Academic literature on the topic 'Cumulative songs'
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Journal articles on the topic "Cumulative songs"
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Kupriyanova, Sophia Olegovna. "CUMULATIVE SONGS AND FAIRY-TALES AS THE LULLABY." Sovremennye issledovaniya sotsialnykh problem, no. 2 (May 24, 2015): 302. http://dx.doi.org/10.12731/2218-7405-2015-2-23.
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Till, Benedikt, Ulrich S. Tran, Martin Voracek, and Thomas Niederkrotenthaler. "Music and Suicidality." OMEGA - Journal of Death and Dying 72, no. 4 (March 9, 2015): 340–56. http://dx.doi.org/10.1177/0030222815575284.
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In recent years, the question whether personal suicidality is reflected in individual music preferences has been discussed. We assessed associations of preferred music genres and cumulative exposure to and rating of 50 preselected songs, including 25 suicide-related songs, with suicide risk factors in an online survey with 943 participants. Preferences for sad music were associated with high psychoticism, while fanship of music genres with predominantly joyful contents was linked to low psychoticism. There was a dose-response relationship of positive rating of suicide songs with high life satisfaction and low hopelessness. Music preferences partly reflect suicide risk factors, but enjoyment of suicide songs is negatively associated with risk factors of suicide, which may indicate a psychological defense mechanism against suicidal impulses.
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Andreiushkina, Tatiana N. "Poems-catalogues in the poetry of H.M.Enzensberger." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 400–428. http://dx.doi.org/10.21638/spbu09.2023.301.
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The article analyses the types of cataloguing and various sub-genres of the catalog in the poetry of the German poet, playwright and prose writer H.M.Enzensberger (1929–2022). The poet’s collections of 1957–2013 were anilysed. The article traces such methods of cataloguing lyrical material as a name indicating cataloguing, a series of baroque metaphors in Enzensberger’s catalogue poems, an arbitrary enumeration as an example of the illogicality of phenomena/actions, anaphoric repetitions of personal pronouns as a way of organizing a lyrical catalogue, dialogue as a method of lyrical cataloguing, a cumulative effect in catalogue poems. It is shown how stylistic devices (repetition, gradation, cumulation, climax, anaphora, etc.) determine the structure of the text. Such sub-genres of the catalogue as inventory, emblem mystery, dialogue, poems about the seasons and days, laudatory song, testament, poetological catalogue are considered. Enzensberger relies on the German and European tradition in the use of genres, which goes back both to the culture of the ancient world and to folk art (incantations, songs, laments, dialogues), where the descriptive and enumerative nature of the text is manifested, which determines its structure. The lyrical catalogue is also akin to religious poems, in which nominalization prevailed, that goes back both to the culture of the ancient world and to folk art, where the descriptive and enumerative nature of the text is manifested, which determines its structure.
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Urbańska, Magdalena. "Pisanie performatywne (Głosy i performanse tekstów. Literatura – piosenki – ciało Pawła Tańskiego)." Przegląd Kulturoznawczy, no. 3 (49) (2021): 667–75. http://dx.doi.org/10.4467/20843860pk.21.046.14366.
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The review focuses on the analysis of PawełTański’s book Głosy i performanse tekstów. Literatura – piosenki – ciało [Voices and Performances of Texts: Literature – Songs – Body]. Contrary to the title, textual analysis overwhelmingly prevails over performance studies in Tański’s work which also abstains from research into this field. The author carries out a sketchy review of cultural texts – mainly poetry and songs. In my article I examine Tański’s study, with particular attention to his favourite motifs, i.e. self-referentiality, love for poetry and counter-culture. As the author often reduces scientific description to emotional interpretation and expresses personal preferences in an exaggeratedly emotional form, the reader receives a cumulative expression of love for literature in the form of a report from the inside. This is also evidenced by the number of literary references and extensive citations. In my review, I critically follow this affective delight, and recognise Tański’s analyses to not only be personally tinged but also to draw from performative writing.
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Oras, Janika. "Individual Rhythmic Variation in Oral Poetry: The Runosong Performances of Seto Singers." Open Linguistics 5, no. 1 (December 31, 2019): 570–82. http://dx.doi.org/10.1515/opli-2019-0031.
