Nikos Skalkottas (1904-1949) and Dimitris Dragatakis (1914-2001) were two of
the most important Greek composers of the twentieth century. From 1944 to
1947, they both played in the orchestra of the Greek National Opera,
Dragatakis being a politically engaged apprentice composer and Skalkottas a
marginalized violin virtuoso and avant-garde pioneer. While no direct
connection between them is documented, new sources suggest some interaction
of their lives and creative paths. Analysis of two pieces for violin and
piano - the second movement of Skalkottas’ Sonatina no. 1 (1929), and
Lullaby [Berceuse/Nanourisma] [1942-1949] by Dragatakis - indicates
Dragatakis’ early adoption of the twelve-tone techniques from Skalkottas’
work, hinting at the initial influence of Skalkottas’ modern procedures in
Greece.
There is limited research on the practicum component of music teacher education in Scandinavia. I address this gap by investigating practicum conversations preservice music teachers (PMTs) engage in during their practice-based placements in Norwegian primary and lower secondary schools. Through an analytical lens based on practice architecture theory, I illuminate how differing discourses, expectations, and relationship patterns among PMTs and teacher educators (functioning as mentors) influence the selection of certain music activities. The main findings indicate how differing discourses and expectations led to continuous negotiations about which repertoire and content to choose. At the same time, musical interaction and engagement in spaces of “shared” knowledge between PMTs and mentors served as alternative ways to select activities in practicum conversations. Based on the findings, I emphasize the importance of providing more spaces for PMTs’ voices and resources to renew and change the content and repertoire of the music subject in schools.
Robert J. Burkhart, Christian J. Hecht, Ryan McNassor
et al.
Background: Cast room procedures can be a source of considerable distress for pediatric patients. High levels of anxiety can make it difficult to perform procedures effectively and may negatively affect the doctor-patient relationship. We sought to evaluate available interventions to reduce anxiety in pediatric patients undergoing orthopaedic cast room procedures. Methods: Following the Preferred Reporting Items for Systematic Review and Meta-Analysis Protocols guidelines, we performed a systematic review to answer our study question (PROSPERO registration of the study protocol: CRD42022333001, May 28, 2022). PubMed, EBSCO host, MEDLINE, Cochrane, and Google Scholar electronic databases were used to identify all studies evaluating interventions to reduce pediatric anxiety during orthopaedic cast room procedures between January 1, 1975, and June 1, 2022. The quality of included studies was assessed using the Jadad scale. Results: Our initial search yielded 1,490 publications, which were then screened for appropriate studies that aligned with the purpose of our review. Fourteen studies comprising 8 prospective cohort and 6 randomized controlled trials were included. The total sample size of included studies consisted of 1,158 patients with participant age ranging from 1 to 21 years. The interventions investigated included noise reduction headphones, musical therapy, inclusion of a certified child life specialist, casting shears, virtual reality, Bedside Entertainment and Relaxation Theater (BERT), children's and instructional videos, and video games. Most of the included interventions were effective at reducing anxiety during cast room procedures. However, there was variation in anxiety reduction across cast room procedure and treatment modality. Conclusion: The use of physical or technology-based distraction tools can play an important interventional role in improving patient satisfaction during cast room procedures. The majority were inexpensive, readily applicable to the clinical setting, and of negligible risk to the patient. Level of Evidence: Level II. See Instructions for Authors for a complete description of levels of evidence.
Background To determine if take home laparoscopic trainer boxes with only self-directed learning can develop laparoscopic skills in surgically naive learners. Methods 74 starting PGY1 OB/Gyn residents and OB/Gyn clerkship medical students volunteered for the study. Learners performed a laparoscopic peg transfer task with only task instructions and no additional training. Initial tasks were recorded and scored. The participants took home a laparoscopic trainer box for 3 weeks to practice without guidance and returned to perform the same task for a second/final score. Initial and final scores were compared for improvement. This improvement was compared to practice and variables such as demographics, surgical interest, comfort with laparoscopy, and past experiences. Results Mean peg transfer task scores improved from 287 (SD = 136) seconds to 193 (SD = 79) seconds (p < 0.001). Score improvement showed a positive correlation with number of home practice sessions with a linear regression R2 of 0.134 (p = 0.001). More practice resulted in larger increases in comfort levels, and higher comfort levels correlated with better final task scores with a linear regression R2 of 0.152 (p < 0.001). Interest in a surgical specialty had no impact on final scores or improvement. Playing a musical instrument and having two or more dexterity-based hobbies was associated with a better baseline score (p = 0.032 and p = 0.033 respectively), but no difference in the final scores or score improvement. No other past experiences impacted scores. Conclusions Our study demonstrates that the use of home laparoscopic box trainers can develop laparoscopic skills in surgical novices even without formal guidance or curriculum.
