Deborah M Caldwell, Sarah Dawson, Rachel Johnson
et al.
Objective To assess whether relaxation and stress management techniques are useful in reducing blood pressure in individuals with hypertension and prehypertension.Design Systematic review and network meta-analysis.Data sources Medline, PsycInfo, and CENTRAL (Cochrane Central Register of Controlled Trials) from inception to 23 February 2024, and CINAHL (Cumulative Index to Nursing and Allied Health Literature) from inception to 27 February 2024.Eligibility criteria for selecting studies Studies published in English of adults with hypertension (blood pressure ≥140/90 mm Hg) or prehypertension (blood pressure ≥120/80 mm Hg but <140/90 mm Hg). Studies that compared non-pharmacological interventions used to promote relaxation or reduce stress with each other, or with a control group (eg, no intervention, waiting list, or standard care). Where possible, network meta-analysis was used to compare the efficacy of the different interventions. Studies were assessed with the risk of bias 2 tool (RoB2), and those at high risk of bias were excluded from the primary analysis. The certainty of the evidence was assessed with CINeMA (Confidence in Network Meta-Analysis) and GRADE (Grading of Recommendations Assessment, Development, and Evaluation).Results 182 studies were included (166 for hypertension and 16 for prehypertension). Results from a random effects network meta-analysis showed that, at short term follow-up (≤3 months), most relaxation interventions appeared to have a beneficial effect on systolic and diastolic blood pressure for individuals with hypertension. Between study heterogeneity was moderate (τ=2.62-4.73). Compared with a passive comparator (ie, no intervention, waiting list, or usual care), moderate reductions in systolic blood pressure were found for breathing control (mean difference −6.65 mm Hg, 95% credible interval −10.39 to −2.93), meditation (mean difference −7.71 mm Hg, −14.07 to −1.29), meditative movement (including tai chi and yoga, mean difference −9.58 mm Hg, −12.95 to −6.17), mindfulness (mean difference −9.90 mm Hg, −16.44 to −3.53), music (mean difference −6.61 mm Hg, −11.62 to −1.56), progressive muscle relaxation (mean difference −7.46 mm Hg, −12.15 to −2.96), psychotherapy (mean difference −9.83 mm Hg, −16.24 to −3.43), and multicomponent interventions (mean difference −6.78 mm Hg, −11.59 to −1.99). Reductions were also seen in diastolic blood pressure. Few studies conducted follow-up for more than three months, but effects on blood pressure seemed to lessen over time. Limited data were available for prehypertension; only two studies compared short term follow-up of relaxation therapies with a passive comparator, and the effects on systolic blood pressure were small (mean difference −3.84 mm Hg, 95% credible interval −6.25 to −1.43 for meditative movement; mean difference −0.53 mm Hg, −2.03 to 0.97 for multicomponent intervention). The certainty of the evidence was considered to be very low based on the CINeMA framework, owing to the risk of bias in the primary studies, potential publication bias, and imprecision in the effect estimates.Conclusions The results of the study indicated that relaxation and stress management techniques might have beneficial short term effects on blood pressure for people with hypertension, but the effectiveness of these interventions is still uncertain. Future studies should ensure rigorous methods are used to minimise the risk of bias, and a longer duration of follow-up to establish whether these effects persist.Systematic review registration PROSPERO CRD42023469128
Abstract Background In clinical practice, creative arts therapy is frequently utilized for the treatment of traumatized adults, with reports of favorable outcomes. However, the effectiveness of this intervention in post-traumatic stress disorder (PTSD) treatment has not yet been definitively established through meta-analysis. In this meta-analysis, we aim to assess the effectiveness of creative arts therapy in the management of PTSD. Methods We conducted systematic literature searches through electronic databases from the extended inception of each database to November 2023. We utilized the Cochrane risk of bias tool to evaluate the quality of evidence. Standardized mean differences (SMDs) were calculated as the effects of creative art therapy on the improvement of PTSD. Results Seven controlled, comparative studies investigated the use of creative arts therapy in treating adults with PTSD. Meta-analysis demonstrated a significant decrease in PTSD symptoms following creative arts therapy (SMD = -1.98, 95% Confidence Interval (CI): -3.8 to -0.16, p < 0.03, I2 = 98%). Subgroup analysis indicates that drama therapy was notably effective, while music, art, and dance/movement therapies exhibited less pronounced effects. Conclusion Despite the limitations, including a limited number of studies, participant size, study heterogeneity, and methodological quality, these results provide valuable understanding regarding the efficacy of creative arts therapies in treating PTSD and highlight the urgent need for additional research in this area.