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AbstractThe article explores the individual differences of rhythmic variation in traditional sung oral poetry. The analysed group of ritual songs is part of the Seto singing culture – a subtradition of Finnic oral trochaic tetrameter. The rhythmic variation, created by different positioning of stressed syllables in the song line, reveals itself on two levels, in linguistic verse structure and in musical performance. In the singers’ performances the verse and musical structures complement each other, having a cumulative rhythmic effect. By designing the rhythm at both levels, the singers systematically take into consideration the linguistic features of the used words. A statistical analysis shows a remarkable divergence in the rhythmic variation of different lead singers. The results are more homogeneous at the level of linguistic verse structure and more diverse at the level of musical performance. Also, the rhythmic choices of the lead singer and his or her choir in the course of the performance may differ. We may speculate that this divergence in individual rhythmic strategies could have been caused by the singers’ type of creativity and skills, their different perceptions of genre features and intergeneric relations, and the musical influences between more closely related singers.
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Greenberg, Gillian. "Indications of the Faith of the Translator in the Peshitta to the 'Servant Songs' of Deutero-Isaiah." Aramaic Studies 2, no. 2 (2004): 175–92. http://dx.doi.org/10.1163/000000004781540399.
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Abstract The Peshitta of Deutero-Isaiah includes several passages relevant to the question of the faith of the translator: Jewish or Christian? There are inconsistencies: some differences between MT and P suggest a Christian or messianic nuance; one blunts an anti-Jewish phrase; in another an opportunity to introduce a Christian theme is resisted. The cumulative weight of examples suggests Christian input. The inconsistency could be explained by postulating a Jewish-Christian translator who attempted to play fair by his Vorlage, putting his own convictions and religious literature to the back of his mind, but occasionally failed.
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Phyland, Debra. "The Measurement and Effects of Vocal Load in Singing Performance. How Much Singing Can a Singer Sing if a Singer Can Sing Songs?" Perspectives of the ASHA Special Interest Groups 2, no. 3 (January 2017): 79–88. http://dx.doi.org/10.1044/persp2.sig3.79.
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Singing as both an art form and physical activity demands a level of health and skill fitness to meet performance demands. The determination of performance fitness relies on performers' self-evaluations of their vocal capacity for performance, based, amongst other factors, on the current vocal status and ability to manage the associated vocal load. Measurement of load and the impact on the vocal mechanism is complex and influenced by many intrinsic and extrinsic factors. Researchers have attempted to quantify vocal load effects by measuring physical impact stress on the vocal folds, self-reported perceived exertion, and/or clinical evaluation of physiologic, acoustic, or perceptual changes. Most studies have been conducted in laboratory rather than in performance contexts and studies on singers are substantially lacking. Heavy vocal load has been causally associated with the development of voice disorders, although the exact relationship and thresholds for acquiring laryngeal pathology require further elucidation, and little is also known about the development of voice disorders among singers. Further understanding of the short-term and cumulative effect on the vocal folds of performing as a singer and the nature and prevalence of voice problems among singers is crucial to the determination of appropriate prevention and therapeutic management.
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NAZAROV, Nazarii. "ALGEBRAIC SYMMETRY MODELS FOR BALTO-SLAVIC FOLKLORE TEXTS." Folia Philologica, no. 1 (2021): 34–54. http://dx.doi.org/10.17721/folia.philologica/2021/1/5.
