Tjeerd Idger de Zeeuw, Gjalt-Jorn Peters, Lisanne de Regt
et al.
Background Noise-induced hearing loss is both irreversible and preventable. However, only a minority of adolescents and young adults engage in hearing protective behaviors (HPBs) that reduce their exposure to noise, such as wearing earplugs at music venues. To promote HPBs it is imperative to know the most influential, and potentially modifiable, psychological factors that in this age group stimulate or hinder these protective behaviors.Objective The present study aims to offer a systematic literature overview of psychological correlates of HPBs in persons aged 12 to 25 years, and identify the correlates with most potential as behavioral intervention targets.Conclusions A total of 82 studies were included in the present review, of which data of 24 studies could be used to assess the strength of the association between one or more psychological factors and HPB. Heterogeneity between studies hindered synthesis. In particular, psychological constructs and HPBs were rarely defined and measured in a uniform manner. Studies were further characterized by a lack of research on psychological factors related to other HPBs than earplug use, such as sound volume control (e.g. the use of a volume limiter). Due to this relative absence of data, associations could not be assessed for specific HPB, and HPBs were aggregated in one variable. Taking into account both the strength of their associations with HPB and their univariate distributions, five psychological factors possessed the greatest potential as behavioral intervention targets: attitude toward recreational noise, perceived barriers, capacity, perceived norms, and perceived threat susceptibility. These results can help the development of new interventions. Additional research is however needed.
The entanglement of identity and performance within fandoms have been central components of fan studies, whether these fans are focused on sports, music, film, television, literature, celebrity, or something else. Their shared interest and investment in the fan object provide fans with common ground on which to build a collective identity, while the fan object can be a rich source of identity markers, from logos and colour schemes to moral values and philosophical positions. As argued by Busse and Gray in The Handbook of Media Audiences (2011, p. 426), being a member of a fandom facilitates “a particular identity that affects and shapes its members in ways beyond shared media consumption”.
In this issue, we invited scholars to bring understandings of identity from fan studies into conversation with ideas of a strategic performance of self, extending existing work on fan personas from both within the Persona Studies journal and beyond. By doing so, we wished to explore how a ‘fan persona’ might be utilised by fans for specific purposes or in different interactions, or to frame individual perspectives, beliefs or interpretations within collective spaces.
Alex Dias, Gilberto de Lima Goulart, Graziela Andrade
This paper presents the trajectory of the artist researcher Graziela Andrade. She based herself on the experience with her daughter to search new approaches to rehabilitation centered on the subjectivity of the disabled person. The goal is to integrate art and Somatics to deepen the understanding of the intersection between dance and disability. The methodology includes knowing, practicing and discussing the somatic technique spiral praxis in an affective research, in which the personal experience of the researcher is essential. This involves being affected by practice, moving the theory and fostering political and ethical reflexivity, with a plural, performative writing to explore and communicate these impacts. Researchers from the Universidade Federal de Minas Gerais (Federal University of Minas Gerais), under the coordination of Graziela, investigated and shared the process with the brazilian audience through workshops, video lessons and interviews on YouTube. The considerations for this field highlight dance as a knowledge that goes beyond common sense, reflecting the history and identity of the dancer.
En la actualidad existen una gran cantidad de espacios donde se interpreta música. Estos lugares podrían dividirse en dos grandes grupos: las construcciones proyectadas específicamente para hacer música -los auditorios, los teatros de ópera, las salas para música de cámara- y los sitios que son utilizados por los músicos o propuestos por los compositores pero que fueron concebidos inicialmente para otro uso, los que podríamos llamar "ambientes acústicos" -un espacio público abierto o cerrado, una iglesia, un galpón, un estadio, un bar-. Los espacios que conforman estos dos grupos se comportan de manera diferente; sin embargo, en la práctica musical actual se usan casi de manera indistinta. En este trabajo detallaremos el comportamiento acústico de espacios no estándar que se utilizan en la Argentina para representar espectáculos musicales y multimedia o para sitiar instalaciones sonoras.