Music, as an art form, combines rhythm and sound to form a functional melodic structure, uniquely capable of conveying emotions non-verbally. Within the domain of Music Information Retrieval (MIR), Music Emotion Classification (MEC) represents a specialized subset dedicated to the identification and labeling of emotional attributes in songs. This is achieved by extracting and comparing features from musical compositions. This research aims to discern the contemporary landscape of research and its associated research gaps in this domain. The study comprised a collection of publications found through searches conducted on Google Scholar between the years 2006 and 2023, with the search terms: Music Emotion Classification, Music Emotion Classification in Sri Lanka, Music Emotion Recognition, and Emotion Classification in Music. This study was narrowed down to the research that utilized audio files for classification. Among the initial set of 42 studies, 20 were selected for detailed analysis using the purposive sampling method. The review encompassed essential aspects, including acoustic feature analysis, emotional modeling, classification methodologies, and performance evaluation. The findings highlighted a paucity of research considering cultural, regional, and linguistic variations. The most often used acoustic features encompassed rhythm, pitch, timbre, spectral, and harmony whereas the most frequently used emotion categories for the classification were happiness, anger, sadness, and relaxation. Support Vector Machine (SVM) was the most used machine learning algorithm for classification, although regression methods, neural network-based approaches, and fuzzy classifications were also explored. Notably, the adoption of multi-modal approaches for emotion classification, as well as multi-labeled emotion classification, remained limited. These insights underscore the need for future research to address the cultural and language diversity of datasets, explore innovative classification techniques, and embrace multi-modal and multi-labeled emotional classification methodologies in the context of music emotion classification within MIR.
Artykuł przedstawia pierwsze rezultaty badań dotyczących osoby Szymona Sylwestra Szarzyńskiego (zmarłego pomiędzy 1720 i 1727 r.) – doktora teologii, sekretarza, a później przeora benedyktyńskiego opactwa św. Wojciecha w Płocku pod koniec XVII w. i jego możliwej tożsamości ze Stanisławem Sylwestrem Szarzyńskim – działającym w tym samym czasie kompozytorem, o którym brak dotąd jakichkolwiek informacji biograficznych.
Introduction
Personality Disorders (PDs) are psychiatric conditions involving maladaptive personality traits and behaviours. Previous research has shown that musical preferences and the use of music may be related to personality traits. Additionally, music therapy (MT) is increasingly being used as a treatment option for people with PDs.
Objectives
This systematic review aimed to summarise the findings of the existing literature on music, MT, and PDs, and to identify any gaps in the existing literature.
Methods
Using the PRISMA guidelines, a systematic literature search was undertaken using three databases: PubMed, Web of Science, and PsycInfo.
Results
A total of 24 studies were included in this review and summarised into four categories: music preference, MT, music performance, and music imagery, all in relation to PDs or traits associated with PDs. The analysis found that individuals with personality traits associated with PDs may prefer different types or genres of music or interact with music differently than those without these traits. Additionally, MT was found to offer a potentially useful treatment option for PDs.
Conclusions
The power of these findings was limited by the small number of included studies. This review offers a useful foundation upon which further research looking at MT as a potential treatment option for PDs can be built. As selected music has been reported to help to reduce violence and hostility, patients may develop playlists with the support of their therapists to manage aggression and violent impulses in foreseeably difficult situations; appropriate music for bedtime relaxation can be recommended to improve sleep length and quality; and people who experience insecurities may be encouraged to try music to aid cognitive problem solving and improve their mood.
Disclosure of Interest
None Declared
The research concerns the relationship between Western classical music and Arabian cultures in the United Arab
Emirates (UAE) as experienced by independent classical chamber musicians. The main research question was:
what stories do independent Western classical chamber musicians tell about their lived experiences of practicing
and performing Western classical music in the UAE?
The real-life problem guiding this research has two parts:
i. the problem that Western classical music is not a sustainable profession for performers in the UAE and
ii. the gap in the literature on Western classical music in the UAE.
The real-life problem the first author experienced in the UAE as a Western musician had the following challenges:
practical obstacles related to sourcing fellow musicians who uphold the same standards and music ideals, finding
rehearsal venues and creating performance opportunities. These challenges lead to the formation of the research
problem.