Dayang Siti Hazar Awang Hassim, Kamarulzaman Mohamed Karim
Ornamentation is a source of beauty and uniqueness for each Lagu Melayu Asli singer. The ornamentation in Lagu Melayu Asli is better known as lenggok, bunga lagu, air lagu (Suflan, 2015; Rosny, 2018), cengkok, grenek, or gerenek (Silitonga, 2011; Zulaikha, 2008; Suflan, 2015; Rosny, 2018), and some researchers are more comfortable naming it melismatic (Ritawati, 2017). Although Lagu Melayu Asli music in the Malay world is rich in the beauty of ornamentation, guidelines on ornamentation are not specifically stated but rather are to be played or sung by heart and by improvising on the basis of knowledge learned verbally from their idols or teachers (Rosny, 2018; Suflan, 2015; Rizaldi, 2010; Zulaikha, 2008). The systematic distillation in this writing uses a qualitative literature study methodology derived from the articles and interviews of Lagu Melayu Asli. In general, a literature review can be thought of as a more or less methodical method of compiling and analyzing earlier studies (Baumeister & Leary, 1997; Tranfield, Denyer, & Smart, 2003). This study provides literature reviews and concludes guidelines for singers by placing specific categories of ornamentation in Lagu Melayu Asli.
Selma Kazumi da Trindade Noguchi, Andrey Silva Machado, Simone Aguiar da Silva Figueira
et al.
Objectives: to identify in the literature the applicability of active teaching-learning methodologies in health. Methodology: integrative review carried out in the Virtual Health Library using the descriptors in health sciences: Active methodologies; Health; Applicability. Results: 31,500 articles were found and, after careful reading, eleven were selected in the Virtual Health Library. The making of the patchwork quilt stood out; Digital Information and Communication Technologies; twine; thematic workshops with practical activities and previous questions for reflection and criticism were also used; patient care, analysis of real cases, role-playing (decision making and competence demonstration); documentaries and television series; mock jury; conversation wheel; movie theater with popcorn; tutorial group; constructivist spiral; flipped classroom and peer instruction, as well as its pedagogical foundations; problematization with the Arch of Charles and Maguerez; Project-Based Learning; the three Pedagogical Moments; Puppet theater and musical parodies; Directed study, flipped classroom, concept map and mind map; interactive dialogued class; case studies; oral presentation of contents; kahoot; Forum; LPAM (Learning Practice Assessment Material); ESCAPE ROOM; Problem Based Learning; Video lessons; theaters and recreational activities. Final Considerations: Reflective teaching, appropriate to the context, of methodological quality has the ability to instigate an expanded and transdisciplinary vision, in addition to promoting social changes resulting from the increase of individual and collective awareness.
Nine types of multiple intelligence theories are proposed by Gardner (1999), which include the following: verbal-linguistic, musical, logical-mathematical, visual-spatial, bodily-kinesthetic, and existential. Since all these types of intelligence are on an equal footing, educators can use various strategies to help students develop their full potential. Silent Way, Suggestopedia, CLT, etc., are some methods used to incorporate multiple intelligence into teaching and learning activities. However, the use of multiple intelligence in learning English is still rare. This results in teachers not using the most effective methods for teaching and learning the English language. Following the steps outlined in this paper can help teachers integrate at least some of these nine types of intelligence. This paper provides teachers with new ideas for improving the quality of teaching and learning through multiple intelligence. This paper attempts to answer the following questions: 1) What exactly is multiple intelligence, and how can it be encouraged? 2) In the context of teaching English as a foreign language, what methods are most effective in fostering multiple intelligences? This study is descriptive qualitative work being done in preparation for a conceptual paper. The method consists of reviewing all related literature to provide sufficient arguments. The discussion focuses on multiple intelligence theory, English language instruction, and incorporating multiple intelligence into teaching-learning activities.
The article examines the musical performance activities of the pianist, teacher, conductor and music director Josef Zöhrer (1841–1916), one of the central figures of Ljubljana’s musical life in the second half of the nineteenth century and the early twentieth century, at the Ljubljana Philharmonic Society. Over the course of almost half a century of performing and teaching Zöhrer had an enormous impact on musical culture in present-day Slovenia.
Članek se ukvarja z zgodovino recepcije Regerjeve glasbe na Slovenskem. Sprva zasledimo posamezne osebne stike Regerja z glasbeniki, ki so delovali na Slovenskem. Prvotna kritiška zadržanost ob njegovih delih se kmalu prelevi v občudovanje, čemur sledijo dokaj redne izvedbe koncertnih del (orgelskih, komornih, zborovskih in orkestralnih) in didaktične literature.
In view of the fact that Giuseppe Tartini was born on the territory of present-day Slovenia, the article focuses on violinistic activity in the context of the secular and sacred circles existing in Tartini’s time in the Slovenian Lands. The violin compositions and didactic works that can be linked with the Slovenian ethnic territory are discussed as well.
