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Journal articles on the topic 'General music appreciation programme'
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McAulay, J., M. Block, V. Booth, and A. Cowley. "520 AN EVALUATION OF VIRTUAL MUSIC THERAPY TO PATIENTS ON AN ACUTE HEALTH CARE OF OLDER PEOPLE WARD DURING THE COVID-19 PANDEMIC." Age and Ageing 50, Supplement_2 (June 2021): ii8—ii13. http://dx.doi.org/10.1093/ageing/afab116.13.
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Abstract Introduction Music therapy has been shown to reduce anxiety and social isolation for elderly patients in the acute hospital setting. At Nottingham University Hospital NHS Trust a programme of live, face-to-face music has been delivered by Wellspring Music on Healthcare of Older Peoples wards since 2015. In response to COVID-19, face-to-face delivery was stopped and a virtual method was proposed. This project investigated feasibility of virtual live music delivery. Method Twelve, two-hour music therapy sessions were delivered by Wellspring Music to 41 patients over six weeks. The validated Arts-obs tool was used by staff members facilitating the sessions to record observations of patient mood, relaxation, and distraction from the ward setting on Likert scales. Patient, ward staff, and facilitator feedback were also recorded. Qualitative and quantitative analyses were conducted by an Occupational Therapist. Results Data from the Arts-obs tool showed that thirty-two patients had an observable improvement in mood, seven had no mood change, and two presented a slightly worsened mood. Fourteen patients were fully engaged with the music therapy, sixteen were partially engaged, and eleven were focussed on the hospital environment. Thirty-four patients were visibly more relaxed, and seven showed no change. Patient feedback ranged from gratitude and expressions of enjoyment of the session to finding it too loud. Ward staff feedback ranged from appreciation to finding the music too distracting. The Wellspring musician and staff facilitators reported occasional loss of internet connection, and patients sometimes focusing on the facilitator rather than the musician. Conclusion It is feasible to deliver virtual music therapy to inpatients on Health Care of Older People wards. Feedback shows that this was largely acceptable to staff and patients. Improvements in mood, relaxation and distraction were found.
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Leung, Bo-Wah. "Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou." Impact 2021, no. 7 (September 14, 2021): 18–20. http://dx.doi.org/10.21820/23987073.2021.7.18.
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It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.
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Honing, Henkjan, Carel ten Cate, Isabelle Peretz, and Sandra E. Trehub. "Without it no music: cognition, biology and evolution of musicality." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140088. http://dx.doi.org/10.1098/rstb.2014.0088.
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Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. Music, by contrast, can be defined as a social and cultural construct based on that very musicality. One critical challenge is to delineate the constituent elements of musicality. What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? Progress in understanding the evolution of music cognition depends upon adequate characterization of the constituent mechanisms of musicality and the extent to which they are present in non-human species. We argue for the importance of identifying these mechanisms and delineating their functions and developmental course, as well as suggesting effective means of studying them in human and non-human animals. It is virtually impossible to underpin the evolutionary role of musicality as a whole, but a multicomponent perspective on musicality that emphasizes its constituent capacities, development and neural cognitive specificity is an excellent starting point for a research programme aimed at illuminating the origins and evolution of musical behaviour as an autonomous trait.
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Rohwer, Debbie, Don D. Coffman, and William Dabback. "A description of New Horizons Band assistants’ perceptions and experiences." International Journal of Community Music 13, no. 3 (December 1, 2020): 333–44. http://dx.doi.org/10.1386/ijcm_00024_1.
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The purpose of the current study was to describe the perceptions and experiences of New Horizons Band assistants in terms of learning, skill transfer and pedagogical preparation. The participant population for this study was 35 past student teacher-assistants from three New Horizons bands, one in Texas, one in Florida and one in Virginia. There were ten open-ended items on the questionnaire that asked about student assistant perceptions and experiences. Participants noted the growth they experienced from serving as a band teaching assistant in a New Horizons programme, describing their appreciation for lifelong learning, exposure to the complexity of how to teach to a variety of learners, and experience with the challenges of pacing with adults and blunt feedback from programme participants. The article concludes with a discussion of possible collegiate preparatory experiences that could broaden the teacher training experience for college programmes.
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Actis-Grosso, Rossana, Carlotta Lega, Alessandro Zani, Olga Daneyko, Zaira Cattaneo, and Daniele Zavagno. "Can music be figurative? Exploring the possibility of crossmodal similarities between music and visual arts." Psihologija 50, no. 3 (2017): 285–306. http://dx.doi.org/10.2298/psi1703285a.
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According to both experimental research and common sense, classical music is a better fit for figurative art than jazz. We hypothesize that similar fits may reflect underlying crossmodal structural similarities between music and painting genres. We present two preliminary studies aimed at addressing our hypothesis. Experiment 1 tested the goodness of the fit between two music genres (classical and jazz) and two painting genres (figurative and abstract). Participants were presented with twenty sets of six paintings (three figurative, three abstract) viewed in combination with three sound conditions: 1) silence, 2) classical music, or 3) jazz. While figurative paintings scored higher aesthetic appreciation than abstract ones, a gender effect was also found: the aesthetic appreciation of paintings in male participants was modulated by music genre, whilst music genre did not affect the aesthetic appreciation in female participants. Our results support only in part the notion that classical music enhances the aesthetic appreciation of figurative art. Experiment 2 aimed at testing whether the conceptual categories ?figurative? and ?abstract? can be extended also to music. In session 1, participants were first asked to classify 30 paintings (10 abstract, 10 figurative, 10 ambiguous that could fit either category) as abstract or figurative and then to rate them for pleasantness; in session 2 participants were asked to classify 40 excerpts of music (20 classical, 20 jazz) as abstract or figurative and to rate them for pleasantness. Paintings which were clearly abstract or figurative were all classified accordingly, while the majority of ambiguous paintings were classified as abstract. Results also show a gender effect for painting?s pleasantness: female participants rated higher ambiguous and abstract paintings. More interestingly, results show an effect of music genre on classification, showing that it is possible to classify music as figurative or abstract, thus supporting the hypothesis of cross-modal similarities between the two sensory-different artistic expressions.
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Duarte-García, Mario Alberto, and Jorge Rodrigo Sigal-Sefchovich. "Working with Electroacoustic Music in Rural Communities: The use of an interactive music system in the creative process in primary and secondary school education." Organised Sound 24, no. 3 (November 29, 2019): 228–39. http://dx.doi.org/10.1017/s135577181900030x.