Silke Kruse-Weber, Elizabeth Bucura, Margareth Tumler
This case study provides an in-depth investigation in a professional development project about facilitating collaborative reflection. This was led by a research team from the university with 13 instrumental music teachers from one music school in Styria (Austria) during 2019–2021 (including the initial COVID-19 pandemic). Research questions considered (1) the participants’ descriptions of the collaborative professional development, (2) participants’ uses of reflection tools and indications of their identification with workshop interventions, as well as factors responsible for the outcomes from the reflection tools; and (3) ways participants’ thinking and attitudes may have developed through the workshops, how they defined themselves as a group (if they did), and how they might have gained trust in one another. Inspired by the design-based research approach, practitioners and researchers worked closely together to enhance teaching and learning implementing interventions with collaborative reflections tools. While the first phase (11 workshops) was primarily led by the project-team, the second phase (7 workshops) was participant-led. Data included focus groups and discussion transcriptions from 18 workshops. The impetus of the study included the role of the director and the participants dealing with the interventions, and finally the participants’ descriptions of their experiences in the professionalization process. Literature included collaborative professional development, community of practice, learning communities, self-determined learning, reflective practice, and ethical considerations. Data were analyzed based on thematic analysis and gave rise to five following themes: forming group cohesion, inspiring and appreciating collaboration, bridging theory and practice, identifying deeper thinking and teachers as learners, addressing challenges and potentials during the COVID-19 pandemic, and finally finding the music school’s own identity and sense of importance. Findings highlight the importance of establishing meaningful collaborative reflection through appreciative communication and an atmosphere of trust and respect. To be able to make change in and with an institution, leadership members must be engaged as collaborative stakeholders on an eye-level; collaborative professional development can be used as a resource toward rethinking and reworking the identity of one’s music school and of teaching and learning. Institutions should provide space and continuity for such development. Finally, the study highlights that a collaborative reflective approach can contribute to professional and social growth.
This literature review is aimed at how music affects language acquisition throughout the long term music training process or music therapy sessions. We discussed, analyzed and summarized several experiment’s results about music’s effects on both physiological(brain, natural system…) and psychological side of people in different life stages. We found the obvious similarity and differences of music and language and their mutual effect. Also, we developed music as a therapeutic tool to improve language acquisition. All in all, we come to the conclusion that specific attention will be paid to the influence of music on the language learner, as well as the implications of incorporating music into the language learning curriculum.
These findings were presented at the III Congress of Federation of Psychologists in Education of Russia. The article offers a view on the development of the artistic sphere in teachers. There are also ideas expressed regarding personal development through artistic education. The author relies on a document which regulates the procedure for the implementation of arts education. The empirical part of the article illustrates the author’s experience of developing the artistic sphere in future teachers through filing the educational space with any means of artistic perception (literature, fine arts, music, etc.).
Introduction: Defamiliarization involves infinite techniques that distinguish literary language from colloquial and ordinary language. Sometimes these tricks and arrangements lose their ability to induce concepts due to their frequent and repetitive application, and the artist's job is to activate the art of disabled structures through new systematization and personal rhetoric. One of these works of art is image, which, rhetorically formed, distinguishes literary language from ordinary and everyday language. Image is one of the most widely used terms in literary criticism, it has long been used in rhetoric, and it is one of the most important topics in contemporary literary criticism. The Arabic poetry has many capacities in this field, and poets have always used this capacity to enrich their poetry. But the quality of the image differs from classical to modern poetry. The classical poet depicted exactly the same objects in his poetry and did not try to decipher these images, while the contemporary poet is able to break away from the traditions of depicting the ancient Arabic poetry and sometimes create surprising similes using surrealist techniques. The surrealists who sought it were taught by Burton. He went to the depths of the human mind that he was unaware of. Ezedin Ismail is one of the famous Egyptian critics who has examined the image of new poetry in the form of issues and artistic aspects. Methodology: Accordingly, the present study seeks to extract his views in this field by a descriptive-analytical method and a critical approach. The questions to answer regard Ezedin's view of poetic images as compared to the image of arts such as painting, music and cinema. The questions are ‘what are the commonalities and differences of poetic and ordinary images?’ and ‘what are the functional differences between the artistic images in ancient poetry and contemporary poetry?’Results and Discussion: The title "Theory and adaptation" can be applied to his method of criticism in this field. In the first part, he presents his opinion and then applies the corresponding theories to sample works. His studies in this field are remarkable. Inspired by surrealist views in literary criticism, he has expressed the characteristics of the poetic image and compared it with the image of other arts. He has also examined the difference between the functions of images in classical and modern poetry. The main purpose of writing the present research is to introduce this great critic to the scientific community and researchers of literature. The critical views in this respect can provide favorable conditions for comparative critical research. Another importance of this research relates to new literary theories in the field of poetic imagery and critical views of Ezedin. Considering the emergence of different schools and their treatment of various arts such as painting, cinema and sculpture, and the sharing of these arts with poetry in the image, contemporary critics believe that it is important to study the image.Conclusion: The results of this research show that a poetic image is distinguished from other artistic images in terms of spatio-temporal, sensory and expressive characteristics. Also, new poetic images differ from classical poetic images. The psychological approach is the main approach of literary criticism in all the works and critical subjects of Ezedin. It seems that his attitude towards the poetic image is a combination of psychological and aesthetic approaches, which and can be called "theory and adaptation". One of the most important issues that Ezedin Ismail stated under the influence of surrealist ideas about poetic imagery is that the poetic imagery simultaneously has a spatial-temporal structure that does not fit into the logic of time and natural space; it has distinctions from other art images. In his view, the images in classical poetry and modern poetry are different. The image in classical poetry shows the object directly and its distinctive feature is clarity and explicitness, but, in the image of new poetry, the poet gives time and place a special mental structure that is compatible with the emotional state of the poet and is the result of his dreams, desires and thoughts. Also, in his opinion, classical poetry as much as modern poetry has not been able to create a single spatial and temporal coherence between distant images, and new poetic images, based on classical poetry, are based on a kind of heterogeneity, contradiction, contradiction and fantasy. The contemporary poet does not regulate the experience of others nor his consciousness and the content of his intellect and memory, but depicts inner revolutions and uncontrollable emotions. The results of such situations are strange similes and metaphors and unknown images, the components of which cannot be found in the form of similes and metaphors.