Music and books on Music, Musical instruction and study
José Miguel Barberá, Marta Vela González, Vicenta Gisbert Caudeli
Entre 2018 y 2021 se realizó una macroencuesta en la que participaron cuatro mil sujetos, todos ellos músicos profesionales y en activo, de la tradición llamada clásica y de formación académica, de noventa y seis países diferentes. Se considera que los participantes han de poseer amplios conocimientos y dominio del repertorio musical de los estilos musicales de diferentes épocas históricas, y con ello se pretende conocer la preferencia musical y dilucidar hasta qué punto ésta puede estar condicionada por el repertorio predominante a lo largo de su formación. La pregunta nuclear de esta investigación solicitaba el nombre de cinco compositores y el resultado obtenido mostró una clara tendencia hacia el barroco y el clasicismo, pues el 51,1% de la muestra coincidió citando a tres compositores: Bach, Mozart y Beethoven, reuniendo el 48,9% restante a más de novecientos compositores. La presencia de compositoras es mínima, pues solo un 3,2% del total de las respuestas se decanta por el repertorio compuesto por mujeres. Predomina el repertorio histórico frente al contemporáneo en la formación profesional, algo que puede verse reflejado tanto en la preferencia musical como en la escucha o la interpretación, ocupando en este estudio lugares poco relevantes.
Music and books on Music, Musical instruction and study
Neste artigo, apresento um software prototípico para manipulação e visualização interativa de sucessões de acordes geradas por um modelo preditivo conexionista e discuto criticamente os resultados obtidos. Foram treinados modelos empíricos para tonalidades, compositores e estilos a partir de um corpus de 52.203 canções populares cifradas, coletado por scraping (extração automatizada) de um site colaborativo de cifras de acordes. Os dados brutos passaram por filtragem e tratamento para obtenção de melhor consistência e eficiência na modelagem. A aprendizagem computacional empregada utilizou Redes Neurais Recorrentes com células LSTM (Long Short-Term Memory), arquitetura escolhida pela sua capacidade em modelar dependências e relacionamentos em dados sequenciais. Em busca de indícios do sucesso da modelagem, foram avaliadas a capacidade de generalização dos modelos de tonalidades aprendidos em sucessões harmônicas com implicações funcionais claras – extraídas da música popular brasileira – bem como a capacidade de contextualização a partir dos elementos prévios.
Tobias Otterbring, Tobias Otterbring, Christian T. Elbæk
et al.
This study investigated whether individuals’ preferences for masculine (vs. feminine) consumption options could be predicted by a biological sex cue (the 2D:4D digit ratio; a biomarker linked to prenatal testosterone exposure), and a psychological gender cue (self-perceived gender identity). Chinese participants (N = 216) indicated their preferences for a series of binary options that differed in their perceived gender image (e.g., romantic comedy vs. action thriller; pop music vs. hard rock), with one of the options evaluated as relatively more feminine and the other viewed as comparably more masculine. Participants also self-reported their gender identity and the length of their index and ring fingers, which was used to calculate their 2D:4D digit ratios. A low (male-typical) digit ratio and a masculine gender identity were both associated with more masculine preferences, regardless of participants’ biological sex. However, a low digit ratio predicted preferences for masculine consumption options only in female participants with a masculine gender identity, but not in those with a feminine gender identity. These findings add to the literature on whether and when biological sex cues and psychological gender cues can predict preferences for options with a distinct gender image and suggest that the connection between these cues is more complex in women than in men.
Al. Robots is not part of the founding models of the era, but he grew up and trained at their school, being close to the notorious personalities of the time. The contacts with the intellectual and artistic elite generated the creative impetus of the young poet, Al. Robot. He manages to enter the sights of the authorized critical voices, G. Călinescu, Perpessicius, E. Lovinescu, benefiting from encouraging chronicles. Despite his death at only 25 years old, Al. Robot managed to create a name in the literary world through two poetry volumes: “Apocalips Terestru” (1932) and “Somnul singurătății” (1936), two unpublished poetry notebooks, organized in cycles: “Îmblânzitorul de cuvinte” (1968), “Plecările și popasurile poetului” (1968) and the proletarian collection “A înflorit Moldova” (1968), a novel in manuscript “Music-hall” (Viața românească, 1969, no. 11-12).There is a relative field of reference to Al. Robot’s creation, consisting of selected writings, anthologies, pages of literary history, articles and notes. The aesthetic recovery exercises of Al. Robot’s work is not recent. In the meantime, however, articles and studies were written about literary life in the interwar period, about the top personalities, in whose entourage the young Al. Robot was trained. The gradual recovery of Al. Robot’s creation, the critical evaluations that appeared sporadically after the 1960s, the extensive studies on interwar literature managed, first of all, to shed light on fragments of the creation of a writer who disappeared prematurely.