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The present article suggests a tool for describing and analyzing the folklore texts' symmetry by introducing basicconcepts of abstract algebra: set theory, group theory, function, equation, and symmetry. The mathematical model showsthe internal homogeneity of folklore texts composition that is valid across the genre boundaries. The compositionallymeaningful entities of different language levels that constitute the core of a compositional pattern can be divided intotwo sets connected by a function of symmetrical reflection. Each element of the first set A is projected onto the elementof the second set B. The set A can be called input, the symmetrical set B – output. On the metrics and rhyme level, it isa constant reiteration of the same pattern reflected ad infinitum. On the level of syntactic order, this function connectssentences that constitute parallelistic structures. Thus, the composition and perception of folklore texts resemblea succession of linguistic equations: a singer introduces independent variables that should be given a specific dependentvariable, which can be chosen only from the thesaurus of elements accepted by a specific folklore tradition. The functionthat associates elements of the input set with the output set is the folklore poetics itself, so it can be defined in a seriesof elementary equations that show the connection between the number of compositionally significant elements and otherproperties of the texts, mainly the type of symmetry that is inherent to a particular text. Though all main types of symmetrycan be detected in the folklore texts, they can be reduced to a basic operation of reiterating a small number of elements belonging to one set, connected by an operation of symmetrical reflection constituting a group of symmetry. Compositionpatterns of seemingly different genres (riddles, ritual songs, cumulative fairytale, magical fairytale) have one fundamentalfeature in common that underlies them: when the enumeration of the input set A is over, the level of freedom for the choiceof the output set B is highly restricted, as each of the linguistic equations (L. Zadeh) should be solved: the hero, onceborn, should be either married or killed, the riddle should be answered traditionally, set of images of human life shouldbe confronted with the set of corresponding images of nature (in ritual songs), etc., thus giving the recipient pleasureof constant reiteration and decipherment of already known patterns. In this case, the new meaning of folklore texts canbe revealed. By introducing repetitive patterns of composition, they introduced elementary classification and logic tools.In this case, phenomena like I Quing turned out to be not an exception but rather a logical continuation of binary logicof folklore text composition, so overtly represented in the Balto-Slavic area but valid for a much broader realm of folkloretraditions.
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Sim, Woo Jang. "Playful Characteristics of a Six-Yard Straw Rope." Society Of Korean Oral Literature 72 (March 31, 2024): 193–242. http://dx.doi.org/10.22274/koralit.2024.72.006.
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The folktale Six-yard [seo-bal] Straw Rope is unique. Its formal characteristic of cumulative repetition is prominent, and the story is well-developed, making it seem sufficiently open to interpretation. However, discussing the meaning is not as easy as anticipated. This is because the coherence of characters and the causality of events, often emphasized when understanding works centered on content, is lacking, and the structure of the ending is dispersed. This study addresses these issues by focusing on the formal characteristics of the work; it seeks to reinterpret these formal features from a playful perspective.
The Six-yard Straw Rope follows a format similar to phrase-tail linking folk songs. The gradual exchange process from the six-yard straw rope to the maiden unfolds as a weaving play characterized by phrase-tail linking. The key in narrativizing lies in ‘creating a situation,’ which entails crafting a specific and appropriate situation where two objects can be exchanged. Ultimately, Six-yard Straw Rope is created by aptly weaving various situations where low- and high-value items can be exchanged into a narrative. This study names it the ‘Situation-Weaving Play.’ The lack of consistency in character portrayal and causality in event development and the dispersed structure of the resolution all stem from the playful nature of the work.
The playful characteristic of the Six-yard Straw Rope is deeply related to the situational thinking encouraged in oral culture. Utilizing common objects found in everyday spaces to create appropriate situations in folktales is the ultimate play that enhances situational thinking in oral culture. Folktales with a situational play abound beyond Six-yard Straw Rope, with Mole’s Wedding being a prime example. The charm of situational play, based on situational thinking, lies in the fact that humble objects like a six-yard straw rope can become a maiden or silk when well combined with situations, and even a humble mole can become the finest groom in the world under various situations.
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Bolaños Motta, José Ignacio, Laura Ximena Silva Ladino, and Elizabeth Casallas Forero. "La Canción de Contenido Acumulado (CCA*) como estrategia para el mejoramiento de los procesos atencionales en la Primera Infancia." Zona Próxima 35 (March 30, 2022): 49–66. http://dx.doi.org/10.14482/zp.35.155.4.
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El presente estudio tuvo por objetivo estimular los procesos atencionales de un grupo de estu-diantes pertenecientes a las Instituciones Educativas Antonio Nariño y Gimnasio Británico de la ciudad de Villavicencio (Colombia). A nivel metodológico, la investigación se desarrolló desde una perspectiva cualitativa en donde se analizaron Diarios de Campo y Entrevistas. Como resul-tado se diseñó la propuesta Canción de Contenido Acumulado (CCA), categoría que emerge de un amplio grupo de actividades desarrolladas dentro del marco de esta investigación, en la que la propuesta didáctica se generó desde el método desarrollado por Jacques-Dalcroze. A modo de con-clusión, el estudio establece que existe la posibilidad de potenciar los procesos atencionales de la primera infancia a través de la estrategia denominada CCA, la cual es susceptible de ser replicada en otros contextos del campo de la educación y la Pedagogía Infantil.
