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Journal articles on the topic 'Guitar ensembles'
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Dotsenko, Volodymyr, and Viktoria Tkachenko. "CREATIVE STRATEGIES FOR THE GUITAR CLASS AT I. P. KOTLYAREVSKY KHNUA." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 72–85. http://dx.doi.org/10.34064/khnum2-22.04.
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Introduction. The guitar class, opened by V. Dotsenko in 1989, recently celebrated its 30th anniversary and presented the university with many winners of international competitions, ensemble groups and new scholarly discourses. Together with the constant changes in society’s requirements for academic education and musician’s activities, this encourages us to estimate its achievements and prospects at the present stage. The aim of the article is to identify the key vectors of the guitar class of Kharkiv National University of Arts at the present stage. In accordance with the goal, such methods are chosen as historical, which allows to reveal the dynamics of development of the Kharkiv guitar school in the period of its formation to the present; typological – to identify key areas of activity of the guitar class at the present stage. Results and Discussion. The study of the Kharkiv guitar school and guitar class of KhNUA from its formation to the present day allows us to identify the leading vectors and key features of their activities, among which it is proposed to distinguish two main ones: innovation and multivectority. Already at the stage of formation, the Kharkiv guitar school proved to be innovative – it was in Kharkiv where the first guitar club in Ukraine and the USSR was opened, within which the first guitar quartet in the USSR soon appeared, the first in Ukraine scholarly conference dedicated to guitar art, it was one of the first to join the digitalization process, conducting online performances and successfully presenting the guitar orchestra at the international level, resulting in two Grand Prix in 2020. Already within the activities of the guitar club, another leading feature of the Kharkiv guitar school – multivectority – has declared itself. Gathering like-minded people to share experiences and get acquainted with samples of modern guitar art, the club “nurtured” teachers, masters of instruments, and musicians-ensembles. All the directions initiated in the last century deepen and continue to branch out in the XXI century in the activities of the guitar class KhNUA: educational one is supplemented by scientific (conferences, defense of PhD theses), pedagogical one – by methodical complex (methodical works of V. Dotsenko), solo and ensemble performance – by the orchestra. Conclusions. Innovativeness and multivectority become leading features of the guitar class of KhNUA at the present stage. In recent years, the school’s activities are supplemented by such vectors as the formation of a guitar orchestra (2016), cooperation with European institutions of higher music education (Erasmus), active immersion in the digitalization process, in particular, online competitions and online broadcasts of the concerts, which fit its activity into the latest trends in the development of musical performance and education and shows the involvement in the European standards of artistic activity.
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Kustap, Kustap, and Ikhsan Lubis. "Pelatihan Pola Ritme Sebagai Strategi Peningkatan Kualitas Pembalajaran Mata Kuliah Instrumen Gitar di Jurusan Musik FSP ISI Yogyakarta." PROMUSIKA 7, no. 1 (April 7, 2019): 20–28. http://dx.doi.org/10.24821/promusika.v7i1.2473.
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Pola ritme merupakan elemen musik utama yang berkaitan langsung dengan gerakan waktu dalam musik, di mana waktu selalu bergerak dan mengatur kestabilan rasa musikal. Pola ritme sangat mentukan ketepatan hitungan dalam permainan gitar tunggal, dan bermain anasambel gitar. Pola ritme merukan objek material penelitian sedangkan proses pelatihan pola rime dalam pembelajaran mata kuliah instrumen gitar merupakan objek formal. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dan tindakan kelas dengan teknik pengupulan data triangulasi, sedangkan proses analisis data menggunakan model interaktif. Hasil yang diperoleh dari penelitian ini adalah strategi latihan pola ritme yang disesuaikan dengan tanda sukat yang ada pada materi yang berupa lagu yang akan dilatih dengan instrumen gitar. moving and regulating musical stability. Rhythm patterns really determine the accuracy of counts in a single guitar game, and play guitar ensembles. Rhythm patterns are research material objects while the rime training process in learning guitar instrument subjects is a formal object. The method used in this study is a qualitative method and class action with the technique of collecting triangulation data, while the data analysis process uses an interactive model. The results obtained from this study are the rhythmic pattern training strategies that are tailored to the signs of sukat that are in the material in the form of songs that will be trained with guitar instruments.Keywords: Rhythm pattern; training; learning; guitar
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Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.
