collaborative community where technology mediates a live ensemble performance. The experience could be an ostinato pumping out hip-hop or techno grooves, a Xenakis chaos algorithm, or a minimal ambient soundscape. With the development of new algorithms, a sample engine and creative interface design we believe this concept has amazing possibilities. The real potential of this concept lies in the access that the users have to meaningful engagement with ensemble performance in the production of music, in real time, even with limited previous experience or dexterity. References Brown, A. “Modes of Compositional Engagement.” Paper presented at the Australasian Computer Music Conference-Interfaces, Brisbane, Australia. 2000. ———. Music Composition and the Computer: An Examination of the Work Practices of Five Experienced Composers. Unpublished PhD, University of Queensland, Brisbane, 2003. ———, A. Sorensen, and S. Dillon. jam2jam (Version 1) Interactive generative music making software. Brisbane: Exploding Art Music Productions, 2002. Cope, D. “Computer Modelling of Musical Intelligence in EMI.” Computer Music Journal 16.2 (1992): 69-83. Dillon, S. “Modelling: Meaning through Software Design.” Paper presented at the 26th Annual Conference of the Australian Association for Research in Music Education, Southern Cross University Tweed Heads, 2004. ———, and A. Brown. “Networked Improvisational Musical Environments: Learning through Online Collaborative Music Making.” In Embedding Music Technology in the Secondary School. Eds. J. Finney & P. Burnard. Cambridge: Continuum Press, In Press. Dillon, S. C. The Student as Maker: An Examination of the Meaning of Music to Students in a School and the Ways in Which We Give Access to Meaningful Music Education. Unpublished PhD, La Trobe, Melbourne, 2001. Xenakis, I. Formalized Music. New York: Pendragon Press, 1991. Citation reference for this article MLA Style Dillon, Steve. "Jam2jam: Networked Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/04-dillon.php>. APA Style Dillon, S. (Dec. 2006) "Jam2jam: Networked Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/04-dillon.php>.

<div class="Section0"><p><em>Javanese karawitan music is a part of Javanese community cultural. Globalization, and time and technology development lead to cultural acculturation between Javanese and out-of-Javanese cultural values in Javanese gending (musical composition for gamelan) or song as the representation of Javanese karawitan artists’ behavior that is also affected because Javanese values like good behavior, good manner and etiquette are manifested into pakem. Contemporary Javanese Gending Karawitan divides social identity of artists into classical and contemporary gending artists. This research studies the phenomenon using Tajfel &amp; Turner’s and Hogg &amp; Abrams’s theory. The research was conducted on karawitan artists of Surakarta City using qualitative method with phenomenological approach. Technique of collecting data used was interview with contemporary-style karawitan composers and Abdi Dalem Niyaga of Surakarta Kasunanan Palace as the classical-style karawitan artists to obtain primary data. Data validation was carried out using source triangulation and data analysis using taxonomy technique. The result of research showed the categorization of social identity for Javanese karawitan artist into classical and contemporary ones, followed with emotionality in each of groups. At social categorization stage, artists divide the category by classical and contemporary gendings, and thereby the two groups are separated into in-group and out-group. Therefore, the perfection of social identity should be made at social categorization stage by growing their awareness of identity as the artists of Javanese karawitan. The perfection of social identity can compare their social identity inside group with the one outside Javanese karawitan art. </em><em></em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><strong><em>: Social Identity, Cultural Acculturation, Javanese Gending Karawitan, Artists.</em></strong></p><p><strong><em> </em></strong></p><h2>Abstrak</h2><p>Kesenian musik karawitan Jawa merupakan bagian dari kebudayaan masyarakat Jawa. Globalisasi, perkembangan zaman dan teknologi menyebabkan adanya akulturasi budaya antara nilai-nilai budaya Jawa dan luar Jawa dalam gending atau lagu Jawa sebagai representasi perilaku seniman karawitan Jawa ikut terpengaruh karena nilai-nilai masyarakat Jawa seperti ajaran berperilaku baik, sopan santun dan unggah-ungguh dituangkan dalam pakem. Gending karawitan Jawa kontemporer yang membagi identitas sosial seniman menjadi seniman gending klasik dan kontemporer. Penelitian ini mengkaji fenomena tersebut dengan teori identitas sosial Tajfel &amp; Turner serta Hogg &amp; Abrams. Penelitian dilakukan terhadap seniman karawitan Kota Surakarta menggunakan metode kualitatif dengan pendekatan fenomenologi. Teknik pengumpulan data menggunakan wawancara terhadap komposer karawitan gaya kontemporer dan Abdi Dalem Niyaga Kraton Kasunanan Surakarta selaku seniman karawitan gaya klasik sebagai data primer. Validitas data menggunakan teknik triangulasi sumber dan analisis data menggunakan teknik taksonomi. Hasil penelitian menunjukkan terjadi pembagian identitas sosial seniman karawitan Jawa menjadi gaya klasik dan kontemporer yang diikuti rasa emosional pada masing-masing kelompok. Pada tahap social categorization, seniman membagi kategori berdasar gending klasik maupun kontemporer, sehingga kedua kelompok terpilah menjadi in-group dan out-group. Oleh karena itu perlu dilakukan penyempurnaan identitas sosial pada tahap social categorization dengan menumbuhkan kesadaran identitas mereka sebagai seniman karawitan Jawa. Penyempurnaan identitas sosial dapat membentuk komparasi sosial identitas mereka tidak lagi di dalam kelompok melainkan terhadap kelompok di luar kesenian karawitan Jawa.</p><p> </p><strong>Kata Kunci: Identitas Sosial, Akulturasi Budaya, Gending Karawitan Jawa, Seniman</strong></div>