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This article describes a project intended to promote access to electroacoustic music for children and teenagers aged 6 to 15 years in a socially and educationally disadvantaged rural community in Michoacán, Mexico. It explores an educational model of teaching, learning and creation of electroacoustic music through the use of music technology and pedagogy based on constructivism and Paulo Freire’s ideas on education as a practice of freedom. It provides a pedagogical reflection on the processes of learning and appreciation of this new music. The project includes the use of an interactive music system – implemented in MaxMSP using a mobile phone OSC app to control space and its interaction with timbre, pitch and duration – as an aid in the classroom and its implementation in an educational programme with a social impact. The research covered in this article could be taken into account to deliver new music education in rural communities with similar socioeconomic circumstances.
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Sun, Xiaoliang. "Research of Mobile Learning System for Music Appreciation Class Based on Cloud Computing." Advanced Materials Research 774-776 (September 2013): 1790–93. http://dx.doi.org/10.4028/www.scientific.net/amr.774-776.1790.
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The application of cloud computing technology provides a new idea to the development of mobile learning. The applications based on cloud computing is focus on the solution of music appreciation class in the paper. The design of mobile learning system for music appreciation class based on cloud computing is proposed and the related concepts of cloud computing is briefly introduced. The topology of the system is given. In the end, it shows deeply mobile learning system class based on cloud computing is the urgency of education development. It can provide the better services of music appreciation class.
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Balls, Michael. "Richard Clothier: An Appreciation." Alternatives to Laboratory Animals 35, no. 5 (October 2007): 531–37. http://dx.doi.org/10.1177/026119290703500501.
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The career of Richard Clothier is reviewed in the light of his long-standing collaboration with Michael Balls and Laurens Ruben at the University of East Anglia (UEA), the University of Nottingham, and Reed College, Portland, Oregon, USA. It began with work at UEA on the aetiology of the lymphosarcoma of Xenopus laevis, followed by studies on the effects of exposure to N-nitroso- N-methylurea on T-cell functions, which led to many contributions to comparative immunology. This was followed by the establishment of the FRAME Research Programme, which led to participation in extensive studies on the development of in vitro cytotoxicity tests and their application in acute and topical toxicity testing. A FRAME Trustee since 1983, Richard Clothier was a co-founder, and subsequently Director, of the FRAME Alternatives Laboratory in the University of Nottingham Medical School, where he led successful collaborations with a number of industrial partners and, in particular, with the European Centre for the Validation of Alternative Methods (ECVAM).
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Nedelcuț, Nelida, Ciprian Gabriel Pop, and Ioana Chiorean. "17. The Level of Musical Competency Training: A Comparative Study of Full-Time and Distance Students." Review of Artistic Education 19, no. 1 (April 1, 2020): 140–48. http://dx.doi.org/10.2478/rae-2020-0017.
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AbstractEstimating the level of competency training at the end of a university programme aims, in the competency-based learning, at a certification of the training’s outcomes. This research wishes to evaluate the degree of specific competency training for a Bachelor programme in music organized by the Gheorghe Dima National Academy of Music from Cluj-Napoca in different forms of learning, namely full-time and distance learning. By means of a questionnaire which measures the appreciation of students on a scale from 1 to 5 we interviewed 60 students who measured their own professional training based on the competencies approved on a national level for music as major subject. We analyzed descriptors characteristic of certain development levels of the key competencies for three specific content areas: the theoretical, methodological, and artistic areas. The main findings of the research, following a comparative analysis of the implementation of programme-specific competencies, reveal superior outcomes in the case of distance students in the development of competencies belonging to the field of performance, the practical activity carried out during the learning process, at their place of work and through participation in artistic productions, thus motivating the students’ interest in acquiring and improving certain specific skills and abilities. The theoretical knowledge and consolidation of the musical language represent the priorities of the full-time students and, by means of a statistical comparison, we highlighted different answers for the results of the questionnaire meant for the assimilation of competencies for each of the descriptors analyzed in this study.
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BELLA, S. DALLA, I. PERETZ, L. ROUSSEAU, N. GOSSELIN, J. AYOTTE, and A. LAVOIE. "Development of the Happy-Sad Distinction in Music Appreciation." Annals of the New York Academy of Sciences 930, no. 1 (June 2001): 436–38. http://dx.doi.org/10.1111/j.1749-6632.2001.tb05763.x.
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Lv, Yang. "Influence of cognitive neural mechanism on music appreciation and learning." Translational Neuroscience 10, no. 1 (April 23, 2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.
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AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Philips, Birgit, Bart Vinck, Eddy De Vel, Leen Maes, Wendy D’haenens, Hannah Keppler, and Ingeborg Dhooge. "Characteristics and determinants of music appreciation in adult CI users." European Archives of Oto-Rhino-Laryngology 269, no. 3 (August 17, 2011): 813–21. http://dx.doi.org/10.1007/s00405-011-1718-4.
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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
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Sulejmanov, Filip. "The relation of humor structure appreciation with sensation seeking and judgments of complex-abstract art and sophisticated music." Psihologija 51, no. 2 (2018): 229–41. http://dx.doi.org/10.2298/psi170131010s.
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The aim of the present study is two-fold. Firstly, the relation between sensation seeking and humor structure appreciation has been investigated (Carretero-Dios & Ruch, 2010), and also the association between humor structure appreciation and complex-abstract art has been reported (Ruch & Hehl, 1998). In that sense, this study aims to replicate previously reported findings. Second, the association between humor structure appreciation and sophisticated music (Rentfrow, Goldberg, & Levitin, 2011) was explored. Results obtained from 77 participants partially supported the predictions. Sensation seeking was negatively related with the aversiveness ratings of Nonsense humor, while pleasantness of complex-abstract art was negatively associated with funniness of Incongruity?Resolution humor and positively with the structure preference index. Aversiveness of Incongruity?Resolution humor correlated negatively with sophisticated music ratings. Finally, ratings on the abstract-art paintings and sophisticated musical excerpts were positively associated. Implications of the findings, limitations of this study and avenues for further research are examined.
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Nafde, Dr Mrs Tanuja. "Nationalism and Music." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 4982–84. http://dx.doi.org/10.22214/ijraset.2021.36040.
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It is a well-known fact, that music alone of all the arts and sciences has that dominating note of supreme mastership which compels unquestioned universal recognition. In painting, in sculpture, in architecture, in poetry, and in general literature in all its varying and varied moods and modes of expression, Indian music has won fame and occupied the highest place of appreciation in the world. It is admitted that Music is the last art to develop in any civilization, it must also be admitted that Indian civilization and culture have reached a point that would predicate a degree of development in Music, commensurate with our progress in other and kindred fields of creative activity.
