Siti Yuyun Rahayu Fitri, Windy Rakhmawati, Sri Hendrawati
Introduction: The application of auditory system stimulation, either through music or vocals, to reduce pain in neonates as a vulnerable group is very beneficial. However, some researchers have indicated that this auditory stimulation does not yield positive results in reducing pain in neonates. The standard for applying this auditory stimulation intervention to reduce pain in neonates during painful procedures is still unclear. Aim: To identify and map the literature on auditory stimulation using music or vocals as a non-pharmacological analgesia method for neonates undergoing painful procedures during their hospital care. Method: A scoping review. We followed the JBI methodology for scoping reviews. Keywords were directed at five key concepts: auditory, pain, music, neonates, and stimulation. Information retrieval was focused on MEDLINE (PubMed), CINAHL (EBSCO), Embase, and Scopus (Elsevier) from the period of 2015 to 2024. Results: Twenty-eight studies were identified as meeting the criteria for this review. Four were quasi-experiment studies, and the remaining were randomized control trials. There were six elements of auditory stimulation to reduce pain, which were the type of auditory stimulation, content, time, delivery methods, sound intensity, and combination with other methods. We highlighted the promising role of music as an adjunctive pain management strategy for neonates undergoing painful procedures. Conclusion: The incorporation of additional sensory modalities to reinforce auditory input should be considered; we found that multisensory stimulation yielded more favorable analgesic outcomes.
Two works surviving in the codex Rps 8054 III (olim Kras 52), held in the National Library of Poland in Warsaw, have been tentatively attributed to Nicolaus de Ostrorog. The author supports Maria Szczepańska’s proposal that the name ‘N de ostrorog’ (fol. 186v) may refer to the Contratenor voice of Pastor gregis egregius only and points out that the name Nicolaus Mathie de Ostrorog is present in the matriculation roll of Kraków University (1437). Furthermore, he argues on palaeographical and codicological grounds that the fragmentary Gloria (fol. 205r) is most likely a work by Nicolaus Frangens de Leodio. An updated transcription of the part of the Gloria hidden under the protective paper slip is offered.
Este artigo apresenta uma análise dos modelos algorítmicos que foram desenvolvidos pelo compositor para a geração da peça Prólogo para quarteto de cordas. O projeto faz uma homenagem à obra pioneira de Lejaren Hiller na área de composição auxiliada por computadores. Uma diferença relevante deste projeto em relação a outros anteriores da área de composição algorítmica é ênfase dada ao parâmetro do ritmo que é o principal condutor da estrutura narrativa da peça. As técnicas empregadas revisitam modelos clássicos, como o de cadeias de Markov e da análise de combinações e permutações, e deixam claras a contribuição das decisões pré-composicionais e da influência de mapeamentos e de dados numéricos gerados por processos aleatórios. Ressalte-se que este projeto tira partido da flexibilidade das propriedades e das relações não-tonais intrínsecas às coleções hexatônicas, especialmente as de tons inteiros. Igualmente importante é a apropriação que o projeto faz de modelos inspirados em técnicas barrocas, como o contraponto inversível, neste caso expandido para quatro vozes e as variações por diminuição rítmica.
Bu araştırmanın amacı, Ali Salâhi Bey’in “Hocasız Ud Öğrenmek Usulü” isimli metodunun çeşitli değişkenler açısından incelenmesidir. Metodun dilinin, Osmanlı Türkçesi olması nedeni ile öncelikle metodun günümüz Türkçesine (Latin alfabesine) çevirisi yapılmıştır. Araştırmanın sonuçları doğrultusunda, metodun içeriğinde 115 adet etüt-alıştırma-egzersiz ve 8 adet şarkı formunda eser olduğu; metot içerisinde yer alan etüt, egzersiz ve alıştırma konu başlıklarının, nota yerleri ve nota değerlerine yönelik (31 adet), parmak alıştırmaları (29 adet), makamsal dizi, etüt ve egzersizler (20 adet), aralık çalışmaları (16 adet) ve mızrap alıştırmaları (13 adet), usule yönelik çalışma (6 adet) olduğu ve bu bağlamda en fazla çalışmanın nota yerleri ve nota değerlerine yönelik, en az ise usule yönelik çalışmalar olduğu belirlenmiştir. Buna ek olarak, temel müzik teorisi bilgileri, nota yerleri ve değerlerine yönelik çalışmalar, çalgının temel teknik becerisini kazandırmaya yönelik mızrap, parmak ve aralık çalışmaları, Türk müziği öğretimine yönelik makamsal dizi, etüt ve egzersizlerle birlikte usul çalışmaları ve eser repertuvarının bulunmasından dolayı günümüzde kullanılan Türk müziği çalgı öğretim metotlarının oluşumuna önemli derecede katkı sağladığı ve ilgili alandaki ud metotlarına öncülük ettiği, ayrıca seviyeye uygun olarak genelden-özele, basitten-zora ilkesi doğrultusunda sistematik olması, yazıldığı döneme göre sade ve yalın bir dil kullanarak açık ve anlaşılır olması nedeni ile pedagojik özellikler barındırdığı sonuçlarına ulaşılmıştır.