Abstract This article discusses an innovative teaching model that integrates the theory of multiple intelligences into music education, including the design of teaching strategies and evaluation frameworks. Using fuzzy theory and credibility mechanism, the article proposes a fuzzy comprehensive evaluation model for assessing the quality of music teaching. The model realizes thorough evaluation by determining the evaluation set and the single-factor judging method. The study takes two classes of music majors as an example to conduct the factor analysis of the Students’ Music Performance Rating Scale and finds four main factors with a cumulative contribution rate of 33.36%. The results showed that the experimental group applying the Multiple Intelligences teaching strategy was significantly higher than the control group in music performance. The post-test after one year teaching experiment showed that the students in the experimental class showed highly significant improvement in bodily-kinesthetic intelligence, musical intelligence, and self-cognitive intelligence (P<0.01), as well as linguistic, spatial, and interpersonal intelligences (0.01<P<0.05). In contrast, logical-mathematical intelligences did not show any significant improvement (P>0.05). The study confirms the practical application of multiple intelligences theory in music education, shows the considerable effect of numerous intelligences teaching strategies in enhancing students’ intelligence, and provides new methods and perspectives for music teaching.

Every now and then we read an article that encapsulates a particular aspect of some cultural phenomenon, and becomes definitive—an article that is referred to often by many in subsequent years. This is not that article, but it comes close. It certainly has the content, and its method of delivery is neither pretentious nor patronising. This article about evoking (terror) fear in film scores—a "how" and "why" pocket manual—is revealing, educational and thorough. It is obvious the author has had first-hand experience in evoking terror through the use of sound in film and the examples given are uncomplicated and credible. The author's grasp of the fundamental premise that "sounds are more frightening than visual images" underscores the entire approach to creating terror in film music. The explanations of this psychological phenomenon, in terms such as "we feel sound in our bones, making it difficult to distance ourselves from them", are perceptive and enlightening. The author begins by looking at the psychological, emotional and physiological nature of fear and our reactions to sound and visual stimuli—in particular the brain mechanisms involved with fear responses. Here, the choice of the word "confusion", used to describe the effect of the lack of literal connection between visual and auditory sources, is perhaps not the most appropriate—"bewilderment" might make more sense in this context. The author then points out that fear is usually associated with unfamiliar circumstances and therefore it is difficult to express fear using conventional music structures. Apart from the traditional use of leitmotiv, where a repeated musical theme becomes associated with a terrifying character, the most effective way to induce fear is by use of sound itself—by variation of what the author calls secondary or non-culturally derived characteristics such as pace, loudness, timbre and pitch height. Our evolutionary fear of certain sounds, such as low-pitched sounds indicating aggression or high-pitched screeches indicating alarm-calls, has been with us for thousands of years. Today, while we are essentially free of the naturally occurring circumstances that would invoke fear such as the likelihood of attack from wild animals or exposure to the elements, we actively seek a group experience of fear to cement our group solidarity and social cohesion. The fundamental premise behind fear—unfamiliarity—is demonstrated by reference to a wide diversity of circumstances. But a problem arises with today's proliferation of film and