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Kruger, Martinette, and Melville Saayman. "Segmenting beyond behavioural intentions." International Journal of Event and Festival Management 8, no. 2 (June 5, 2017): 204–23. http://dx.doi.org/10.1108/ijefm-09-2016-0064.
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Purpose The purpose of this paper is to determine whether a music festival leads to additional intangible benefits such as the appreciation of the specific music genre and music tourism. This was done by using visitors’ behavioural intentions related to these benefits as a tool for market segmentation. Design/methodology/approach The research followed a quantitative approach by conducting a visitor survey at an international jazz festival in South Africa. Findings The results showed that visitors’ post-festival behavioural intentions are a useful market segmentation tool. This approach revealed three distinct market segments with different levels of post-festival behavioural intentions (high, medium, and low). The results further showed that music festivals have the potential to create benefits beyond the festival itself or the host destination in the form of music tourism and the appreciation of a music genre. However, influencing visitors’ behavioural intentions can only be achieved by a thorough understanding of the characteristics of the market. Originality/value This research applied an innovative market segmentation approach that showed the post-festival behavioural intentions of different visitor segments at a music festival. The findings confirm that music festivals can have far-reaching benefits that can contribute to their legacy.
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Бакшаева, Елена Владимировна. "SOCIO-CULTURAL DOMINANTS IN THE REGIONAL PROGRAMME OF GENERAL MUSIC EDUCATION." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(109) (January 26, 2021): 158–64. http://dx.doi.org/10.37972/chgpu.2020.109.4.019.
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В статье раскрывается проблема определения содержания региональной программы общего музыкального образования путем обоснования ее социально-культурных доминант. На основе рассмотрения действующих программ «Музыка» в Чувашской Республике в контексте их социально -культурных ориентиров дается описание факультативного курса «Музыкальное путешествие по родному краю» для начальных классов общеобразовательных школ Чувашии, который базируется на национальном музыкально-художественном материале. Данный факультативный курс опирается на результаты факторного анализа, обосновывающего те социально-культурные доминанты содержания курса, которые направлены на формирование у детей комплекса как музыкальных, так и этнокультурных знаний, умений и представлений в области национальной культуры. Основой исследования послужили научные труды по методике и методологии художественного образованияЭ. Б. Абдуллина, О. А. Апраксиной, Л. Г. Арчажниковой, Л. В. Кузнецовой. В результате исследования был проведен факторный анализ действующих данных программ по музыке, который показал следующее: глобализация образования, затрагивающая школьные предметы гуманитарного и художественно-эстетического циклов, не должна стирать этническое своеобразие народных культур, что ярко представлено их музыкальными традициями, направленными на воспитание в ребенке любви к родному краю, к Отечеству; в некоторых из анализируемых программ не в полной мере применяются принцип художественной интеграции на уроках музыки и метод художественного контекста. Тем самым не уделяется должного внимания культуроемкости региональных программ школьного музыкального образования. Исходя из этого актуальными социально -культурными основами, т. е. доминантами содержания региональной программы общего музыкального образования определены следующие: воспитание патриотов своей малой родины и России; гуманистическая, культуротворческая направленность профессиональной деятельности педагога-музыканта; этнокультурная толерантность как механизм формирования гражданского самосознания обучающихся. Проведенное исследование обладает практической значимостью и может быть использовано в различных образовательных организациях республики: в детских общеобразовательных школах, детских школах искусств, в курсах методики музыкального обучения и воспитания в музыкальнопедагогических колледжах, на факультетах музыкального образования и начальных классов педагогических вузов, в содержании курсов специализации и повышения квалификации учителей музыки. The article reveals the problem of determining the content of the regional programme of general music education by substantiating its socio-cultural dominants. Considering of the existing programmes “Music” in the Chuvash Republic, in the context of their socio-cultural guidelines, the author describes an optional course “Musical Journey to the Native Land” for the primary classes of general education schools in Chuvashia, which is based on national musical and artistic material. This optional course is based on the results of a factor analysis that justifies the socio-cultural dominants of the course content, which are aimed at the formation of a complex of both musical and ethnocultural knowledge, skills and ideas in the field of national culture in children. The research was based on scientific works on methodology of art education: E. B. Abdullin, O. A. Apraksina, L. G. Archazhnikova, L. V. Kuznetsova. As a result of the study, a factor analysis of the current data of music programmes was carried out. It showed that the globalization of education, affecting school subjects of humanitarian and artistic-aesthetic cycles, should not erase the ethnic originality of folk cultures, which is clearly represented by their musical traditions aimed at cultivation of love for their native land in a child, for the Fatherland; in some of the analyzed programmes, the principle of artistic integration in music lessons is not sufficiently used, as well as the method of artistic context. Thus, the cultural intensity of regional school music education programmes is not given due attention. Hence, the following are determined by the relevant socio-cultural foundations, that is, the dominants of the content of the regional programme of general musical education: education of patriots of both their small homeland and Russia; humanistic, cultural and creative orientation of professional activity of teacher-musician; ethno-cultural tolerance as a mechanism for the formation of civic identity of pupils. The study has practical significance and can be used in various educational systems of the republic: at children’s general education schools, children’s art schools, at courses on the methodology of musical education and education in music and pedagogical colleges, faculties of music education and primary classes of pedagogical universities, in the content of courses of specialization and advanced training of music teachers
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Scott, Derek. "Quantifying the Qualitative: An Empirical Poetic Approach." Psychological Reports 87, no. 3 (December 2000): 739–40. http://dx.doi.org/10.2466/pr0.2000.87.3.739.
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Two studies are described which take a psychometric approach to a qualitative phenomenon. A computational analysis of poetry was conducted. Using a lexicon programme, patterns emerged generally supporting the idea of a poet's ever-changing thematic preoccupations. Using a multimedia educational software package, presenting the poetical phrase accompanied by visual stimuli had a substantial effect on the appreciation of the poet's meaning. These novel methodological approaches might stimulate further work in this area.
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Pickles, Vernon. "Music and the Third Age." Psychology of Music 31, no. 4 (October 2003): 415–23. http://dx.doi.org/10.1177/03057356030314006.