Stroke, a leading cause of disability and death, results in impairments affecting daily activities and quality of life. Traditional rehabilitation often includes physical, occupational, and speech therapies. However, complementary therapies such as music therapy are gaining attention for their additional benefits. This systematic literature review investigates the effects of music therapy on motor recovery, cognitive rehabilitation, and emotional well-being in stroke survivors. The review includes randomized controlled trials, cohort studies, and case studies sourced from databases like PubMed and ResearchGate. Findings show that Rhythmic Auditory Stimulation (RAS) significantly improves motor functions, particularly gait and upper limb movements, by improving
motor control and coordination and promoting neuroplasticity. Also, music therapy benefits cognitive functions such as memory and attention, and improves emotional well-being by reducing anxiety and depression. Implementing RAS in rehabilitation requires customization to individual
patient needs, and it can be integrated into home-based programs for continuous improvement. Beyond physical benefits, music therapy supports cognitive and emotional recovery, offering a holistic approach to stroke rehabilitation. Integrating music therapy into rehabilitation programs
can significantly improve recovery and quality of life for stroke survivors.
This article examines the negotiation of prayer melodies at Or Chadasch, a liberal Jewish synagogue in Vienna, exploring how these melodies represent the community’s balance between tradition and innovation within a progressive Jewish framework. As a “minority within a minority,” Or Chadasch operates on the periphery of Vienna’s Orthodox-dominated Jewish community and global progressive Judaism. The article begins by providing a historical context for progressive Judaism in Austria and by tracing the development of Or Chadasch and its repertoire of prayer melodies. Drawing on ethnographic fieldwork, it explores how the emotional connections of congregants and prayer leaders to specific melodies shape debates on musical tradition, continuity, and communal belonging. Central to this analysis is the concept of minhag (custom), an insider term that serves as a flexible yet deeply rooted foundation in the musical worship practices of the congregation. The article identifies six “modes of minhag”—continuity, habit, authority, potluck, participation, and choice—as distinct approaches through which congregants negotiate persistence and change in prayer melodies. These modes illustrate how minhag functions as both a stabilizing and adaptive force, which accommodates diverse attachments across transnational and transhistorical Jewish musical practices. The study posits that minhag, understood as enacted through multiple modes, transcends a simple binary of tradition versus innovation. Furthermore, the article situates the musical minhag of Or Chadasch within broader ethnomusicological research on minority communities, arguing that this minhag reflects the specific historical, ideological, and sociopolitical positioning of the congregation, thus serving as a living archive of the community’s history.
This article analyses music manuscript Mar. F 406, originally from the collection of St Mary’s church in the Main Town (Rechtstadt) of Gdańsk, now kept at the Gdańsk Library of the Polish Academy of Sciences. The codex is a compilation of liturgical chants. This article offers the first analytical study of the source undertaken from the perspective of the history of art, with a discussion of the character and quality of the gouache and calligraphic ornaments. These decorations are presented in the wider context of illumination art in fifteenth-century Gdańsk. Stylistic and comparative analyses were supported by non-invasive XRF and IR examination.
The physical characteristics of the volume, along with the results of parallel musicological studies (Piotr Ziółkowski and Kamil Watkowski), make it possible to present a new chronology of the manuscript’s compilation, distinguish the individual illuminators’ hands and obtain knowledge of the techniques and practice of the scriptorium in Gdańsk. The codex is thus shown to have received its present-day form in the mid-fifteenth century. It is partly an original work from that period (by two Gdańsk-based copyists), and partly a compilation of older fragments (from the late fourteenth and early fifteenth century). It was bound in Gdańsk by the elder Dragon Bookbinder (älterer Drachenbuchbinder). The first scribe-illuminator was a representative of the Gdańsk environment trained according to Bohemian models. The last three gatherings (VIII–X) remained blank until the early sixteenth century, when more chants were added by a team of copyists. The decoration in this section is the work of a single illuminator, who drew on old thirteenth-century models, as well as calligraphic patterns used in the decoration of incunabula. This section can be dated to the turn of the sixteenth century; the work of this illuminator has analogies in other Gdańsk books from the first quarter of the sixteenth century. The source constitutes a valuable example of a manuscript’s intense, long-term liturgical use. Its analysis demonstrates the need for a comprehensive study of the Gdańsk scriptorium in the second and third quarters of the fifteenth century (including illuminating and bookbinding techniques).