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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some development techniques such as reps, modulation, Augmentsi, diminution, arpeggio and various other techniques without changing the essence of the song of our house. Arransemen song popularized by one of the Indonesian rock band Goodbles with the title song "Rumah Kita" played by students of SMK Negeri 7 Padang. The Arransemen is played by 6 people with vocal formations, guitars, keyboards, bass and drums. Keywords: Rumah Kita
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Pendergast, Seth, and Nicole R. Robinson. "Secondary Students’ Preferences for Various Learning Conditions and Music Courses: A Comparison of School Music, Out-of-School Music, and Nonmusic Participants." Journal of Research in Music Education 68, no. 3 (June 22, 2020): 264–85. http://dx.doi.org/10.1177/0022429420931826.
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This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes ( N = 827). Participants represented secondary school music students ( n = 369), students who only participate in music outside of school ( n = 254), and nonparticipants in music ( n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as interest in six different secondary music courses. Findings showed out-of-school music participants and nonparticipants had a stronger preference for small group learning environments and repertoire choice when compared to school music participants. In-school and out-of-school music participants expressed similar levels of interest in four music course offerings and ranked them as follows: (1) piano/guitar class, (2) music composition with technology class, (3) popular music groups, and (4) music history/theory class. In-school and out-of-school music participants differed on only two course offerings: large ensembles and world music groups. In-school music participants expressed high interest in large ensembles, whereas out-of-school music participants conveyed a lower interest in large ensembles.
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Allsup, Randall Everett. "Mutual Learning and Democratic Action in Instrumental Music Education." Journal of Research in Music Education 51, no. 1 (April 2003): 24–37. http://dx.doi.org/10.2307/3345646.
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This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups culture. The group members and researcher saw classical music as unproductive for group composing or community-making. Composing in a jazz or popular style was conceived of as fun, nonobligatory, self-directed, and personally meaningful. In such settings, there was an emphasis on interpersonal relationships, peer learning and peer critique, as well as an expectation that members will take care of each other.
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Caluda, Glen, and Kerry Arlt. "The Function and Purpose of the Large Guitar Ensemble." American String Teacher 36, no. 2 (May 1986): 66–67. http://dx.doi.org/10.1177/000313138603600224.
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Hensley, Douglas. "Guitar Forum: The Flute, Viola, Guitar Trio: Its History, Literature and Performance." American String Teacher 36, no. 4 (November 1986): 73–76. http://dx.doi.org/10.1177/000313138603600433.
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Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.
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Lahasky, Sarah. "Municipal Sponsorship and Musical Work in Argentina: Ensemble Institutionalization in a Neoliberal Economy." SOCIOLOGIA DEL LAVORO, no. 157 (August 2020): 108–24. http://dx.doi.org/10.3280/sl2020-157006.
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The institutionalization of musical groups through local, decentralized govern-ments may provide artists an alternative to the precarious working conditions as characterized by the gig economy. The article uses the Tito Francia Guitar Or-chestra as a case study and suggests that artists living in areas with autonomous local governments may be able to frame their work as a social, political, or eco-nomic benefit to the city. The article contains three sections: the first one explains Argentina's current economic situation and its effects on musical work in the country; the second one introduces the guitar orchestra and their relationship with the Municipality of Guaymallén; the last section considers the benefits and risks of institutionalizing an ensemble, and how musicians' work may change as a result.
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Wasson, Dwayne. "The New Frontier: Developing Guitar Reading Skills through Ensemble Playing." Music Educators Journal 92, no. 2 (November 2005): 17. http://dx.doi.org/10.2307/3400179.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Maksym, Trianov. "CREATIVE PORTRAIT OF VOLODYMYR DOTSENKO AS EXPRESSION OF THE CONCEPT OF UNIVERSALISM." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 150–65. http://dx.doi.org/10.34064/khnum2-22.09.