Past empirical studies have suggested that older adults preferentially use gaze-based mood regulation to lessen their negative experiences while watching an emotional scene. This preference for a low cognitively demanding regulatory strategy leaves open the question of whether the effortful processing of a more cognitively demanding reappraisal task is really spared from the general age-related decline. Because it does not allow perceptual attention to be redirected away from the emotional source, music provides an ideal way to address this question. The goal of our study was to examine the affective, behavioral, physiological, and cognitive outcomes of positive and detached reappraisal in response to negative musical emotion in younger and older adults. Participants first simply listened to a series of threatening musical excerpts and were then instructed to either positively reappraise or to detach themselves from the emotion elicited by music. Findings showed that, when instructed to simply listen to threatening music, older adults reported a more positive feeling associated with a smaller SCL in comparison with their younger counterparts. When implementing positive and detached reappraisal, participants showed more positive and more aroused emotional experiences, whatever the age group. We also found that the instruction to intentionally reappraise negative emotions results in a lesser cognitive cost for older adults in comparison with younger adults. Taken together, these data suggest that, compared to younger adults, older adults engage in spontaneous downregulation of negative affect and successfully implement downregulation instructions. This extends previous findings and brings compelling evidence that, even when auditory attention cannot be redirected away from the emotional source, older adults are still more effective at regulating emotions. Taking into account the age-associated decline in executive functioning, our results suggest that the working memory task could have distracted older adults from the reminiscences of the threat-evoking music, thus resulting in an emotional downregulation. Hence, even if they were instructed to implement reappraisal strategies, older adults might prefer distraction over engagement in reappraisal. This is congruent with the idea that, although getting older, people are more likely to be distracted from a negative source of emotion to maintain their well-being.
Alejandra Lopera Quintanilla, María del Pilar Lopera Quintanilla
El perfil del maestro de música que pudo regir en Europa durante la primera mitad del siglo XVIII, incluyendo sus cualidades didácticas, conocimientos generales y destrezas musicales, no ha sido estudiado, históricamente, a profundidad. Sin embargo, la lectura atenta de tres importantes tratados de la época da luces sobre ello. Por tanto, el objetivo principal de este texto es reconocer cuál fue el perfil didáctico del docente de música en la primera mitad del siglo XVIII en Europa, a partir de una revisión de tres textos de la época y la labor de sus autores: tres compositores musicalmente virtuosos y potencialmente didácticos. Las fuentes históricas estudiadas en este trabajo son Les principes du clavecin (1702) del compositor Monsieur de Saint Lambert, Versuch einer Anweisung die Flöte traversiere zu spielen (1752) del virtuoso flautista y compositor Johann Joachim Quantz, y Versuch über die wahre Art das Clavier zu spielen (1753) del compositor Carl Philipp Emanuel Bach.
Maria Claudia Buzzi, Gabriella Paolini, C. Senette
et al.
Guidelines for teaching music to children with autism mainly focus on the environment and activities, often neglecting how to deliver music instructions in an accessible and effective way. Technology-enhanced intervention offers a structured, repeatable, and coherent training environment, which can be modulated according to the student's needs. The Suoniamo app is specifically designed to help students with autism learn to play music in a visually structured way. The app is co-designed with professionals experienced in training people with autism. It provides modules for learning how to read, identify and interpret musical notation (note position and values, pauses, etc.) on a virtual piano keyboard. After this structured training, the child may generalize mastered concepts on a real piano, being able to interpret notes, rhythms, pauses and simple scores in the pentagram. Preliminary results of a pilot study with three students with autism appear to confirm the validity of the proposed approach.
The denomination singing revolution (coined by Estonian artist Heinz Valk, b.
1936) is commonly used for events in Baltic States between 1987 and 1991
that led to the restoration of the independence of Estonia, Latvia and
Lithuania. Three songs - the folk song Pūt, vējiņi! (Blow, Wind!), the choir
song Gaismas pils (The Castle of Light) by the national classical composer
Jāzeps Vītols (1863-1948) and the song Saule, Pērkons, Daugava (Sun,
Thunder, Daugava) by the composer Mārtiņš Brauns (1951) - at that time in
Latvia had a special significance in society. Each song represented
references to different layers in Latvian cultural and political history.
The characteristics of the three songs in the Singing Revolution process are
based on the approach and methodology of distant (objective) analysis of
cultural context and recent historical experience. As a result, this article
reveals the meaning and reception of the three songs as symbols of
nonviolent resistance during the fall of communist regime in Latvia in the
late 1980s.