The article is devoted to the peculiarities of the formation and systematization of the phonogram archive of the Udmurt Institute of History, Language and Literature of the Udmurt Federal Research Center of the Ural Branch of the Russian Academy of Sciences. The purpose of the article is to analyze the history of the formation of funds, the features of digitization of sound media on compact cassettes and reel-to-reel tapes, to identify the current state of the sound laboratory of the Institute as the main academic storage of materials on the spiritual culture of the region. The article analysis condition of the magnetic carriers, the work of the sound laboratory. Importance of timely digitization of magnetic tapes in accordance with international standards is marked. The examples from personal experience are given. Much attention is paid to the results of the British project «Vanishing voices from the Uralic world». Due to the project, modern standards of work have been implemented in laboratory. In conclusion, the author emphasis the necessity of formation of a unified music library of Udmurt records at the Institute as the main base for the preservation of the cultural heritage of the Udmurt Republic.
Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
This article accepts the challenge to reflect on the cultural history of music as a transcultural and universally human phenomenon, particularly in the medieval context. To what extent has music played the same or at least similar function in endless cultural contexts all over the world from the past to the present? We know for sure that music has always been present at all age groups, in all ethnic groups, among all genders, and throughout time. There have always been local, ethnic types of music (folklore), and universally accepted manifestations of music (esp. classical music). The emphasis here rests, after an extensive study of music in global cultural-historical terms, on comments about music in medieval philosophy, mysticism, and literature because here we discover fundamental notions about music being the medium to connect the individual with the cosmic harmony, hence with the divine. In literary texts, above all, music was identified as the critical expression of identity, love, and religion. Keywords: Transcultural music; classic music; music in cultural-historical terms; The Beatles; Martianus Capella; Boethius; Gottfried von Strassburg; Jörg Wickram; Hermann Hesse
The paper analyzes the study background, including domestic policies on preschool education, the types and number of preschools in Shanghai, the six programs in Shanghai that offer preschool education majors and the music curriculum of pre-service preschool education programs. The author concentrates on a review of the literature that emphasizes the importance of pre-service music education for preschool teachers, especially with regard to piano training.
Članek obravnava opis turnirja, ki je potekal na dvoru v Mantovi med karnevalom leta 1585. Naročil ga je dedni princ Vincenzo Gonzaga pri dvornem arhitektu Oresteju Biringucciju. Biringuccijevo poročilo, naslovljeno Apparato e barriera del tempio di Amor Feretrio, opisuje gledališko sceno, sodelujoče plemstvo, predstavljene like (večinoma iz klasične mitologije in junaških del avtorjev, kot so Ludovico Ariosto, Bernardo Tasso in Curzio Gonzaga), pa tudi – zelo nenavadno za tisti čas – dvorne pesnike in glasbenike, ki so sodelovali pri dogodku. Glasba ima v opisu vidno vlogo, saj prihod vsakega bojevnika s solističnim spevom (v dveh primerih je bil to madrigal) naznani kateri izmed mitoloških likov. Eden od madrigalov je bil prepoznan kot antifonalna kompozicija dvornega skladatelja Benedetta Pallavicina. Razprava vključuje angleški prevod omenjenega opisa, povzema življenje in delo Oresteja Biringuccija ter razpravlja o vseh drugih zbranih virih o turnirju, ki se nahajajo v arhivu Gonzaga v Mantovi.
Nirmal Surya, Nirmal Surya, Abhishek Srivastava
et al.