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Questionnaires were sent to members of some UK University of the Third Age (U3A) music groups and to other people of similar ages, enquiring into their present and past musical tastes and practices, and inviting free comment. This information was intended to identify factors either improving or impairing the enjoyment of music, and to indicate the value of music at that time of life. The first stage of the survey was directed to members of Sheffield U3A music groups, and this was followed by a further selective survey of U3A members throughout England and Wales. In all, 119 responses were received. Where the details were clearly stated, women respondents outnumbered men by about 2 to 1. The range of ages as stated by 38 respondents in the first stage of the survey was 58-86 (mean 68) years. Most groups contacted were devoted to music appreciation and concert-going, and two others to practical music-making. A general preference for music of the baroque, classical, romantic and late-romantic periods had remained unchanged over the recollected years, but many respondents expressed their appreciation of being introduced to more recent works. However, some contemporary music remained impenetrable. Questions of hearing aids and other kinds of instrumentation are considered, as are the benefits of group activities, especially under an expert leader. Further individual comments were received from members of the Incorporated Society of Musicians (ISM). The many individual free statements from all sources spoke of the great value of music, especially in helping to overcome the personal difficulties of that stage of life. A plea is made for better understanding of the musical needs and opportunities of this age group.
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Humphrey, Janis, Maureen Montemuro, Esther Coker, Laurie Kilgour-Walsh, Katherine Moros, Carmen Murray, and Shannon Stanners. "Artful Moments: A framework for successful engagement in an arts-based programme for persons in the middle to late stages of dementia." Dementia 18, no. 6 (December 26, 2017): 2340–60. http://dx.doi.org/10.1177/1471301217744025.
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Art galleries are becoming more inclusive in their activities for those with specific needs. The interdisciplinary team on an inpatient behavioural health unit collaborated with artist-educators at the Art Gallery of Hamilton (Ontario, Canada) to create an arts-based programme. ‘Artful Moments’ involved using a combination of art appreciation and hands-on art making activities and took place on the unit at the hospital and at the art gallery. A pilot study of eight participants and their care partners who attended the programme is presented. The purpose of the study was to determine if ‘Artful Moments’ facilitated positive engagement ‘in the moment’ for persons in the middle-to-late stages of dementia. The perception of the programme’s impact from their care partners’ perspectives, as well as their satisfaction with the programme is also reported. Extensive education of art gallery staff and clinical staff preceded the programming, with each team sharing expertise with the other. Sessions (n = 27) took place about twice per month. Data were collected through systematic structured observations of patient participants during the activities and through surveys of care partners. Persons with dementia maintained interest, though not necessarily pleasure, during art appreciation and art making, rarely became sad or anxious, and never became angry. Generally the care partners felt that participants enjoyed the experience, and often they were surprised by the very positive response of the participants. Successful engagement was attributed to a dementia-friendly environment; supportive communication strategies; and a suitable, well-planned activity.
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VanWeelden, Kimberly, Virginia Wayman Davis, and Laura Singletary. "No Fear, Just Fun!: Meaningful, Memorable Musicking in Secondary General Music." General Music Today 32, no. 3 (March 17, 2019): 13–19. http://dx.doi.org/10.1177/1048371319834921.
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Secondary general music is hard to define. For some, this denotes an accelerated version of elementary general music or a decelerated version of a college music appreciation course. Others view this as any nontraditional ensemble geared for middle or high school students, such as guitar, keyboard, or steel pans. Still, for others, secondary general music is not so much a stand-alone course as it is any time devoted to teaching fundamental skills to students in band, orchestra, and choir so they may more successfully perform the repertoire. The authors acknowledge each of the above-listed views as valid; thus, rather than debate what is secondary general music, we will highlight each viewpoint in a three-part series. The first of this series will focus on a class structure where students experience various activities all while learning music fundamentals, studying music history, and developing music literacy skills.
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Uwisanze, Sandrine, Anaclet Ngabonzima, Oliva Bazirete, Celestin Hategeka, Cynthia Kenyon, Domina Asingizwe, Clementine Kanazayire, and David Cechetto. "Mentors’ perspectives on strengths and weaknesses of a novel clinical mentorship programme in Rwanda: a qualitative study." BMJ Open 11, no. 3 (March 2021): e042523. http://dx.doi.org/10.1136/bmjopen-2020-042523.
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ObjectivesTo identify mentors’ perspectives on strengths and weaknesses of the Training, Support and Access Model for Maternal, Newborn and Child Health (TSAM-MNCH) clinical mentorship programme in Rwandan district hospitals. Understanding the perspectives of mentors involved in this programme can aid in the improvement of its implementation.DesignThe study used a qualitative approach with in-depth interviews.SettingMentors of TSAM-MNCH clinical mentorship programme mentoring health professionals at district hospitals of Rwanda.Participants14 TSAM mentors who had at least completed six mentorship visits on a regular basis in three selected district hospitals.ResultsMentors’ accounts demonstrated an appreciation of the two mentoring structures which are interprofessional collaboration and training. These structures are highlighted as the strengths of the mentoring programme and they play a significant role in the successful implementation of the mentorship model. Inconsistency of mentoring activities and lack of resources emerged as major weaknesses of the clinical mentorship programme which could hinder the effectiveness of the mentoring scheme.ConclusionThe findings of this study highlight the strengths and weaknesses perceived by mentors of the TSAM-MNCH clinical mentorship programme, providing insights that can be used to improve its implementation. The study represents unique TSAM-MNCH structural settings, but its findings shed light on Rwandan health system issues that need to be further addressed to ensure better quality of care for mothers, newborns and children.
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Messina, Marcello, Valério Fiel da Costa, and Marco Scarassatti. "Cartridge Music in the Quarantine: Presence, Absence, Contingency Setups and (De-)territorialised Performances." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 28–45. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.28.
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Between the end of May and the beginning of June, 2020, we performed individually, filmed, synced together, edited and presented a quarantine version of John Cage’s Cartridge Music. Uploaded on YouTube, the performance was broadcast on 1 June, as part of the 4th Research Colloquium of the Postgraduate Programme in Music of the Federal University of Paraíba. Stranded at home since March, unable to reach our respective faculty offices/studios, and mostly left with domestic gear, kitchenware, sound-producing car equipment and our children’s toys, we put together an emergency version of the piece, characterised by three dramatically different setups, each with its own spatialities and soundworlds. Importantly, our use of the signifier “emergency” here is meant to refer much more to the concrete condition of our existences in this particular situation, than to the contingential circumstances of this specific musical activity. In this paper, we discuss the piece by considering its preparation, performance, presentation the (de-)territorialisation of performance and on the territorial metaphors embedded in collaborative artistic interaction, we question the notions of “place” and “venue” in the context of a collective performance that happened in three different locations and of a subsequent première that did not happen in any tangible physical place at all. However, and in spite of the substantial de-territorialisation of our gig, we also consider a set of persisting spatial narratives that inscribe the performance in terms of both visually and aurally perceptible power relations. Finally, considering the inherent criticalities of the field(s) of “experimental”, “avant-garde” or simply “contemporary” music, we assess the gains and losses of such a dematerialised and yet ubiquitous performance in terms of audience participation and appreciation.