television entertainment, a problem that is not addressed completely here. The task of writing successful film music becomes increasingly difficult as fear-inducing sounds become more familiar and what were once effective musical devices lose their punch. This highlights a continuing problem for the film music composer working to induce fear as distinct from merely providing appropriate music—how to avoid familiarity. At least knowing what is already familiar and having a broad understanding of musical techniques gives a strong foundation towards developing an individual and effective style. Citation reference for this article MLA Style Freeman, Peter. "Familiarity breeds Contentment: A Review of "Evoking Terror in Film Scores"" M/C: A Journal of Media and Culture 5.1 (2002). [your date of access] < http://www.media-culture.org.au/0203/evokingreview.php>. Chicago Style Freeman, Peter, "Familiarity breeds Contentment: A Review of "Evoking Terror in Film Scores"" M/C: A Journal of Media and Culture 5, no. 1 (2002), < http://www.media-culture.org.au/0203/evokingreview.php> ([your date of access]). APA Style Freeman, Peter. (2002) Familiarity breeds Contentment: A Review of "Evoking Terror in Film Scores". M/C: A Journal of Media and Culture 5(1). < http://www.media-culture.org.au/0203/evokingreview.php> ([your date of access]).

BackgroundProfessional musicians are a model population for exploring basic auditory function, sensorimotor and multisensory integration, and training-induced neuroplasticity. The brain of musicians exhibits distinct structural and functional cortical features; however, little is known about how these features evolve during aging. This multiparametric study aimed to examine the functional and structural neural correlates of lifelong musical practice in elderly professional musicians.MethodsSixteen young musicians, 16 elderly musicians (age &gt;70), and 15 elderly non-musicians participated in the study. We assessed gray matter metrics at the whole-brain and region of interest (ROI) levels using high-resolution magnetic resonance imaging (MRI) with the Freesurfer automatic segmentation and reconstruction pipeline. We used BrainVoyager semiautomated segmentation to explore individual auditory cortex morphotypes. Furthermore, we evaluated functional blood oxygenation level-dependent (BOLD) activations in auditory and non-auditory regions by functional MRI (fMRI) with an attentive tone-listening task. Finally, we performed discriminant function analyses based on structural and functional ROIs.ResultsA general reduction of gray matter metrics distinguished the elderly from the young subjects at the whole-brain level, corresponding to widespread natural brain atrophy. Age- and musicianship-dependent structural correlations revealed group-specific differences in several clusters including superior, middle, and inferior frontal as well as perirolandic areas. In addition, the elderly musicians exhibited increased gyrification of auditory cortex like the young musicians. During fMRI, the elderly non-musicians activated predominantly auditory regions, whereas the elderly musicians co-activated a much broader network of auditory association areas, primary and secondary motor areas, and prefrontal and parietal regions like, albeit weaker, the young musicians. Also, group-specific age- and musicianship-dependent functional correlations were observed in the frontal and parietal regions. Moreover, discriminant function analysis could separate groups with high accuracy based on a set of specific structural and functional, mainly temporal and occipital, ROIs.ConclusionIn conclusion, despite naturally occurring senescence, the elderly musicians maintained musicianship-specific structural and functional cortical features. The identified structural and functional brain regions, discriminating elderly musicians from non-musicians, might be of relevance for the aging musicians’ brain. To what extent lifelong musical activity may have a neuroprotective impact needs to be addressed further in larger longitudinal studies.