Books on the topic "Cumulative songs"
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ill, Emberley Ed, ed. Drummer Hoff. New York: Simon and Schuster Books for Young Readers, 1987.
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Colandro, Lucille. There Was an Old Lady Who: Swallowed a Desk! 2nd ed. New York, USA: Scholastic Inc., Scholastic Book Clubs, 2014.
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Colandro, Lucille. Dia una Senora Se Trago una Mosca! Scholastic, Incorporated, 2015.
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Colandro, Lucille. ¡Un ¡Un día una señora se tragó una mosca! (There Was An Old Lady Who Swallowed a Fly!) (Spanish Edition). Scholastic en español, 2015.
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Colandro, Lucille, and Jared D. Lee. There Was an Old Lady Who Swallowed a Fly! Scholastic Canada, Limited, 2015.
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Colandro, Lucille, and Jared D. Lee. There Was an Old Lady Who Swallowed a Fly! Cartwheel Books, 2014.
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Colandro, Lucille. Un Dia una Senora Se Trago una Mosca (There Was an Old Lady Who Swallowed a Fly). Turtleback Books, 2015.
Find full textBook chapters on the topic "Cumulative songs"
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Broadhurst, Laura Lynn. "“Arlen and Harburg and More, Oh My!”." In Adapting The Wizard of Oz, 53–78. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663179.003.0004.
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The extant sources for the songs in MGM’s The Wizard of Oz— draft lyrics, studio piano-vocal manuscripts, early screenplays, production records, etc.—afford fascinating insight into their creation. Drawing from such largely untapped archival materials, this chapter reveals that each song within the completed film—as an individual, fixed “work”—was created via cumulative authorship along a figurative assembly line. To demonstrate this phenomenon, the evolution of the songs is traced through their successive developmental stages over the course of the film’s three production phases: Pre-Production (genesis of the songs by Harold Arlen and Yip Harburg, arrangement by MGM staff, orchestration by yet different studio personnel, prerecording with orchestra); Production (shoot-to-playback); Post-Production (underscoring by MGM music director Herbert Stothart and staff, continued development of the songs by Stothart and staff, previews and musical editing, final cut released).
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Shelley, Braxton D. "“A Balm In Gilead”." In Healing for the Soul, 38–91. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566466.003.0002.
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The chapter grapples with the oft-cited interrelation of characteristically Black preaching and gospel music, using what has been called “the musicality of Black preaching” to understand the centrality of vamps to gospel singing. This cumulative turn toward musicality is more than just a homiletical strategy: rather, it functions as the formal logic, the organizing principle, for the network of belief, performance, and reception that we have come to know as the Gospel Imagination. Tuning up catalyzes movement between “material” and “spiritual” worlds, manifesting gospel’s belief that sound is a vehicle for interworldly exchange. The chapter begins with the live recorded performance of Richard Smallwood’s song “Healing” (1998), which shows how this piece stages its own transcendence, musically performing, within the context of song, what is performed in sermons by the shift from speech to song. After using discourses drawn from homiletics, ritual theory, and phenomenology to shape an understanding of tuning up, the chapter offers a fuller sense of this constitutive practice by attending to vignettes from four sermons, and four songs: Walter Hawkins’s “Marvelous,” Judith McAllister’s “High Praise,” Myrna Summers’s “Oh, How Precious,” and Glenn Burleigh’s “Order My Steps.”
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Reali, Christopher M. "“Land of 1000 Dances”." In Music and Mystique in Muscle Shoals, 113–45. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044519.003.0005.