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The contemporary national Ukrainian art of guitar performance is actively growing. In the latest decades it is experiencing a veritable takeoff. One of the primary objectives of modern musicology is to extensively study the phenomenon of Ukrainian guitar art, specifically its regional variations. The establishment of regional schools of guitar and study of prominent artists deserve detailed research. The article examines the multifaceted creative individuality of Volodymyr Dotsenko, the founder of professional school of classical guitar in Kharkiv. His artistic image is firstly pondered in the light of universalism. Such major areas of the artist’s interest are explored as conducting, teaching practice, research and socio-educational activity, which all lie in close conjunction with each other and contribute to the universalistic image of a modern musician. A specific focus is made on the early development of artistic universalism in Dotsenko, which begins in the early days of his professional activity. The article shows how the quality of education and upbringing contributes to shaping a multifaceted creative individuality. The analysis of Dotsenko’s performance style displays such universalistic features as a deep understanding of the interpretative idea core, stylistic and technical immaculacy in performance of guitar pieces from diverse styles, exquisite taste in selection of conceptual concert programs. Afresh approach to the teaching of guitar performance and years of experience in training firstclass performer laid groundwork to a corpus of academic methodical literature, which fully conveys the principles of comprehensive universalist development of a musician. Dotsenko’s teaching and scholarly activities are characterized by deep understanding of the technical aspects of classical guitar performance, a highly academic approach, extensive knowledge, precise turn of phrase, and colorful imagery. Meanwhile, Dotsenko’s organization skills brought about the creation of a unique ensemble: the Kharkiv guitar orchestra, as well as a number of academic and practical conferences and classical guitar contests. All of these events heavily contributed to further development of Ukrainian guitar art. Dotsenko is an example of Ukrainian creative elite, a unique musician, professor, academic, and social activist. The universalist traits characteristic of his artistic individuality, can be observed in every field of his creative output and are the main qualitative feature of his personality.
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Gurgul, Wojciech. "Adam Franciszek Epler (1902–1940): A Forgotten Musician of Interwar Lviv." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 23–58. http://dx.doi.org/10.4467/23537094kmmuj.20.029.13902.
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This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.
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Turetzky, Bertram, Douglas Leedy, Erzsebet Szonyi, Jean Chastanet, and Barry Guy. "Canti: Music for Contrabass and Chamber Ensemble [Flute, Guitar, Vibraphone, Marimba, Viola] (1975)." Notes 47, no. 3 (March 1991): 963. http://dx.doi.org/10.2307/941944.
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Barry, Robert. "BBC Radio 3 Open Ear: EXAUDI Vocal Ensemble, We Spoke & Gwen Rouger LSO St Luke's, London." Tempo 72, no. 286 (September 6, 2018): 81–82. http://dx.doi.org/10.1017/s0040298218000426.
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Simon Løffler's b presents to its audience an immediate question: where are the instruments? Three players sit on straight-backed chairs, joined by a daisy-chain of cables and guitar stomp boxes. The score directs a choreography of foot switching, demanding extraordinary pedal dexterity. Sounds pass down the line, modulated by distortion and equaliser effects, before bursting out of the PA in a series of abrupt electrical barks. But at the other end of the line there is nothing but an unplugged jack, held aloft, inserted nowhere but the open air.
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Lister, Rodney. "Milton Babbitt." Tempo 58, no. 229 (July 2004): 47–49. http://dx.doi.org/10.1017/s0040298204240220.