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Baker, Felicity Anne, Jodie Bloska, Sabine Braat, Anna Bukowska, Imogen Clark, Ming H. Hsu, Tone Kvamme, et al. "HOMESIDE: home-based family caregiver-delivered music and reading interventions for people living with dementia: protocol of a randomised controlled trial." BMJ Open 9, no. 11 (November 2019): e031332. http://dx.doi.org/10.1136/bmjopen-2019-031332.
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IntroductionPharmacological interventions to address behavioural and psychological symptoms of dementia (BPSD) can have undesirable side effects, therefore non-pharmacological approaches to managing symptoms may be preferable. Past studies show that music therapy can reduce BPSD, and other studies have explored how formal caregivers use music in their caring roles. However, no randomised study has examined the effects on BPSD of music interventions delivered by informal caregivers (CGs) in the home setting. Our project aims to address the need for improved informal care by training cohabiting family CGs to implement music interventions that target BPSD, and the quality of life (QoL) and well-being of people with dementia (PwD) and CGs.Methods and analysisA large international three-arm parallel-group randomised controlled trial will recruit a sample of 495 dyads from Australia, Germany, UK, Poland and Norway. Dyads will be randomised equally to standard care (SC), a home-based music programme plus SC, or a home-based reading programme plus SC for 12 weeks. The primary outcome is BPSD of PwD (measured using the Neuropsychiatric Inventory-Questionnaire). Secondary outcomes will examine relationship quality between CG and PwD, depression, resilience, competence, QoL for CG and QoL for PwD. Outcomes will be collected at baseline, at the end of the 12-week intervention and at 6 months post randomisation. Resource Utilisation in Dementia will be used to collect economic data across the life of the intervention and at 6-month follow-up. We hypothesise that the music programme plus SC will generate better results than SC alone (primary comparison) and the reading programme plus SC (secondary comparison).Ethics and disseminationEthical approval has been obtained for all countries. Results will be presented at national and international conferences and published in scientific journals and disseminated to consumer and caregiver representatives and the community.Trial registration numbersACTRN12618001799246p; NCT03907748
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Ikegami, Shimpei, and Sumi Shigeno. "Effects of swing on music appreciation: A study on perceived impressions of various swing ratios." Japanese journal of psychology 84, no. 2 (2013): 119–29. http://dx.doi.org/10.4992/jjpsy.84.119.
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McNamara, Martin, and SeÁn Paul Teeling. "Developing a university-accredited Lean Six Sigma curriculum to overcome system blindness." International Journal for Quality in Health Care 31, Supplement_1 (December 2019): 3–5. http://dx.doi.org/10.1093/intqhc/mzz074.
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AbstractThis paper discusses the development of a Lean Six Sigma (LSS) postgraduate education programme that has enabled the delivery of over 90 quality improvement projects led by its graduates across 50 healthcare organizations in Ireland. A key success factor in embedding and sustaining LSS in these organizations was the accreditation by a major, national, research-intensive university of the LSS education programme from which the students graduated. To ensure the programme’s approval by the university it was necessary to contextualize LSS within established conceptual frameworks. This helped counter misconceptions that what was proposed was technical training in tools and techniques to provide quick fixes for routine healthcare process issues. Two related conceptual frameworks were selected to frame the curriculum: Senge’s Fifth Discipline and Deming’s System of Profound Knowledge. This paper focuses on how a central element of both frameworks, systems thinking or appreciation for a system, was enacted in the curriculum using Oshry’s work on system blindness. Showing how systems thinking was conceptualized in the curriculum established the legitimacy and credibility of the programme within academia. This led to the approval of the first university-accredited graduate programme in LSS for healthcare in Ireland.
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Davies, C., J. Shurdington, K. Murray, L. Slater, and D. Pearson. "Music for Wellness in rehabilitation patients: programme description and evaluation results." Public Health 194 (May 2021): 109–15. http://dx.doi.org/10.1016/j.puhe.2021.02.008.
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Huang, Ping, Hanhua Huang, Qiuling Luo, and Lei Mo. "The Difference between Aesthetic Appreciation of Artistic and Popular Music: Evidence from an fMRI Study." PLOS ONE 11, no. 11 (November 4, 2016): e0165377. http://dx.doi.org/10.1371/journal.pone.0165377.
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Moore, Gemma, Susan Michie, Jamie Anderson, Kristine Belesova, Melanie Crane, Clément Deloly, Sani Dimitroulopoulou, et al. "Developing a programme theory for a transdisciplinary research collaboration: Complex Urban Systems for Sustainability and Health." Wellcome Open Research 6 (February 19, 2021): 35. http://dx.doi.org/10.12688/wellcomeopenres.16542.1.
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Background: Environmental improvement is a priority for urban sustainability and health and achieving it requires transformative change in cities. An approach to achieving such change is to bring together researchers, decision-makers, and public groups in the creation of research and use of scientific evidence. Methods: This article describes the development of a programme theory for Complex Urban Systems for Sustainability and Health (CUSSH), a four-year Wellcome-funded research collaboration which aims to improve capacity to guide transformational health and environmental changes in cities. Results: Drawing on ideas about complex systems, programme evaluation, and transdisciplinary learning, we describe how the programme is understood to “work” in terms of its anticipated processes and resulting changes. The programme theory describes a chain of outputs that ultimately leads to improvement in city sustainability and health (described in an ‘action model’), and the kinds of changes that we expect CUSSH should lead to in people, processes, policies, practices, and research (described in a ‘change model’). Conclusions: Our paper adds to a growing body of research on the process of developing a comprehensive understanding of a transdisciplinary, multiagency, multi-context programme. The programme theory was developed collaboratively over two years. It involved a participatory process to ensure that a broad range of perspectives were included, to contribute to shared understanding across a multidisciplinary team. Examining our approach allowed an appreciation of the benefits and challenges of developing a programme theory for a complex, transdisciplinary research collaboration. Benefits included the development of teamworking and shared understanding and the use of programme theory in guiding evaluation. Challenges included changing membership within a large group, reaching agreement on what the theory would be ‘about’, and the inherent unpredictability of complex initiatives.
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Moore, Gemma, Susan Michie, Jamie Anderson, Kristine Belesova, Melanie Crane, Clément Deloly, Sani Dimitroulopoulou, et al. "Developing a programme theory for a transdisciplinary research collaboration: Complex Urban Systems for Sustainability and Health." Wellcome Open Research 6 (July 14, 2021): 35. http://dx.doi.org/10.12688/wellcomeopenres.16542.2.