Abstract Objectives This pilot randomized controlled experimental study was conducted to investigate effects of music on sleep quality and comfort levels of pregnant women. Methods The sample of the study consisted of 70 pregnant women who met the inclusion criteria and agreed to participate in the study. The pregnant women were assigned to the music (n=35) and control groups (n=35). In the study, the musical pieces composed in Uşşak mode were played for the participants in the music group. The pregnant women in the music group were first asked to empty their bladder and then listen to music for 30 min in a semi-Fowler’s position with their head and shoulders raised 30°, in a quiet and dim environment, every other day for two weeks before going to sleep. The Pregnant Information Form, Prenatal Comfort Scale (PCS) and Pittsburgh Sleep Quality Index – 1 week (PSQI-1 week) were used to collect the study data. Results The analysis of the mean scores obtained from the overall PSQI-1 week by the pregnant women in the music and control groups by weeks demonstrated that there was a statistically significant difference between the music and control groups in the second week (p<0.05). There was no statistically significant difference between the two groups in terms of the mean scores they obtained from the overall PCS (p>0.05). Conclusions Music increased the sleep quality of the pregnant women in the music group, but had no effect on their comfort levels.

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mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;">Indigenous knowledge has been broad as main topic in the last two decades, research aims to learn about indigenous knowledge in using woods as material for carving by Asmat people. Study found that 5 species in 4 families are valuable and qualified as carving woods. Woods of these five species are used as ritual statue, war canoe, shield, musical instrument &ldquo;tifa&rdquo;, and spear. </span></p>

This longitudinal study aimed to compare the vocal hygiene behaviours of secondary school students according to various variables, who pass through the voice change period and need to protect their voices in the musical education process. The data were collected from 178 students in the 2016-2017 academic year and from 119 students in the 2017-2018 academic year of a state secondary school, who were determined by convenience sampling. Vocal Health Test was used as a data collection tool in the comparison of the participants’ vocal hygiene behaviours, and the obtained data were analyzed through a t-test. The differences in the vocal health test scores of the participants were analyzed by comparing the 2017 results of the 7th-graders with those of 2018 when they became 8th graders, and also comparing the 8th graders of 2017 with those of 2018. As a result of the study, no significant difference was found between the averages of the vocal health test scores of the same group of students in terms of years and gender (p>0.05). However, a significant difference was found between the averages of the vocal health test scores of the 8th-graders in 2017 and those in 2018 (p

Abstract Purpose Cochlear implant (CI) users do not receive much of the auditory information necessary for an accurate perception of music. This usually entails a dissatisfaction with the music they hear, so that their quality of life may potentially be affected. The main aim of this paper was to translate and validate into Italian an instrument to evaluate these aspects—The Music-Related Quality of Life Questionnaire (MuRQoL)—to help the work of clinicians and therapists. Methods The translation of the MuRQoL into “Questionario Musica e Qualità della Vita” (MUSQUAV) was done according to the international guidelines. The translated questionnaire was administered to normal hearing (NH) and CI users adults. Exploratory factor analysis, confirmatory factor analysis and known group method were used to confirm construct validity and applicability of MUSQUAV. Results We retrieved 225 results. The MUSQUAV questionnaire was acceptable according to the goodness-of-fit indices. The correlation between the items, evaluated using Cronbach’s α coefficient, indicates a good internal consistency (> 0.80). The non-parametric Mann–Whitney test showed significant differences in the distinct populations tested. Conclusions The MUSQUAV questionnaire is a valid, low-cost and rapid instrument for professional workers in the audiological field, especially useful in the assessment of the patients' perception and musical engagement.