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BABBITT: String Quartet No. 61; Occasional Variations for synthesizer; String Quartet No. 22; Composition for Guitar3. 1The Sherry Quartet; 2The Composers Quartet; 3William Anderson (gtr). Tzadik TZ7088.BABBITT: Quatrains1; Manifold Music2, My Ends Are My Beginnings3; Soli e Duettini4; Swan Song No. 15. 1Tony Arnold (sop), Charles Neidich, Ayako Oshima (cls); 2Gregory D'Agostino (org); 3Allen Blustine (cl); 4William Anderson, Oren Fader (gtrs); 5Cygnus Ensemble c. Jeffrey Milarsky. Bridge 9135.
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Almqvist, Cecilia Ferm. "Towards the attainment of mindful bodily relations in music education." Nordic Research in Music Education 2, no. 1 (April 6, 2021): 114–33. http://dx.doi.org/10.23865/nrme.v2.3022.
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Recent studies of female guitar students in upper secondary school ensemble education suggest that girls behave, and are encouraged to behave, in more immanent ways than boys. They seem to receive less encouragement to stretch their bodies and become full musical human beings. Instead they become the second musical sex. During the course of my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually found myself wondering how to create educational spaces and relations in ways that let all pupils, independent of sex, realize ideas, transcend as musical bodies, and become what they already are. If teachers and pupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes to creating space for all pupils to develop and stretch out their bodies. The actions of the music teacher, as a musical body, must be balanced in relation to the other musical bodies in the room, as well as to physical preconditions, goals, visions, and expectations of the students. In this article, I want to delve into the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educational bodily relations. The aim is to share my close reading of Young’s philosophical thinking regarding gender structures and especially female comportment, motility, and spatiality, and develop a set of prerequisites for intentional bodily (music) educational relations. With a starting point in research-based inspiration and motivation for conducting the current philosophical investigation, I share my close reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts from two interviews with female guitar students, exemplifying musical body-relational experiences. Finally I share and reflect upon a developed thinking about mindful bodily (music) educational relations.
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Angel-Alvarado, Rolando, and José Álamos Gómez. "Musical Conducting in the Guitárregas Guitar Ensemble: A Leadership Based on the Self-determination of Music Teachers." Revista Internacional de Educación Musical 6, no. 1 (July 2018): 53–61. http://dx.doi.org/10.1177/230748411800600105.
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Askenfelt, Anders, and Erik V. Jansson. "On Vibration Sensation and Finger Touch in Stringed Instrument Playing." Music Perception 9, no. 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.
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The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.
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Finkelshtein, Y. "Semantics of the timbre of classical guitar in works for ensemble by composers of the Second Viennese School." South-Russian musical anthology, no. 2 (2021): 12–19. http://dx.doi.org/10.52469/20764766_2021_02_12.
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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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Fitri, Putri Ariska, Jagar Lumbantoruan, and Irdhan Epria Darma Putra. "ARANSEMEN LAGU AYAH." Jurnal Sendratasik 8, no. 3 (February 11, 2019): 9. http://dx.doi.org/10.24036/jsu.v7i3.103277.
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AbstractThe purpose of this work is to arrange Ayah song as a form of expression of the author's musical experience in arranging, making musical arrangements that are relevant to the works of musical works of students and maximizing the potential of human resources (students) in school. In this work, the author uses a mixed ensemble presentation format. The musical instruments used for accompanying vocals are pianika, piano, guitar, bass, and drum-set. This arrangement uses 2 parts, namely part A and part B with a time signature of 4/4. Part A starts from 1 time to 46 time and part B starts from the time of 47 to 103. The musical arrangement of this work contains lyrics that tell about the attitude of a father who loves and protects his child. The development techniques applied are (1) repetition melodically and rhythmically, (2) sequences, (3) augmentation, (4) diminution, and various other techniques without changing the essence of the song Ayah.Keywords: Arrangement, School Music, Father's Song.
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Mutabazi, Éric. "Échec du vivre-ensemble au Rwanda : quelle est la responsabilité des manuels scolaires d’histoire ?" Articles 48, no. 1 (September 19, 2013): 131–53. http://dx.doi.org/10.7202/1018405ar.