Languages and literature of Eastern Asia, Africa, Oceania
Introduction The culture and art of each nation show its history, originality and ancient civilization which due to the valuable works it has left, has always been considered by different ethnic groups and nations, one of the most important civilizations in history that has been able to play an irreplaceable and effective role on others.Iranian civilization has been ancient since its original culture and art was able to influence different nationalities such as Arabs and Abbasids. Iran has a great and exemplary culture and civilization, and the role of Iranians in culture and art has been well-known to the general public, so it is important to show the original culture and civilization of the people which has many hidden values, because "such studies And research helps nationalities to better understand each other and sometimes leads to better understanding and improvement of relations between them "(Ghanimi Hilal, 1373: 132-133), in fact," Comparative literature looks at discovering the global dimensions of literature from its historical perspective and Its various manifestations show it over the centuries and give nations the opportunity to search for themselves in the literature of others and to become aware of their status and at the same time, to know their character well enough to be able to correct their position or To defend their position against false and untrue images of others and to provide the basis for understanding based on honesty between nations ”(Ibid: 546-547), therefore, considering the existence of manifestations of Iranian culture and art in the poems ofHussein Ibn Zahak, a famous poet of the second and third centuries, research in his poetry is important, the number of verses of Zahak, more than three thousand verse has been lost over time and only about eight hundred verses remain, he has been able to address issues such as: praise, Khmer and lyric, with a simple but clever and accurate expression, an honest but lively and dynamic account of culture and Present Iranian art and originality, and by presenting ethics and art, architectural style, Mehregan celebration, Sufi wine and wine, court aristocracy, good and bad days, portraits of Iranian and Barmakian characters, and the use of Persian words involved has been able to reach Iranian culture and art in the Abbasid era, and its great role and influence on the Arabic-Abbasid culture, so the poet's divan is an important historical document for researchers who study the news and situation of the people of the second and third centuries AH. Methodology The present article, in a descriptive and analytical manner, using library sources, has examined Ibn Zahak's poems, but in order to clarify the subject as much as possible, first generalities of Ibn Zahak's illustrations and place in illustration have been presented. Then, by comparing the poet's poems with the authors' critical theories and historical documents, we came to the fact that Ibn Zahak's poems are a reflection of the culture and civilization of Iran. Discussion The culture and civilization of any nation shows the originality and historical richness of that nation. Due to the ancient connection of nations and cultural exchanges, and the deep connection of Iranians with Arabs, Abbasids and Christians, the importance of historical documents such as poetry in understanding the culture and civilization of nations becomes clear. But Iranian culture and civilization has a very long history. With the beginning of the Abbasid caliphate and the presence of Iranians in the Abbasid rule, the foundation of a great cultural movement was laid. In the Abbasid era, the Arabs interacted with other civilizations such as Iran and Rome, and many of these cultures were influenced by Iranian culture, including those who played a significant role in the Abbasid caliphate and were able to illustrate the culture and civilization of ancient Iran in various assemblies and circles, were poets, In fact, poetry was the court of honor and glory of the Arabs. Hussein Ibn Zahak, considering that he was an Iranian and had a privileged position among the rulers and caliphs of the time, was able to show the culture and originality of the Iranians by expressing poetry with special delicacy, skill and mastery, according to Shoghi Riyadh. It was a measure that could fill the assemblies with joy and richness, and arouse the admiration of the faithful and the elders, and express the language of