In many of its areas, the writing of music history in Germany is
characterised by the Romantic music outlook and its “Two-World-Model”: the
real world is seen as opposing the ideal world of music as a higher
existence of ideas and ideals. Art music in the emphatic sense, commonly
designated as serious music, pretends to represent that ideal world and
makes claims to truthfulness. The science of music actually believes it is
able to prove the universality of these claims. A large part of
musicological publications are characterised by this assumption. However, a
public discussion among musicologists as to whether such writings should
belong to the field of theology rather than to historico-critical
historiography (as a science in the strict sense) is non-existent. As a
result, our field has not only disappeared from a public sphere that wishes
to leave those claims to small elitist circles, but has also encountered a
growing lack of understanding among other disciplines, even to the point of
mockery. It would suffice here to refer to the lawyer Bernhard Weck, who
wrote with regard to Beethoven’s Opus 112: “Only musicology could prove that
‘political ideas of freedom can be expressed through gestures of sound.’”
The El Sistema music education philosophy links positive individual and social development through musical education. This study is a longitudinal examination of the impact of participation in an El Sistema-inspired program, the Miami Music Project, on positive youth development. We hypothesized that over the course of a school year, participation in ensemble-based after-school music programming would significantly enhance factors associated with positive youth development. Specifically, we evaluated social emotional constructs aligned with the Five Cs of Positive Youth Development: Competence, Confidence, Caring, Character, and Connection. Results revealed that participants showed significant increases across all five Cs over the course of the year. Additionally, findings showed that Miami Music Project students showed greater enhancements over time in Character, Competence and Caring when compared to a group of youth who did not participate in music education. This study presents empirical documentation of the numerous meaningful social and emotional enhancements that participation in an El Sistema-inspired program is engendering among youth. In this type of rigorous orchestral model of musical instruction, youth seem to acquire not only cognitive benefits but also a host of social and emotional enhancements, ostensibly from learning in an environment that requires disciplined social cohesion. These findings provide insight into the holistic approach foundational to the El Sistema philosophy and adds to our overall understanding of musical instruction in important ways.
Ada beragam jenis cara analisis musik namun yang selama ini lebih dikenal dan dipelajari di lingkungan penulis, adalah analisis bentuk musik. Ada cara lain dalam bidang analisis, salah satunya adalah analisis schenkerian. Melalui cara analisis tersebut maka akan didapatkan struktur tonal yang terdalam dari sebuah sistem musik tonal. Cara ini sama sekali belum umum di Indonesia untuk saat ini. Maka dari itu penulis ingin mempelajari lebih dalam mengenahi cara analisis schenkerian. Untuk materi pembahasan akan dibatasi pada karya Mauro Giuliani komposisi L’Armonia opus 148. 5 untuk gitar klasik. Adapun pertimbangan mengenahi objek pembahasan tersebut karena era keemasan musik tonal adalah jaman klasik. Karya tersebut dibuat pada waktu jaman klasik dan diciptakan oleh seorang komposer arus utama untuk musik instrumen gitar. Selain itu karya tersebut dimainkan dalam resital tugas akhir yang dilakukan oleh penulis. Sehingga harapan penulis dengan analisis karya Mauro Giuliani dapat melihat gambaran komponis gitar lainya pada era tersebut. Dgn menggunakan metode kualitatif desriptif dengan pendekatan musikologis, khususnya teori musik dapat disimpulkan bahwa bentuk background komposisi L’Armonia karya Mauro Giuliani adalah bentuk kedalaman yang merupakan hasil reduksi dari bentuk-bentuk sebelumnya. Di dalam bentuk ini terdapat interruption yang berfungsi sebagai penyela dan dikembalikan lagi ke kopfton 3 yang disebabkan oleh adanya struktur yang diulang. Bentuk tersebut dapat dilihat pada pembahasan background.
There are various types of music analysis, but what has been better known and studied in the writer's environment, is the analysis of musical forms. There are other ways in the field of analysis, one of which is Schenkerian analysis. Through this method of analysis we will get the deepest tonal structure of a tonal music system. This method is not yet common in Indonesia at this time. Therefore the writer wants to learn more about the schenkerian analysis. For discussion material will be limited to the work of Mauro Giuliani the composition of L 'Armonia opus 148. 5 for classical guitar. The consideration of the object of discussion is because the golden era of tonal music is the classical era. The work was made in classical times and was created by a mainstream composer for guitar instrument music. In addition, the work is played in a final project recital carried out by the author. So the hope of the writer with the analysis of the work of Mauro Giuliani can see the picture of other guitar composers in that era. Using qualitative descriptive methods with a musicological approach, especially music theory, it can be concluded that the form of the background of L'AAmonia's composition by Mauro Giuliani is a form of depth that is the result of reduction from previous forms. In this form there is an interruption that functions as an interrupter and is returned again to Kopfton 3 caused by a repeated structure. This form can be seen in the background discussion.
Keywords: schenkerian analysis; L'Oronia opus 148. 5.