Letícia de Carvalho Batista, Michele Nakahara Melo, Diná de Almeida Lopes Monteiro da Cruz
et al.
The characteristics of music interventions for reducing anxiety in patients undergoing cardiac catheterization were mapped. A scoping review was conducted according to the Joanna Briggs Institute methodology. Searches were performed in electronic portals and databases PubMed, CINAHL, PsycINFO, Cochrane, EMBASE, Scopus, LILACS, CAPES Thesis Portal (Brazil), DART-Europe E-theses Portal, Theses Canada Portal, Pro-Quest, and Google Scholar databases, gray literature, with no limitation on the year of publication. Eighteen articles were included in the search. The characteristics of the interventions were heterogeneous and not comprehensively described in the primary studies. The songs were predominantly of a single genre, instrumental, and selected by the interventionist, with a rhythm between 60 and 80 beats per minute. The interventions were delivered in a single session, mostly in the catheterization laboratory, before or during the procedure, by means of digital audio and earphones for over 20 min. The heterogeneity of interventions and incompleteness of information in the studies compromises the advancement of knowledge on the effects of music on health outcomes.
Recenzja edycji krytycznej: Józef Elsner, "Król Łokietek, czyli Wiśliczanki". Opera w dwóch aktach. Libretto Ludwik Adam Dmuszewski, wyd. Grzegorz Zieziula, Warszawa 2019
Music Recommender Systems (Music RS) are nowadays pivotal in shaping the listening experience of people all around the world. Partly driven by the commercial application of this technology, music recommendation research has gained increasing attention both within and outside the Music Information Retrieval (MIR) community. Thanks also to the widespread use of recommender systems in music streaming services, it has been possible to enhance several characteristics of such systems in terms of performance, design, and user experience. Nonetheless, imagining Music RS only from an application-driven perspective may generate an incomplete view of how this technology is affecting people’s habitus, from the decision-making processes to the formation of musical taste and opinions. In this overview, we address the concept of 'diversity' in music recommendation, and taking a value-driven approach we review diversity-related methodologies proposed in the Music RS literature. Additionally, by taking as an example the wider context of Information Technology (IT), we present the elements interacting in the diversity by design paradigm. We do that to acknowledge the lack of a comprehensive framework in Music RS research to address diversity, until now mostly driven by empirical results and fragmented in different application areas. Maintaining an interdisciplinary perspective, we discuss some challenges that MIR practitioners may face when researching Music RS, going beyond the search for better performance and instead questioning the theoretical foundations on which to base future research.
The legends of the kratt or the treasure-bearer have existed in lively oral tradition in Estonian culture for a very long time. These myths and legends have traversed from the oral tradition to literary works, visual culture and music. All these texts on the kratt exist in the culture as metatexts which create the world of the kratt, where different cultural memories and interpretations are intertwined. This means that the kratt as a cultural text is also a multimedial text. Different media use different tools and this makes the interpretations more playful and interesting. Andrus Kivirähk’s novel Rehepapp (The Old Barny, 2000) is the central literary work on the kratt in contemporary Estonian literature. Kivirähk combines the mythical kratt with the figure of Old Barny (rehepapp), who is the unofficial leader of the village and a cunning manor house barn-keeper. There are several cultural texts based on Kivirähk’s novel, but the most important are the opera Rehepapp (2013) by Tauno Aints, libretto by Urmas Lennuk, and the film November (2016) by Rainer Sarnet. The 2015 production of the ballet Kratt (1943) by Eduard Tubin is more contemporary in its setting and represents everyday life in the modern factory. The article analyses how different multimedial texts about the kratt and Old Barny use and combine multimedia to create and convey the social meaning of the kratt, and how multimedia use audio-visual poetics to convey a greater number of emotions and aesthetic values in the cultural text. The film by Rainer Sarnet and the ballet by Eduard Tubin represent harmony with different poetics factors and the meanings of the cultural texts.