its culture and originality in the Abbasid era ”(Shoghi, 1967: 43), the cultural and artistic manifestations of Hussein Ibn Zahak's poems which are signs of culture And Iranian civilization shows the ancient era in the Abbasid era, prominent in the poet's court In fact, the poet's divan expresses the identity and civilization of a nation that has been a pioneer in ethics, art, culture and originality, and thus has been able to influence others. so addressing the poet's poems and focusing on the essence, culture and civilization of the nation, Which has many intrinsic values, is important, but because literature is the broadest cultural horizon of nations, the main components of identities can be identified through its reports. Therefore, this study, by showing the elements of Iranian culture and art, the effects of which have appeared in the poems of Hussein Ibn Zahak, as a historical document, has an important role in identifying Persian and Iranian culture and civilization. Conclusion Hussein Ibn Zahak, an Iranian poet of the first Abbasid era, one of the poets of the second and third centuries, was the language of culture and civilization of ancient Iran which was able to identify many elements of the culture and civilization of the Abbasid era on which manifestations of Iranian culture and art Had influenced, to show. in fact, Ibn Zahak's poetry is the manifestation of Iranian culture, ethics and art, and accordingly, the images presented of ethics and art, architectural style, Mehregan celebration, Sufi wine and Khmer, court aristocracy, days Good and bad, Iranian and Barmakian personalities, and the use of Persian words involved, as well as the cultural interaction between Iran and ancient Christianity, have been a reflection of Iranian culture and civilization in the Abbasid era that Hussein ibn Zahak was able to beautifully and in detail To depict them, and to point out the cultural interaction between Iranians and Arabs, as well as the irreplaceable influence of the Abbasids on Iranian culture and art. Most Iranians have been limited to the sensory and material aspects of life, and abstract images of morality, and the art of music, and Sufi wine has been focused on unique features with the help of which the poet has only described the ancient culture and civilization of the Iranians and thus has been able to point out the privilege and superiority of the Iranians over the Arabs.
Organizational behaviour, change and effectiveness. Corporate culture, Fine Arts
本研究以「警政統計查詢網」2002～2018年縣市別逐年的總合毒品犯罪率資料，分析12～23歲毒品犯罪問題並著重家庭結構與娛樂因素之影響。實證上採面板數據固定效果模型，修正可能的估計偏誤、以兩階段最小平方法修正內生性問題，並根據結果提出可供教育現場擬訂毒品防制參考之政策，以降低學生毒品成癮問題。實證結果發現，此年齡人口占比與縣市毒品犯罪率、毒品犯罪級數均有關。其他條件均相同下，12～17歲、18～23歲人口占比分別與一級毒品犯罪率以及二、三級毒品犯罪率呈正相關。12～23歲毒品犯罪行為與特殊家庭結構有關，尤其是單親家庭；與隔代教養家庭的關係較低，且視年齡別與毒品級數而定。娛樂業家數雖與18～23歲毒品犯罪有關，然關係不大；完成大學教育與緝毒的嚇阻效果對降低青年毒品犯罪率的效果很高；家庭可支配所得與12～17歲少年（女）三級毒品犯罪率亦具正相關。本研究提出幾個政策建議之核心為：針對年齡層設定與調整毒品防制重點與方法，例如除國中與小學，也應加強關注高中職與大專校院學生單親與隔代教養之情況、追蹤瞭解高中職與大學學生休學及退學的高危險群、提高鄰近高中職及大學校院娛樂場所（特別是三級毒品）之查緝與查緝頻率，以及留意家庭收入較高家庭12～17歲學生的身心狀況與異常行為。
Motivation
Drugs are addictive, and their use and attendant negative consequences and externalities impose a heavy burden on society. According to the Annual Report on Drug Abuse and Inspection Statistics (Taiwan Food and Drug Administration, 2018), juvenile drug use accounted for 59.3% of schedule III drug-related crimes in 2017. Because curiosity is one of the most important factors leading to drug use, school or university campuses are key sites for young people’s drug addiction prevention.
The literature on drug-related crime is mostly based on qualitative research, and this is especially so for the research conducted in Taiwan. This study analyzed data from the Statistics of Police Work (National Police Agency, Ministry of the Interior, 2002-2018) by using quantitative methods, with the aim of determining the driving forces of drug-related crime by teenagers and young people in Taiwan. We focused on the effect of household structure and entertainment venues nearby, with an aim of determining policy suggestions for drug abuse prevention in schools of various levels. The two research questions of this study were as follows:
Research question 1: Would the pattern of drug-related crime in counties in Taiwan be related to the youth population structure?
Research question 2: Would household structure and entertainment venues be crucial factors on the drug-related crime rate for teenagers and young people in Taiwan? What other factors would be significant?