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Le Rwanda, enclavé dans la région des Grands Lacs en Afrique centrale, a connu la guerre et les massacres aboutissant au génocide de 1994. Plusieurs penseurs et chercheurs ont tenté d’expliquer les raisons de ces massacres inhumains et monstrueux qui ont ravagé ce pays. Alors que les facteurs politiques, historiques et économiques sont plus souvent évoqués pour justifier ces horribles événements, cette contribution consiste à dégager la responsabilité des manuels scolaires d’histoire dans l’échec du vivre-ensemble au Rwanda avant le génocide. Notre analyse des contenus des manuels scolaires révèle que certaines valeurs transmises à travers l’enseignement de l’histoire du Rwanda ont généré toutes sortes d’injustices, d’inégalités, de victimisation, de souffrances, etc., à l’école et dans la société. Nous essaierons de montrer en quoi le contenu des manuels a contribué à l’échec du vivre-ensemble au Rwanda et nous proposerons des perspectives qui pourraient guider l’élaboration du nouveau contenu contribuant à la paix, à l’unité et au vivre-ensemble au Rwanda après le génocide.
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Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (March 6, 2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.
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The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.
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Dorfman, Jay. "Examining effectiveness of modern band professional development for practising teachers." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 5–20. http://dx.doi.org/10.1386/jpme_00011_1.
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Modern band is a type of musical ensemble that typically uses rock band instruments (guitars, basses, drums, keyboards and vocals) and can also incorporate digital technologies to create music of recent, popular styles. Several models of professional development in modern band have surfaced in the United States over the last few years. Literature on professional development contains varied lists and descriptions of characteristics that make professional development more or less effective both for the participants and, in turn, for the students they teach. In this article, I summarize those characteristics, and draw on one particular model to assess the effectiveness of one model of modern band professional development. This model is a week-long class which has been taught over three summers at two universities. Analyses of open-ended survey responses from participants in the classes reveal characteristics of the class that were effective both for the participating teachers and for their students and improvements that can be made to increase effectiveness.
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Houatis, Djamel. "Les connaissances des enseignants universitaires algériens sur la notion de modèle scientifique." ITM Web of Conferences 39 (2021): 02004. http://dx.doi.org/10.1051/itmconf/20213902004.
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Dans les activités du physicien, les ensembles indissociables théorie et modèle, expérimentation et modélisation sont omniprésents. La question de passage du concret à l’abstrait, de l’expérimentation à sa traduction formalisée passe obligatoirement par la prise en compte de “modèles”. Cette composante pour un physicien est devenue très courante dans son discours scientifique, à tel point qu’il est devenu difficile à contourner. Dans cette étude, nous allons interroger un échantillon d’enseignants universitaires en exercice sur leurs conceptions et leurs utilisations des modèles. La grille d’analyse de nos résultats est basée sur des thèmes centraux préalablement sélectionnés. Les résultats de cette étude peuvent être pris en compte dans la conception des programmes afin de guider les enseignants à choisir une démarche appropriée d’enseignementapprentissage permettant de conduire leurs apprenants à la construction des modèles et à la pratique d’une activité de modélisation.
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Lacharité, Carl. "L'intervention en négligence: repères cliniques." Paidéia (Ribeirão Preto) 9, no. 16 (June 1999): 23–30. http://dx.doi.org/10.1590/s0103-863x1999000100003.
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Le présent texte vise à présenter de manière schématique un ensemble de repères cliniques permettant de guider l'intervention en négligence, intervention qui exige des connaissances multiples concernant le développement socio-affectif de l'enfant et les déterminants du parentage. Afin de bien cerner les aspects importants de l'aide et du soutien à donner aux parents et aux enfants vivant cette problématique, il nous apparaît nécessaire de faire le point sur les principaux éléments du lien parent-enfant impliqués dans la négligence. Trois dimensions du lien parent-enfant seront examinées afin de faire ressortir les particularités de la conduite parentale négligente et de l'expérience subjective de l'enfant négligé: les dimensions comportementale, psychologique et environnementale. Ces dimensions sont interreliées et organisées de façon hiérarchique.