Background: Corona virus disease (COVID-19) was declared a pandemic by the World Health Organization in March 2020. This has affected service delivery among all medical disciplines in India including neurorehabilitation services.Aims and Objectives: The aims and objectives of the study were to assess the effect of COVID-19 pandemic on neurorehabilitation services across India.Methodology: A prospective nationwide survey study was undertaken by the Indian Federation of Neurorehabilitation during the pandemic. A questionnaire was prepared using Google forms software consisting of four sections: demography, neurorehabilitation practice before COVID-19 pandemic, neurorehabilitation practice during COVID-19 pandemic, and continuing medical education during COVID-19 pandemic.Results: Responses (872) were received from neurorehabilitation professionals across the country out of which 2.2% professionals did not give consent for participating in the survey. Participants (36.6%) were practicing traditional or independent referral basis rehabilitation, while 63.4% participants were practicing multidisciplinary rehabilitation. On an average, respective units were conducting 500–750 therapy sessions per month. Majority of the rehabilitation units in India lacked a physiatrist, rehabilitation nurse, music therapist, cognitive therapist, and urologist. Approximately 80% of the rehabilitation units have the basic rehabilitation modalities and advance technology was present in only 20% of the rehabilitation units. During COVID-19 pandemic, 19.5% centers were providing elective services, 50.3% emergency services, 15.6% new outpatient services, and 22.7% were providing follow-up outpatient services. Centers (51.5%) were providing telerehabilitation services for neurological conditions during the times of COVID-19 pandemic. Professionals (61.1%) providing telerehabilitation were working from home. Among the patients who needed neurorehabilitation, 28% were doing their exercises independently, 31% were supervised by caregivers, 17% were supervised by therapists, and 24% were not receiving any therapy. Participants (95.5%) wanted to receive more training in the field of neurorehabilitation. The participants utilized webinars (71%), online courses (22%), case discussion forums (19%), panel discussions (13%), and literature search (8%) during COVID-19 pandemic to continue education.Conclusion: The study reflects the situation of neurorehabilitation service delivery in India during the pandemic as the respondents were from all parts of the country and included most components of the neurorehabilitation team. Neurorehabilitation services were severely affected across India during the COVID-19 pandemic. Tele-neurorehabilitation has emerged as a new service delivery model during the pandemic. Online means of education has emerged as the primary source of continuing medical education during the pandemic.
U radu na osnovu arhivske građe, relevantne štampe i literature autorica analizira način otvaranja muslimanskih kiraethana širom Bosne i Hercegovine početkom 20. stoljeća. Pod kojim uslovima su se otvarale kiraethane, kakva pravila su imale, koje ciljeve te koliko je vlast nadzirala njihov rad neka su od važnih pitanja u radu. Posebna pažnja je posvećena kiraethanama u manjim mjestima gdje su one predstavljale centar svih društvenih dešavanja. Kiraethane nisu bile samo preteča biblioteka i čitaonica, one su najčešće u samom sastavu imale i druge sekcije poput muzičke i antialkoholne. Autorica također posebno analizira unutrašnje odnose na koje utječe političko stanje u zemlji te lični animoziteti uprave, ali i članova. = Based on archival material, relevant press, and literature, the author analyzes the way of opening Muslim reading rooms throughout Bosnia and Herzegovina at the beginning of the 20th century. Under what conditions the reading rooms were opened, what rules they had, what goals, and how much the government supervised their work is an important issue in the work. Special attention was paid to the reading rooms in smaller towns where they were the center of all social events. Reading rooms were not only the forerunners of libraries, they usually had other sections, such as music and anti-alcohol sections. The author also analyzes the internal relations that are dependent on the political situation in the country and the personal animosities of the management and members.
Bibliography. Library science. Information resources
As suggested by literature, architecture and music has similarities. This study is planned to discuss the importance of music in space planning. The study is conducted at an experimental setting with automatic control lighting system where light levels, temperature et cetera were kept constant. In the study, intimacy-presence, liveness-reverbe, warmth, clarity, balance, uniformity is tested. The importance of music on people and its importance on space planning is investigated. SPSS 21.0 Statistical Analysis Program is used at data analysis. Pearson Ki-Square Test is used. Test results suggested that there is a relation between sound-space interaction and space perception. Music is also affective on intimacy, clarity, texture, brilliance, space integrity et cetera. There is no relation between the gender of the participants and space perception. It can also be argued that people can feel themselves in different moods at the same setting in regard to music. This mood setting shall be in integration with the function of the space.