Literature Review
The reasons for drug-related crimes are many, ranging from an individual’s early experiences in childhood and adolescence to their living environment, social pressure, and economic status. The drug-related crime literature, hence, comes from both natural and social sciences, thus revealing its interdisciplinary character. The theory of lower-class culture conflict, for instance, proposes that crime is a natural response of individuals from a lower-class culture to the environment (Miller, 1958). The general strain theory of crime and delinquency states that the causes of crime include psychological factors, such as stress and anxiety, which means that middle- or upper-class people may also commit crimes (Agnew, 1992). Crime may also reflect people’s choices, however. Becker (1968) proposed that when the expected reward from crime is higher than the pay received in legal employment (particularly when unemployed), the probability of choosing to commit a crime increases. Even employed persons may engage in illegal activities, as long as the utility obtained by crime is higher than that from employment (Grogger, 1998; Raphael & Winter-Ebmer, 2001). Moreover, a larger police force, representing a higher probability of being arrested, may lower criminal inclinations (Levitt, 1997; Marvell & Moody, 1996).
Relevant research has suggested that the living environments and family backgrounds of young drug offenders tend to be similar: they typically have weak relationships with their families, have peers who are drug users, and have low academic achievement (Robertson et al., 2003; Shu et al., 2015). Youth drug-related crime may be related to weak social bonds (Lin et al., 2001), echoing social control theory (Hirschi, 1969). Crime may also be caused by the attitudes and values of people, with these being transferred from generation to generation (Miller, 1958). The accessibility of drugs, for instance, at large-scale music festivals and entertainment venues, and opportunities to commit crimes and other antisocial behaviors may be critical influential factors among the young (Chin, 2018; Day et al., 2018; Tossmann et al., 2001).
Research Methods
Fixed-effects models for panel data were employed for empirical analysis, and panel data estimation bias was corrected. In addition, the causal relationship between the drug-related crime rate and unemployment was considered (Lin, 2008; Lin & Liu, 2006; Raphael & Winter-Ebmer, 2001). The Durbin-Wu-Hausman test was used to test for overidentification, and if an endogenous problem was identified, the two-stage least squares method with clustered standard errors was used to obtain consistent estimates.
Results
• The schedule II drug-related crime rate of young people aged 12-23 exhibited a rapid increase. Among those aged 18-23, with other factors remaining constant, our data indicated an average increase of 98.68 people per year in a county committing a crime.
• The schedules I and III drug-related crime rates were positively related to the proportion of the population aged 12-17 and 18-23, respectively.
• Based on the coefficient estimates, for every 1% increase in the proportion of single-parent families, the schedules II and III drug-related crime rates of 12-17 and 18-23-year-old individuals increased by 39.25 (113.03), and 23.81 (25.92) people, respectively.
• Grandparent family positively correlated with the schedule III drug-related crime rate of 18-23-year-old individuals, with a large estimated coefficient (130.95), compared with otherwise similar young people.
• The estimated coefficient of attendance at music festivals for the schedule II crime rate for those aged 12-17 was 10.34. A significant relationship between the number of entertainment venues and the number of schedule III drug offenses of people aged 18-23 was observed.
• The drug-related crime rate of youths aged 12-17 slightly increased with household income, especially for the schedule III drug-related crime rate, which includes drugs that are not easily recognized and can be easily consumed, such as ketamine and FM2.
• An increase in the proportion of the educated population in counties by 1% can significantly reduce the schedule III drug-related crime rate of young people aged 18-23 by 45.99 people per year.
• Every 1% increase in the number of antinarcotics personnel was found to reduce the schedule III drug-related crime rate of young people aged 12-17 and 18-23 by 366.52 and 505.05 people per year, respectively.
Discussion
The empirical results indicate that the drug-related crime rate of a county is associated with the proportion of the population aged 12-23 and that the drug-related crime rate varies across the four schedules of drugs. With other factors remaining constant, the more youths aged 12-17 (aged 18-23) are in the population, the higher the schedule I (schedule II, and III) drug-related crime rates are. The causes of drug-related crime for adolescents seem to differ from those for adults. Living in a single-parent family is a significant explanatory variable for the drug-related crime rate of young people aged 12-23, especially for crimes relating to schedule II and III drugs among young people aged 18-23. Grandparent family is significantly related to the schedule III drug-related crime rate of people aged 18-23, and the impact of grandparent family depends on a young person’s age and the drug schedule. The presence of entertainment venues nearby is an important factor for drug-related crime only for people aged 18-23, with a small effect. The percentage of educated people in a county and the number of antinarcotics police officers have a negative relationship with the drug-related crime rate of people aged 18-23. Household disposable income is also a factor for drug-related crime among those aged 12-17.
Policy Suggestions
We propose several policy suggestions based on the findings:
• Revising policies for drug abuse prevention according to age and making this the top priority for schools of all levels.