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Jacquemet, Nicolas, Robert-Vincent Joule, Stéphane Luchini, and Antoine Malézieux. "Engagement et incitations : comportements économiques sous serment." Articles 92, no. 1-2 (May 11, 2017): 315–49. http://dx.doi.org/10.7202/1039880ar.
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Sous l’impulsion, notamment, de l’essor de l’économie expérimentale, la littérature récente a mis en évidence un large éventail de situations dans lesquelles les incitations monétaires échouent à orienter les comportements dans le sens désiré. Ce constat conduit à rechercher des mécanismes institutionnels alternatifs, capables de se substituer aux incitations monétaires. Cet article propose une revue des travaux s’inspirant de la psychologie sociale de l’engagement afin de développer des mécanismes non monétaires susceptibles d’affecter les comportements. Ces travaux étudient une procédure d’engagement particulière : un serment à dire la vérité. Cette procédure a été appliquée avec succès (1) au problème du biais hypothétique dans la révélation des préférences pour les biens non marchands, (2) aux défauts de coordination, et (3) à la propension à dire la vérité. Pris ensemble, ces travaux confirment la capacité de mécanismes d’engagement à guider l’élaboration d’institutions non monétaires capables d’orienter efficacement les comportements économiques.
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Tremblay, Hugo. "Le droit de l’eau face aux déluges bibliques et aux sécheresses millénaires : la gestion des conflits d’usages causés par la variabilité hydrologique." Les Cahiers de droit 58, no. 3 (September 12, 2017): 383–424. http://dx.doi.org/10.7202/1041007ar.
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La variabilité hydrologique impose les contraintes les plus importantes relativement à la gestion des ressources hydriques. Elle suppose que le volume d’eau disponible en un lieu donné varie constamment, souvent de façon imprévisible, ce qui oblige à composer avec des incertitudes importantes. Le réchauffement planétaire augmente les variations climatiques, de même que les évènements météorologiques extrêmes, ce qui multiplie les incertitudes liées aux projections hydrologiques. Les caractéristiques de la variabilité hydrologique induisent une problématique particulièrement aiguë pour le droit qui constitue un ensemble de règles générales capables de guider et d’encadrer de façon prévisible, stable et sécuritaire la conduite des personnes. Cet article étudie la façon dont le droit gère les conflits d’usages de l’eau qui se manifestent dans un contexte de fluctuations des régimes hydriques. L’exercice permet de mettre en évidence certaines contraintes inhérentes que le droit impose à la gestion des ressources hydriques et à l’adaptation aux changements climatiques.
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Côté, Jean-François. "Le spectacle du monde." Sociologie et sociétés 37, no. 1 (February 24, 2006): 231–60. http://dx.doi.org/10.7202/012285ar.
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Résumé La définition du cosmopolitisme au sein de la philosophie politique moderne situait son développement dans une perspective à la fois théologique et utopique ; par rapport à cela, le développement des villes-métropoles contemporaines a établi des liens directs avec une nouvelle conception du cosmopolitisme. Cette conception est désormais directement liée au phénomène métropolitain dans ce que celui-ci réfléchit les conditions d’existence précises et possibles du cosmopolitisme. L’ordre politique universel qui apparaît ainsi dans les villes-métropoles est cependant traversé de contradictions importantes, qui révèlent les fractures spatio-temporelles présentes dans cette définition du cosmopolitisme contemporain. Ce sont ces tensions, affrontements et contradictions qui doivent toutefois guider l’idée que l’on se fait du cosmopolitisme, puisque c’est là que se donne à voir réellement le spectacle du monde, soit un ensemble de phénomènes qui se manifestent en condensé dans l’expérience des villes. L’article prend la mesure de ces transformations contemporaines du cosmopolitisme à travers la perception des villes-métropoles.
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Morin, L., A. F. Pierre, P. Tissieres, J. Miatello, and P. Durand. "Actualités sur le sepsis et le choc septique de l’enfant." Médecine Intensive Réanimation 28, no. 3 (December 24, 2018): 239–48. http://dx.doi.org/10.3166/rea-2018-0080.