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Background: Environmental improvement is a priority for urban sustainability and health and achieving it requires transformative change in cities. An approach to achieving such change is to bring together researchers, decision-makers, and public groups in the creation of research and use of scientific evidence. Methods: This article describes the development of a programme theory for Complex Urban Systems for Sustainability and Health (CUSSH), a four-year Wellcome-funded research collaboration which aims to improve capacity to guide transformational health and environmental changes in cities. Results: Drawing on ideas about complex systems, programme evaluation, and transdisciplinary learning, we describe how the programme is understood to “work” in terms of its anticipated processes and resulting changes. The programme theory describes a chain of outputs that ultimately leads to improvement in city sustainability and health (described in an ‘action model’), and the kinds of changes that we expect CUSSH should lead to in people, processes, policies, practices, and research (described in a ‘change model’). Conclusions: Our paper adds to a growing body of research on the process of developing a comprehensive understanding of a transdisciplinary, multiagency, multi-context programme. The programme theory was developed collaboratively over two years. It involved a participatory process to ensure that a broad range of perspectives were included, to contribute to shared understanding across a multidisciplinary team. Examining our approach allowed an appreciation of the benefits and challenges of developing a programme theory for a complex, transdisciplinary research collaboration. Benefits included the development of teamworking and shared understanding and the use of programme theory in guiding evaluation. Challenges included changing membership within a large group, reaching agreement on what the theory would be ‘about’, and the inherent unpredictability of complex initiatives.
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Kranti Bhavana, Sangam, Shamshad, and Chandan Kumar. "An evaluation of music perception, appreciation, and overall music enjoyment in prelingual paediatric cochlear implant users utilizing simplified techniques: An Indian study." International Journal of Pediatric Otorhinolaryngology 150 (November 2021): 110898. http://dx.doi.org/10.1016/j.ijporl.2021.110898.
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Bolívar-Chávez, Oscar-Elías, Joaquín Paredes-Labra, Yury-Vladimir Palma-García, and Yessenia-Anabel Mendieta-Torres. "Educational Technologies and Their Application to Music Education: An Action-Research Study in an Ecuadorian University." Mathematics 9, no. 4 (February 20, 2021): 412. http://dx.doi.org/10.3390/math9040412.
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Information and Communication Technologies (ICT) are tools that are part of the process of teaching and learning music. These didactic/pedagogical resources are widely used by teachers. They strengthen, motivate, and increase the student’s interest in learning. This study is an action-research (AR). It involves 12 teachers and 68 students in the subject of music education in an Ecuadorian university. A Holistic and Technological Model of Music Education (HTMME) was generated. The performance of the plan was evaluated by means of an original questionnaire and qualitative work. The AR procedure involved an analysis of data at the end of each implementation cycle. The appreciation of the new model was very positive. With the methodology implemented, new teaching experiences and relevant learning for students were achieved. Learning music with ICT induces creative-musical processes in students.
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Manton, John. "Global and local contexts: the Northern Ogoja Leprosy Scheme, Nigeria, 1945-1960." História, Ciências, Saúde-Manguinhos 10, suppl 1 (2003): 209–23. http://dx.doi.org/10.1590/s0104-59702003000400010.
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Deriving funding from missionary sources in Ireland, Britain and the USA, and from international leprosy relief organizations such as the British Empire Leprosy Relief Association (BELRA) and drawing on developing capacities in international public health under the auspices of WHO and UNICEF through the 1950s, the Roman Catholic Mission Ogoja Leprosy Scheme applied international expertise at a local level with ever-increasing success and coverage. This paper supplements the presentation of a successful leprosy control programme in missionary narratives with an appreciation of how international medical politics shaped the parameters of success and the development of therapeutic understanding in the late colonial period in Nigeria.
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Vuoskoski, Jonna K., William F. Thompson, Doris McIlwain, and Tuomas Eerola. "Who Enjoys Listening to Sad Music and Why?" Music Perception 29, no. 3 (December 2011): 311–17. http://dx.doi.org/10.1525/mp.2012.29.3.311.
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although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. As expected, sadness was the most salient emotion experienced in response to sad excerpts. However, other more positive and complex emotions such as nostalgia, peacefulness, and wonder were also evident. Furthermore, two personality traits – Openness to Experience and Empathy – were associated with liking for sad music and with the intensity of emotional responses induced by sad music, suggesting that aesthetic appreciation and empathetic engagement play a role in the enjoyment of sad music.
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Roenneberg, Till, and Martha Merrow. "Circadian systems: different levels of complexity." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 356, no. 1415 (November 29, 2001): 1687–96. http://dx.doi.org/10.1098/rstb.2001.0969.
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After approximately 50 years of circadian research, especially in selected circadian model systems ( Drosophila, Neurospora, Gonyaulax and, more recently, cyanobacteria and mammals), we appreciate the enormous complexity of the circadian programme in organisms and cells, as well as in physiological and molecular circuits. Many of our insights into this complexity stem from experimental reductionism that goes as far as testing the interaction of molecular clock components in heterologous systems or in vitro . The results of this enormous endeavour show circadian systems that involve several oscillators, multiple input pathways and feedback loops that contribute to specific circadian qualities but not necessarily to the generation of circadian rhythmicity. For a full appreciation of the circadian programme, the results from different levels of the system eventually have to be put into the context of the organism as a whole and its specific temporal environment. This review summarizes some of the complexities found at the level of organisms, cells and molecules, and highlights similar strategies that apparently solve similar problems at the different levels of the circadian system.
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Hove, Michael J., Steven A. Martinez, and Jan Stupacher. "Feel the bass: Music presented to tactile and auditory modalities increases aesthetic appreciation and body movement." Journal of Experimental Psychology: General 149, no. 6 (June 2020): 1137–47. http://dx.doi.org/10.1037/xge0000708.
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Farrell, Hazel. "Considering Dissemination." Irish Journal of Technology Enhanced Learning 6, no. 1 (June 4, 2021): 14–21. http://dx.doi.org/10.22554/ijtel.v6i1.90.
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The use of e-portfolio is becoming more widespread as an established practice in higher education with a growing body of research supporting the inherent deep learning benefits. It is espoused as an ideal pedagogical tool, conducive to student-centred learning where engagement and investment in the learning process are key. The recognition of learning beyond the classroom and appreciation of diverse, personalised approaches to learning are fundamental to this medium, and as such, the very basic premise of an e-portfolio functioning as a place to host information has been surpassed significantly.