• Giving more attention to young people from single-parent families in senior high schools and colleges as well as in primary schools and junior high schools.
• Paying special attention to the situation of students raised by grandparents and to those at higher risk of dropping out of school, especially in senior high schools and colleges.
• Enhancing drug policing in entertainment venues near senior high schools and colleges.
• Continuing to monitor the physical and mental health of children from families with higher socioeconomic status.
Society is a whole formed by individuals with their biological, cultural, imaginary and intellectual beings. Therefore, the formation of societies, especially healthy societies, is closely related to the physical, emotional, intellectual and spiritual development of individuals. Many components from science to technology, from sports to politics, from literature to art have an impact on this development of individuals. Music is also a branch of art that comes to life at any time and everywhere in daily life, and also has an important effect on the development of individuals and therefore societies as a means of life tool. It is possible to see the unifying and integrating effect of music everywhere, from small communities to national states to multinational cultures and corporations. The fact that music appeals not only to the ear but also to the mind, heart and soul increases the effect of music on individuals and societies. Considering how actively music is used in marketing any product, person or idea, it will be clearly seen how important music is in terms of economy, society and politics. Since every subject that affects people can be associated with space and geography, it is inevitable for the geographer to be interested in music as a research area. While the scope of music geography is handled in the perspective of phenomenological approach in this study, the place and importance of music geography is explained in the context of studies on music geography.
Introduction Music listening is used as a non-pharmacological intervention in various populations with positive results; however, evidence for its effect on sleep and psychological outcomes in critically ill patients remains unclear. It is essential to understand the impact of music listening for critically ill patients to optimise care and minimise the risk for harm. We will assess whether music listening improves sleep and psychological outcomes in critically ill patients.Methods and analysis We will systematically search scientific databases for relevant studies, including PubMed, Embase, CINAHL, PsycINFO, Web of Science, Scopus, ProQuest, the Cochrane Central Register of Controlled Trials, China Biological Medicine Database, China National Knowledge Infrastructure Library, Wan fang databases, VIP Database for Chinese Technical Periodicals and the Chinese Clinical Trial Registry. Databases will be searched for articles published from inception to 10 June 2020. Music therapy journals and reference lists in some articles will be hand-searched. Grey literature will also be searched. We will include randomised and quasi-randomised controlled trials that used music listening to improve sleep and psychological outcomes in critically ill patients. The primary outcomes will be sleep-related outcomes, and secondary outcomes will be anxiety and depression scores and physiological outcomes. Two reviewers will independently verify study eligibility and methodological quality; disagreements will be resolved by a third reviewer or through discussion. The risk of bias will be independently determined using the Cochrane Risk of Bias Tool. The Consolidated Standards of Reporting Trials checklist will be used to examine the quality of included papers. Data will be extracted from eligible studies by two researchers. RevMan V.5.3 will be used for meta-analysis.Ethics and dissemination This work will review existing trial data and will not introduce new patient data or interventions; therefore, ethics committee approval is not required. We will disseminate this protocol in a related peer-reviewed journal.PROSPERO registration number CRD42019147202.
Service evaluation is a professional requirement for music therapy practitioners and organisations. Yet service evaluation findings are rarely published within the professional literature, and there is limited documentation of the processes and methods of such evaluations, including the rationale, dilemmas, and challenges encountered. This is perhaps due to the perceived status, methodological weaknesses, and context-specificity of service evaluation work. Drawing on our engagement with service evaluation in diverse settings, we have become aware of its potential beyond its typical current uses in the field as well as of the need for open discussion and debate about the service evaluation tools that are available. This is where the aim of this paper lies: to introduce a service evaluation tool, the Impact Areas Questionnaire (IAQ), alongside the studies that led to its construction. Developed originally through a review of 27 individually designed service evaluation projects, this questionnaire contains a number of different impact areas. Adopting an ecological perspective, these areas refer to music therapy’s perceived impact not only on service users, but also on families/carers/friends, staff, and the organisational context in its entirety. Following its original development within Nordoff Robbins England and Wales, this questionnaire was tested in the context of Nordoff Robbins Scotland with the aim of exploring its applicability and transferability to other music therapy settings. In addition to presenting the findings of this testing, we discuss the potential use of the IAQ, which is included as an appendix to this article, in other settings and its relevance for knowledge and policy making in the field.
The study recapitulates the results of activities of the Centre for Music Lexicography under the patronage of Institute of Musicology, Faculty of Arts, Masaryk University, and especially its key project, the Czech Music Dictionary of Persons and Institutions. Initial works started in 2000 and next year is the 20th anniversary.