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This chapter examines the real and imagined South in relationship to the Muscle Shoals music industry by addressing how cultural outsiders like Jerry Wexler perpetuated stereotypes that fed the Muscle Shoals mystique. Dissemination of the Muscle Shoals mystique occurred through news articles, 45 rpm labels, and recordings made by Jimmy Cliff, the Rolling Stones, and Traffic. The chapter provides a close reading of the cumulative events that led to Paul Simon's arrival in Muscle Shoals. Positioning the songs recorded in the Shoals during the 1960s and early 1970s within a larger cultural context that includes the history, formation, and promotion of regional identity reveals how Muscle Shoals came to represent, for many, the continuation of an imagined South manifested in sound.
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Manning, Jane. "HANS WERNER HENZE (1926–2012)Three Auden Songs (1983)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 125–27. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0036.
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This chapter studies songs for the tenor repertoire by Hans Werner Henze. Henze’s three songs, based on texts by the poet W. H. Auden, are a key example of his fastidious and beautifully-crafted vocal writing. Henze sets these three contrasting poems with utmost sensitivity. The fast-moving texts contain layers of subtlety, couched in a concise, freely chromatic musical language which sits easily in the voice. The settings build cumulatively in proportion and weight. A tiny, poignant tribute to a dead cat leads to a powerfully intuitive, four-verse portrait of the poet Arthur Rimbaud. This is followed by a substantial love song, full of tenderness and passion, yet controlled with consummate skill. The work is written in standard notation (without bar-lines) and should prove a rewarding vehicle for singers of relatively modest attainment as well as mature artists.
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Swierzowicz, Janusz. "Multimedia Data Mining Concept." In Data Warehousing and Mining, 3611–20. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-951-9.ch225.
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The development of information technology is particularly noticeable in the methods and techniques of data acquisition, high-performance computing, and bandwidth frequency. According to a newly observed phenomenon, called a storage low (Fayyad & Uthurusamy, 2002), the capacity of digital data storage is doubled every 9 months with respect to the price. Data can be stored in many forms of digital media, for example, still images taken by a digital camera, MP3 songs, or MPEG videos from desktops, cell phones, or video cameras. Such data exceeds the total cumulative handwriting and printing during all of recorded human history (Fayyad, 2001). According to current analysis carried out by IBM Almaden Research (Swierzowicz, 2002), data volumes are growing at different speeds. The fastest one is Internet-resource growth: It will achieve the digital online threshold of exabytes within a few years (Liautaud, 2001). In these fast-growing volumes of data environments, restrictions are connected with a human’s low data-complexity and dimensionality analysis. Investigations on combining different media data, multimedia, into one application have begun as early as the 1960s, when text and images were combined in a document. During the research and development process, audio, video, and animation were synchronized using a time line to specify when they should be played (Rowe & Jain, 2004). Since the middle 1990s, the problems of multimedia data capture, storage, transmission, and presentation have extensively been investigated. Over the past few years, research on multimedia standards (e.g., MPEG-4, X3D, MPEG-7) has continued to grow. These standards are adapted to represent very complex multimedia data sets; can transparently handle sound, images, videos, and 3-D (three-dimensional) objects combined with events, synchronization, and scripting languages; and can describe the content of any multimedia object. Different algorithms need to be used in multimedia distribution and multimedia database applications. An example is an image database that stores pictures of birds and a sound database that stores recordings of birds (Kossmann, 2000). The distributed query that asks for “top ten different kinds of birds that have black feathers and a high voice” is described there by Kossmann (2000, p.436).
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Manning, Jane. "JOHN MUSTO (b. 1954)Summer Stars (2012)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 163–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0051.
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This chapter highlights John Musto’s Summer Starts (2012). Just a brief, but tempting, sample of Musto’s work, this beautiful song clearly demonstrates his instinctive sensitivity to vocal timbre and comfort. Its glowing, broad-spun phrases flatter the voice and exploit its most rewarding colours. An example of classic vocal writing, as demonstrated by past masters of the art, is his device of having relatively short phrases prepare the way for more expansive passages, allowing stamina to build cumulatively. Musto is aware that a soprano is perfectly able to encompass notes below the stave as long as the approach is unforced, enabling lines to undulate smoothly through all registers. This ‘elasticized’ sensation when cruising over large intervals is beneficial to vocal health and progress. The song’s attractively lyrical, chromatic idiom is cohesive and disciplined as to pitches and intervals, yet it all feels fresh and spontaneous. A rapt, magical atmosphere is instantly captured, with the piano’s light, silvery texture cushioning the voice’s floating, rhapsodic lines.