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L’incidence du sepsis de l’enfant augmente en réanimation pédiatrique. La définition du sepsis et du choc septique de l’enfant est amenée à évoluer à l’instar de celle du choc septique de l’adulte pour détecter les patients nécessitant une prise en charge urgente et spécialisée. La prise en charge d’un patient septique repose sur une oxygénothérapie, une expansion volémique au sérum salé isotonique, une antibiothérapie et un transfert dans un service de réanimation ou de surveillance continue pédiatrique. Le taux et la cinétique d’élimination du lactate plasmatique est un bon critère diagnostic et pronostic qui permet de guider la prise en charge. La présence de plusieurs défaillances d’organes ou une défaillance circulatoire aiguë signe le diagnostic de sepsis encore dit sévère, et leur persistance et/ou la non-correction de l’hypotension artérielle malgré un remplissage vasculaire d’au moins 40 ml/kg définit le choc septique chez l’enfant. Dans ce cas, la correction rapide de l’hypotension artérielle persistante repose sur la noradrénaline initiée sur une voie intraveineuse périphérique dans l’attente d’un accès veineux central. L’échographie cardiaque est un examen clé de l’évaluation hémodynamique du patient, pour guider la poursuite de l’expansion volémique ou détecter une cardiomyopathie septique. Des thérapeutiques additionnelles ont été proposées pour prendre en charge certains patients avec des défaillances d’organes particulières. L’immunomonitorage et la modulation sont un ensemble de techniques qui permettent la recherche et le traitement de certaines complications. La Surviving Sepsis Campaign a permis d’améliorer la prise en charge de ces patients par l’implémentation d’algorithmes de détection et de prise en charge du sepsis de l’enfant. Une révision pédiatrique de cette campagne est attendue prochainement.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (April 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Pike, I., RJ McDonald, S. Piedt, and AK Macpherson. "Élaboration d'indicateurs de blessures chez les enfants et les jeunes des Premières nations et inuits au Canada grâce à une méthode de Delphes modifiée." Maladies chroniques et blessures au Canada 34, no. 4 (November 2014): 221–28. http://dx.doi.org/10.24095/hpcdp.34.4.03f.
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Introduction Le but de cette recherche était de franchir la première étape de l'élaboration d'indicateurs valides et représentatifs des blessures chez les enfants et les jeunes des Premières nations et Inuits du Canada. Méthodologie À l'aide d'une méthode de Delphes modifiée, des intervenants des collectivités et des experts ont évalué chaque indicateur en fonction de son utilité perçue et de sa capacité à inciter à l'action dans le but de réduire les blessures chez les enfants et les jeunes des collectivités autochtones. Le processus s'est déroulé en 5 étapes et a permis d'obtenir un ensemble de 27 indicateurs. Résultats Les indicateurs évalués comme étant les plus utiles et les plus susceptibles d'inciter à l'action ont été ceux liés au taux de collision de véhicules à moteur, au taux de mortalité et au taux d'hospitalisation. Ont été sélectionnés ensuite les indicateurs de la formation en prévention des blessures et programmes communautaires d'intervention, ceux des blessures intentionnelles, ceux des brûlures et des chutes et enfin ceux du suicide. Conclusion Les résultats indiquent qu'utiliser une méthode de Delphes modifiée avec participation élargie est efficace et pertinent pour élaborer un ensemble d'indicateurs visant à guider les activités de prévention des blessures chez les enfants et les jeunes des Premières nations et Inuits, tout en respectant les principes PCAPMC (propriété, contrôle, accès et possession). Une fois achevés les travaux complémentaires de validation des indicateurs et la collecte des données associées, ces indicateurs vont pouvoir servir aux collectivités pour la surveillance des blessures et pour la prise de décisions et de mesures efficaces de réduction des blessures chez les enfants et les jeunes.