The study is relevant due to the need for the preservation of cultural traditions that include different peoples’ identities. An important way is the use of ethnic vocal traditions which include the experience earlier generations in art, moral and aesthetic knowledge. Learning of the vocal basis in the traditional face-to-face and online format allows to offer available content, a better update of the logically organized subject. Also, it provided connected knowledge learning that tends to build new ideas on the basis of traditional culture through collaboration.
The purpose of the paper is to study the usage of national vocal traditions in the learning process of future music teacher through the elements of Moodle, such as lectures about vocal art and assessment resources.
The research used the following methods: analysis of musical-pedagogical literature, studying educational documents, analysis of national vocal traditions, questioning, testing, interviewing.
The results of the complex educational process include traditional face-to-face and digital format that show a deep understanding of students’ intonation system of folk melodies and features of traditional musical culture.
The researchers concluded that the main role of the folk vocal performance traditions in the process of improvement of professional knowledge and skills of the future music teacher include their emotional state, moral, aesthetic and spiritual qualities.
These results will allow increasing the quality of the process of professional creative realization of the future music teacher through the interaction to the vocal art of different peoples by smooth communication at the Moodle environment.
"Social networks gives right of speech to legions of idiots”. These are the words from Umberto Eco directing an attack on Internet during the ceremony in the University of Torino to award him Honoris Causa for Communication and media culture. After these statements “the network people” felt offended and they launched a harsh attack against the writer. Therefore I decided to get deeply focused on such argument and made researches to create an idea about the writer‟s reflection and tried to formulate a potential personal consideration. The purpose for doing this is not to protect Eco: he is part of those people of reputation in culture who with their work have changed the way we study language and communication, let alone his extraordinary talent as a novelist. I conducted this analysis to better understand his opinion on Internet, social networks and technology. In this reflection I have indicated that his harsh words did not come out of nothing, in contrary, he made similar statements in other cases. The theory developed by him was complete, consolidated and logically argued. Behind this attack lies a reflection on such an important topic for our society: Internet information filtering, necessity of education on internet, things which need to get started since the early school education. At the end of the article I have provided a short information about a platform, an online multimedia compiled by him named Encyclomedia, an encyclopedia based on a new concept which is dedicated to the history of humankind by establishing links between what is searched in internet with relation to literature, science, art, music, economy, society, religion. This project demonstrates the fact that this man regardless of being part of cultural environment of “Novecento” tried to utilize the new technology to the benefit of knowledge and its dissemination.
This is a study of author-performed song in Tuva, the history of which begins when the People’s Republic of Tuva was declared in 1921. This crucial moment in the history of the region, which bore a strong influence of the October Revolution in Russia and of the following years of social change, had a profound impact on songwriting in the 1920s.
The songs expressed gratitude to the October Revolution, Lenin and the Russian people for helping Tuvans get rid of the socially oppressive system (“The Glorious International”, “Freedom from Torment”, “The Great River”, “The Emergency Session of the Khural”, “No More Oppression”, etc.). New songs glorified such iconic features of new life as the first schools, the birth of national literature and the new system of writing, the change in attitude to women, the rise of the new generation of authors, the construction of a new automobile road, etc. In the 1930s further socioeconomic transformation gave rise to songs like “I Am a Kolkhoz Member”; “The Tractor Driver”, “The Propagandist”, “The Beautiful Soviet Land”, etc.
By the end of the 1930s Tuva got its first amateur composers and author-performed songs. The arrival of theater, dance and music professionals from the USSR at the beginning of the 1940s at the bequest of PRT’s government led to a sea change in professionalization of Tuvan performing arts. In 1951 A. Chyrgal-ool became the first Tuvan student to join a conservatoire in Kazan which he graduated from in 1957. His works composed in 1950s marked a new stage in the rise of professional music in the region.
Thus Tuvan song art featured almost the same trends and developments as most other ethnic groups in the Soviet Union.
In the 16th century verses were written only to be sung, to be presented in the form of a hymn or song. This was not only the general custom of the age, but it also fit the ancient Hungarian tradition. Hungarian preachers of the age who studied abroad got acquainted with Luther’s and Calvin’s perception on ecclesiastical singing and music. They realized that the Word of the Lord could be spread more effectively using songs for this purpose. Since translation of the Geneva Psalms was published in printing only in 1607, the Hungarian preachers wrote hymns themselves. Hymns represent texts of prayers, confessions of faith or confessions of sins. The works of the Hungarian hymn writers were a valuable musical material not only for the Hungarian Reformed congregations, but they were also an inspiration for the great masters of choir literature. The most famous Hungarian composers, Kodály Zoltán, Bárdos Lajos, Gárdonyi Zoltán, thought it relevant to popularize the most beautiful ecclesiastic hymns by creating choir works based upon these.