This is a report on the use of e-portfolio as a multifunctional tool for the music degree programme at Waterford Institute of Technology (WIT). While the primary purpose was the use of e-portfolio to create a collaborative yearbook for final year students, ultimately this expanded into the areas of marketing, recruitment, and staff professional development as a direct result of dissemination pathways. While the promotion of e-portfolio as a valuable pedagogical tool remains a priority, the specific possibilities for maximising the potential of the e-portfolio beyond the purposes of student-centred learning that emerged in this case gave rise to further thought on future creative applications.
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Jang, Sekyung. "Intergenerational Choir: A Qualitative Exploration of Lived Experiences of Older Adults and Student Music Therapists." Journal of Music Therapy 57, no. 4 (August 1, 2020): 406–31. http://dx.doi.org/10.1093/jmt/thaa012.
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Abstract The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.
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Cooper, Julian. "Industry and higher education under Gorbachev: On the move again." Industry and Higher Education 2, no. 4 (December 1988): 217–22. http://dx.doi.org/10.1177/095042228800200405.
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Gorbachev inherited a higher education system starved of resources. However, under the major programme of reform that he has instituted to modernize the Soviet higher education system, the authorities after years of inaction now have a keen appreciation of the vital importance of higher education to the general Perestroika process. They are showing a willingness to adopt new ideas and an openness to the experience of the West. Many initiatives for links with industry have their direct parallels in the West, and it is possible that science parks may be established in the near future.
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Loui, Psyche, David L. Wessel, and Carla L. Hudson Kam. "Humans Rapidly Learn Grammatical Structure in a New Musical Scale." Music Perception 27, no. 5 (June 1, 2010): 377–88. http://dx.doi.org/10.1525/mp.2010.27.5.377.
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KNOWLEDGE OF MUSICAL RULES AND STRUCTURES HAS been reliably demonstrated in humans of different ages, cultures, and levels of music training, and has been linked to our musical preferences. However, how humans acquire knowledge of and develop preferences for music remains unknown. The present study shows that humans rapidly develop knowledge and preferences when given limited exposure to a new musical system. Using a nontraditional, unfamiliar musical scale (Bohlen-Pierce scale), we created finite-state musical grammars from which we composed sets of melodies.After 25-30 min of passive exposure to the melodies, participants showed extensive learning as characterized by recognition, generalization, and sensitivity to the event frequencies in their given grammar, as well as increased preference for repeated melodies in the new musical system. Results provide evidence that a domain-general statistical learning mechanism may account for much of the human appreciation for music.
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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.
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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Silveira, Jason M. "The Perception of Pacing in a Music Appreciation Class and Its Relationship to Teacher Effectiveness and Teacher Intensity." Journal of Research in Music Education 62, no. 3 (August 26, 2014): 302–18. http://dx.doi.org/10.1177/0022429414542978.
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The purpose of this study was to determine relationships among pacing, teacher effectiveness, and teacher intensity in the context of a realistic teaching situation. A scripted stimulus video was created in which the teacher demonstrated predefined pacing lapses to measure their effects on observers’ ratings of teacher effectiveness, teacher intensity, teacher pacing, and general perceptions. Participants ( N = 164 college students) were randomly assigned to one of four groups ( n = 41) to evaluate ongoing teacher effectiveness, teacher intensity, teacher pacing, or general perceptions (control group). Participants evaluated the teacher on their assigned construct using both continuous (Continuous Response Digital Interface) and summative measures (Likert-type scale). Results showed that the constructs had strong positive linear correlations with each other. The pacing group evidenced a greater response magnitude than the other three groups (effectiveness, intensity, control), suggesting that participants in the pacing group may have been reacting differently to some aspect of the teaching demonstration compared to the other groups.
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Ballora, Mark, and Curtis Craig. "Consilient Spheres of Influence in a Land Grant Setting." Organised Sound 18, no. 2 (July 11, 2013): 201–6. http://dx.doi.org/10.1017/s1355771813000113.
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At Penn State, music technology is something of a stranger in a strange land. As a programme, it began in the early twenty-first century, when the necessity of the moment was an anticipated revision to the guidelines from the National Association of Schools of Music (NASM), the North American accrediting body. Music schools were charged with ensuring that music majors were exposed to ‘relevant technologies’. It was left largely to individual institutions to interpret what this meant. At Penn State, a course was created to address this guideline, and it generated interest among students. This course then spawned a series of related courses. These courses eventually created enough of a curricular presence to warrant creating an undergraduate minor. We now expect that the minor will spawn an undergraduate major. The music technology programme's locus lies not solely within the School of Music; rather, it overlaps as an interdisciplinary area with a variety of programmes throughout the university's offerings. These overlaps are a unique feature of the programme. It is an unusual arrangement, but it is a product of its time and place. Three populations of students have coalesced, and the pedagogical challenge has been to create a curriculum that can serve all of them. The programme might be thought of as series of concentric spheres; each is centred around the same general concept structure, but with expanding breadth for different levels of student involvement.
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Nichol, Richard John, Brenda De Klerk, Maria Magdalena Nel, Gert Jacobus Van Zyl, and John Francis Hay. "Designing an educational programme in mental health for general practitioners in South Africa." South African Journal of Psychiatry 20, no. 1 (April 30, 2014): 5. http://dx.doi.org/10.4102/sajpsychiatry.v20i1.487.
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<p><strong>Background.</strong> With the new Mental Health Care Act in use, additional demands will be placed on general practitioners to provide adequate care for mental health patients. The College of Psychiatry of the Colleges of Medicine of South Africa awards a Postgraduate Diploma in Mental Health (PGDipMH) to medical doctors, but there is no standardised formal tuition or curriculum available to potential candidates.</p><p><strong>Objectives.</strong> A study was undertaken to design a postgraduate programme using a six-step process to assist medical practitioners in preparing for the PGDipMH.</p><p><strong>Methods.</strong> The Delphi research method, a nomi nal group technique for developing forecasts and trends based on the collective opinion of knowledgeable experts, was used. Data, obtained by means of closed items in a questionnaire, were analysed, and the opinions and ideas of the expert respondents were used to adapt the formulated set of criteria for each subsequent round of Delphi. This process was repeated until 80% consensus or stability had been reached. After the last round, a framework and final set of criteria were compiled.</p><p><strong>Results.</strong> The preferred mode of teaching was online distance learning utilising electronic learning and limited formal learning. The content of the curriculum was based on the findings of the Delphi study experts. The programme as a complete entity contains six steps.</p><p><strong>Conclusion.</strong> Using the recommendations and findings of the Delphi panel, a comprehensive programme was developed, which shows an appreciation for the interfaces between the different role-players (the patient/so-called mental healthcare user and the doctor as learner), outcomes-based education and distance learning.</p>
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Bunt, Leslie, David Pike, and Vanessa Wren. "Music Therapy in a General Hospital's Psychiatric Unit — A ‘Pilot’ Evaluation of An Eight Week Programme." Journal of British Music Therapy 1, no. 2 (December 1987): 22–27. http://dx.doi.org/10.1177/135945758700100205.