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Salway, Peter. "The Collapse of Imperial Rule in Britain." In A History of Roman Britain, 307–31. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192801388.003.0016.
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Abstract The death of Theodosius left the empire to his two sons Arcadius and Honorius, both already invested with the rank of Augustus. This is often taken as the point at which the division into eastern and western empires became final. To consider the division as absolute from this date is in fact a simplification that makes much subsequent history more difficult to comprehend than is necessary, but, in the context of the reign of Honorius and the story of the collapse of imperial control in the west, it has sufficient truth to be a vital factor in the events that concern this book. Honorius’ reign, from 395 to 423, is a rare period in which the cumulative effect of changes that we have observed occurring over a long period combined with a series of crises to create a genuine turning-point in western history, nowhere more dramatically than in Britain. At the death of Theodosius the frontiers of the empire were still maintained, and within them the vast structure of Roman society and the Roman way of life stood largely intact. Both within and without the empire Rome’s prestige and position in the world were not seriously doubted. By the time Honorius died, the western Roman world had been shattered into fragments, never to be restored.
Conference papers on the topic "Cumulative songs"
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Qiu, Renyi, Guangqing Zhang, Zhong Anhai, Lu Mingjing, Yang Feng, and Dawei Zhou. "Effects of Supercritical CO2-Brine/shale Interaction on Fracturing Behavior." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0607.
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ABSTRACT As a caprock for CO2 geological sequestration, the mechanical properties of shale may change significantly from the long-term CO2-fluid interaction. To study the long-term effects of supercritical CO2-brine interaction on the mechanical properties of shale, the marine LMX shale was treated with supercritical CO2-brine at temperature of 110 °C and pressure of 30 MPa for 15, 30, and 60 days, respectively. The Brazilian tests combined with Acoustic Emission (AE) monitoring were conducted on shale before and after the treatments. The results show that: (1) Compared with the dry shale, the tensile strength of shale saturated with supercritical CO2-brine for 15, 30, and 60 days decreases by 40%, 48.6%, and 68.8%, respectively. The fracture morphology changes from a straightly single fracture to a fracture band consisting of two to four curved fractures; (2) The effects of supercritical CO2-brine interaction on the initiation and damage stresses are quantitatively analyzed. Taking the initiation and damage stresses of dry shale as the reference, the initiation stresses of shale saturated with supercritical CO2-brine for 15, 30, and 60 days decrease by 17.7%, 37.8%, and 48.4%; the damage stresses decrease by 35.5%, 58.3%, and 75.8%; (3) The AE characteristics of shale are closely related to fracture modes. The tensile fracturing of shale is sudden, manifested as an obvious step in the cumulative AE energy, while the shear fracturing of shale is gradual. With the supercritical CO2-brine treatment time, the fracture mode gradually changes from tensile-dominated to tensile-shear mixed failure mode, which can be inferred from that the slight step increases significantly and the ratio of tensile to shear events decreases from 10.7:1 to 0.8:1. The mechanical properties of shale weaken with the increase of supercritical CO2-brine treatment time. INTRODUCTION As one of major greenhouse gases, excessive CO2 exacerbates global climate change. CO2 geological sequestration is one of the important means to mitigate the greenhouse effect by injecting large amounts of CO2 into deep formation (Bachu et al., 2007; Wood, 2015; Jia et al., 2019; Nie et al., 2022). The deep shale formation has low porosity, low permeability, with beddings, which can effectively prevent and isolate the upward migration and leakage of CO2, which is suitable for the target formation of CO2 geological sequestration (Kalantari-Dahaghi, 2010; Lyu et al., 2021; Xie and Economides, 2009; Liu et al., 2013; Chen et al., 2015; Chen et al., 2023; Zhang et al., 2021). CO2-shale-fluid interaction will significantly affect the mechanical properties of shale under the condition of high temperature and high pressure for long-term CO2 geological sequestration (Zou et al., 2018; Al-Ameri et al., 2016; Choi and Song, 2012; Zhou et al., 2022).