As mass culture becomes an important part of the contemporary literary process, one cannot
ignore it. New forms and genres of mass literature and culture could often be regarded as reaction to the
changes in the social and public life. The most striking examples of those genres are mashup and crossover
fiction, which are based on the multiple references to already existing texts. Mashup literature is a combination of classic text with a dominant storyline and new plot details added by modern authors. Crossover
(according to Jenkins) relies on pre-existing texts, “breaking down not only the boundaries between texts
but also those between genres, suggesting how familiar characters might function in radically different
environments”. An example of the combination of mashup and crossover is the novel by Russian-speaking Ukrainian writers Henry Lyon Oldy “Sherlock Holmes vs. the Martians” (2014). Henry Lyon Oldy is the
pseudonym of science fiction writers Dmitry Gromov and Oleg Ladyzhensky. The composition of the novel is a “story in a story”; mutual
integration of various levels of text takes place, which makes it possible to speak of metalhepsis. The title of the novel suggests that
the main characters come from the famous books by Arthur Conan Doyle and Herbert Wells. the main characters come from books by
Arthur Conan Doyle and Herbert Wells. However, Oldie do not focus on just two authors. They also include references to other literary
texts, cinema, music and painting, by these means creating a unique text, in which pre-existing plots and characters intertwine, uncovering a completely new narrative form.
The paper addresses Vilém Flusser's media philosophy, with a focus on his concept of new media art. Since Flusser never wrote a clear definition of new media art, his view must be deduced from remarks spread across his writings. The deduction is based on the assumption that Flusser's notion of new media art can be set up within the frame of Gaston Bachelard's water element aesthetics. In the paper, metaphors associated with water and with dreams are used to establish links among such different terms within Flusser's vocabulary as "sounding images and visible sound" (computed and projected models of collected data), "chamber music" (a metaphor for the endless collective creativity shared within the digital media pool), and "Vampyroteuthis infernalis" (a fantastic creature living in the hostile environment of the oceanic abyss). The aim is to introduce Flusser as an author of an original and visionary aesthetic and of the poetics of new media art.
Sigismund Báthory (1572–1613), Prince of Transylvania, to whom five Venetian music editions were dedicated between 1590 and 1599, had several foreign musicians in his service: mainly Italians, but also some Germans and Poles. The names of more than a dozen Italians are currently known, among them those of the composer and publisher Giovanni Battista Mosto of Udine, and the Venetian organist and composer Antonio Romanini. The employment of foreign musicians shares several features of the musical life of seventeenth-century Transylvanian courts, and that of Hungarian aristocratic families.
Michel eHabib, Chloe eLardy, Tristan eDesiles
et al.
Numerous arguments in the recent neuroscientific literature support the use of musical training as a therapeutic tool among the arsenal already available to therapists and educators for treating children with dyslexia. In the present study, we tested the efficacy of a specially-designed Cognitivo-Musical Training (CMT) protocol based upon three principles : 1- music-language analogies : training dyslexics with music could contribute to improve brain circuits which are common to music and language processes; 2 – the temporal and rhythmic features of music, which could exert a positive effect on the multiple dimensions of the temporal deficit characteristic of dyslexia; and 3- cross-modal integration, based on converging evidence of impaired connectivity in dyslexia and related disorders. Accordingly, we developed a series of musical exercises involving jointly and simultaneously sensory (visual, auditory, somatosensory) and motor systems, with special emphasis on rhythmic perception and production in addition to intensive training of various features of the musical auditory signal. Two separate studies were carried out, one in which dyslexic children received intensive musical exercises concentrated over 18 hours during three consecutive days, and the other in which the 18 hours of musical training were spread over six weeks. Both studies showed significant improvements in some untrained, linguistic and non-linguistic variables. The first one yielded significant improvement in categorial perception and auditory perception of temporal components of speech. The second study revealed additional improvements in auditory attention, phonological awareness (syllable fusion), reading abilities and repetition of pseudo-words. Importantly, most improvements persisted after an untrained period of 6 weeks. These results provide new additional arguments for using music as part of systematic therapeutic and instructional practice for dyslexic children.
In medieval and early modern music there existed, besides artificial polyphony, simple part singing, the so called primitive polyphony. Written examples of this music, which differs in several respects from artificial polyphony, reveal its special function, as well as the special function of the written documents themselves; they are neither descriptive (i.e. they are not written records of the music sung) nor are they prescriptive (i.e. they are not composers’ scores to be performed by singers).