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Within Great Britain music therapy is developing a presence in the field of mental health. There is a history of work within the large institutions and there are present moves to develop more work in community based day hospitals and units. This paper charts the setting-up of a short period of eight sessions for a group attending a unit based within a general hospital. Positive results from a simple evaluation from both clients and staff point to the need for further studies to be set up when more detailed questions can be addressed.
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Alessandri, Elena, Dawn Rose, Olivier Senn, Katrin Szamatulski, Antonio Baldassarre, and Victoria Jane Williamson. "Consumers on Critique: A Survey of Classical Music Listeners’ Engagement with Professional Music Reviews." Music & Science 3 (January 1, 2020): 205920432093133. http://dx.doi.org/10.1177/2059204320931337.
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Music criticism has a long tradition as a leading agent in the classical music discourse. However, some people question its function in the contemporary music market. We explored the topicality of classical music critique by asking: Who reads professional reviews today? And what do readers expect from review? Through an online survey (English/German), we profiled the listening habits of classical music listeners ( N = 1200) and their engagement with professional reviews. Our participants were more actively engaged with music, but contrary to the ‘highbrow’ stereotype, not more highly musically trained than the general population. They consumed music and opinion sources in a variety of ways. Approximately two-thirds ( n = 741) of the participants had recently engaged with professional reviews, which were perceived as the most useful form of opinion, followed by short written commentaries and, lastly, ratings. A multiple logistic regression model suggested that the typical consumer of professional music critique was older with higher levels of musical engagement and education, had a higher inclination to purchase music and lower usage of streaming services, and had a preference for detailed reviews from traditional sources (e.g. newspapers). According to review readers, reviews should cover a variety of topics and offer evaluations underpinned with reasons. Reviewers should be constructive, open-minded, respectful, and well informed; their professional background was less relevant. Professional reviews should not necessarily provide a recommendation on what to buy, but rather guide listeners’ musical appreciation and understanding. Professional criticism still has an audience, although more so among older, musically educated listeners. Critics need to explore various channels in order to connect to a new generation of classical music listeners.
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Yoon, Jin Hee, and Zong Woo Geem. "Empirical Convergence Theory of Harmony Search Algorithm for Box-Constrained Discrete Optimization of Convex Function." Mathematics 9, no. 5 (March 4, 2021): 545. http://dx.doi.org/10.3390/math9050545.
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The harmony search (HS) algorithm is an evolutionary computation technique, which was inspired by music improvisation. So far, it has been applied to various scientific and engineering optimization problems including project scheduling, structural design, energy system operation, car lane detection, ecological conservation, model parameter calibration, portfolio management, banking fraud detection, law enforcement, disease spread modeling, cancer detection, astronomical observation, music composition, fine art appreciation, and sudoku puzzle solving. While there are many application-oriented papers, only few papers exist on how HS performs for finding optimal solutions. Thus, this preliminary study proposes a new approach to show how HS converges on an optimal solution under specific conditions. Here, we introduce a distance concept and prove the convergence based on the empirical probability. Moreover, a numerical example is provided to easily explain the theorem.
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Et.al, Mohd Azhar Abu Bakar. "The Symbiosis of Singing and Stage Performance in the Malaysian Music Industry." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 1221–29. http://dx.doi.org/10.17762/turcomat.v12i3.870.
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Malaysia is a developing country rich in its culture and traditions dating back for centuries. The evolution of music in Malaysia, unnoticed by many, plays distinctive notes inspiring and transforming the paradigm shift of its people. Malaysian music transcends from melismatic, organum and minimalism, to the current progressive intervals, modulations and eclectic variations of form, structure, rhythm, chords and melodies. Vast social and economic developments change the appreciation of music in its representation by the transportation of musical essences through the delicate sensory motors of the human mind and body via sight and sound. The overall composition of this journal is to provide a thorough overview of the integration and of vocal singing and performance through the spectacle of music. Results, data, musical notations, facts and figures pertaining to this study shall be derived through books, articles, internet (reliable sources with citations) and interviews from industrialists and professionals. Conservation efforts through innovations would evidently furnish new and innovative musical ideas blending in through the inevitable influx of American/European and global new-age music. Unlike some neighboring countries that prioritize national interests, Malaysia welcomes innovations and new musical ideas. Nonetheless, the essence of the Malaysian heritage should never be compromised. To date, the diminishing factor of traditional music is rather disheartening.
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Nedelcuț, Nelida, Ciprian Gabriel Pop, and Amalia Nedelcuț. "Distance Learning in the Musical Field in Romania through European-Funded Projects." International Journal of Advanced Corporate Learning (iJAC) 11, no. 1 (August 29, 2018): 36. http://dx.doi.org/10.3991/ijac.v11i1.9209.
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<p class="Abstract">The organization of Romanian distance learning in music has been supported in terms of research, collaboration and financing by European projects, with the following achievements: training of teaching staff involved in distance learning, assistance in activities meant to introduce ICT in general schools, construction of a platform dedicated to distance learning activities, creating a database with instrumental accompaniments for singers, designing multimedia courses, assessing distance learning programs offered by the Academy of Music Gheorghe Dima in Cluj-Napoca.</p><p class="Abstract">The Prelude Training Programme on ICT in Music Education – a project aimed at developing a training programme for in-service music educators, as there are many ways in which technology helps educators meet instructional goals: Programs designed to help students develop their musicianship or improve their knowledge of notation and skill in reading notation, support with improvisation skills, notation and sequencing programs which assist students in composition activities.</p><p class="Abstract">Vemus - Virtual European Music Schools - a programme which focuses on teaching music notation or performing instruments, involving execution of rhythm patterns, melody, music scores; E-vocal learning, with simultaneous appearance of sound and notation, conducted by famous musicians. DIMA - Direct Impact of Multimedia Application - a platform that comprises courses, audio and video examples focusing on music history, performing and listening activities.</p><p class="Abstract">The partners proceed from various areas (higher education, innovation/development centers), and the projects were conceived to stimulate the implementation of ICT in the educational process in music, approaching teaching staff as a target group, and students as an interested party.</p>The need for such products was revealed by interviews and questionnaires and the results’ evaluation proved that the online environment can be accessed in order to develop educational resources, enrich lesson content, motivate and engage children in music education, deliver information and learning opportunities, stimulate children in their musical endeavors.