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GELLIN, J., and F. GROSCLAUDE. "Analyse du génome des espèces d’élevage : projet d’établissement de la carte génétique du porc et des bovins." INRAE Productions Animales 4, no. 1 (February 2, 1991): 97–105. http://dx.doi.org/10.20870/productions-animales.1991.4.1.4322.
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Comparées à celles de l’homme et de la souris, les cartes génétiques des espèces d’élevage sont encore très rudimentaires. Toutefois, la gamme des techniques actuellement disponibles permet désormais de progresser rapidement dans l’établissement de ces cartes. L’objectif immédiat des équipes de génétique moléculaire et cytogénétique de l’INRA est d’identifier, pour les génomes bovin (à Jouy-en-Josas) et porcin (à Toulouse essentiellement), un premier réseau de marqueurs distants d’environ 20 centimorgans, soit un ensemble d’environ 150 marqueurs. Compte tenu du fait que l’organisation du génome est relativement conservée d’une espèce de mammifères à l’autre, les connaissances acquises chez l’homme et la souris permettront, dans une certaine mesure, de guider les travaux de cartographie des espèces d’élevage. On attend de ces recherches : 1) la mise en évidence des régions du génome intervenant dans la variabilité des caractères quantitatifs ; 2) des bases de départ pour le clonage des gènes d’intérêt zootechnique ; 3) le repérage précoce de gènes majeurs à l’aide de gènes marqueurs proches ; 4) une meilleure appréciation de la diversité génétique des races et 5) une précision accrue dans l’identification des animaux et le contrôle des filiations. Des collaborations internationales se mettent en place, notamment dans le cadre de la CEE.
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Sylvain, Chantal, and Marie-Josée Durand. "Soutenir le retour au travail après un arrêt de travail en raison d’un trouble dépressif : pourquoi et comment faire en soins primaires ?" Santé mentale au Québec 42, no. 1 (June 14, 2017): 305–18. http://dx.doi.org/10.7202/1040256ar.
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Ces dernières années, les troubles dépressifs sont devenus l’une des principales causes d’absence au travail. Pour les personnes concernées, le risque d’incapacité prolongée au travail est bien réel et engendre des coûts considérables sur les plans humain et social, sans parler des coûts financiers. Malgré son importance, la question du retour au travail (RAT) est rarement présentée comme étant prioritaire à considérer dans l’intervention clinique, notamment par les intervenants des soins primaires. Par conséquent, ces derniers ont peu d’indications concernant l’intervention à préconiser pour favoriser le RAT en temps opportun et ils peuvent même s’interroger sur la pertinence de viser un tel objectif.Cet article a pour but de proposer des balises aux intervenants des soins primaires en répondant à la question suivante : pourquoi et comment les intervenants des soins primaires doivent-ils soutenir le RAT après un arrêt de travail en raison d’un trouble dépressif ? La première partie de l’article permettra de faire un survol des connaissances actuelles soutenant la pertinence d’intervenir précocement pour prévenir l’incapacité prolongée de travail suite à un arrêt de travail en raison d’un trouble dépressif. En deuxième partie, nous présenterons un ensemble de principes devant guider l’intervention de retour au travail et en proposerons des illustrations adaptées au contexte des soins primaires. Nous nous appuierons pour ce faire sur des travaux de recherche récents réalisés en contexte québécois.
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Cagney, Liam. "Seán Clancy, et al. - SEÁN CLANCY: Forty-Five Minutes on the Subject of Football. Ensemble Krock. BRC 004. - ‘SLEEP SPINDLES’: PAUL MCGUIRE. Tampered1; Marshes2; Sleep Spindles3. 1Céline Papion (vc), 2Open Source Guitars, 3Paul McGuire (perc.) SLP013." Tempo 70, no. 275 (December 7, 2015): 104–6. http://dx.doi.org/10.1017/s0040298215000820.
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Funnell, Sarah, Peter Tanuseputro, Angeline Letendre, Lisa Bourque Bearskin, and Jennifer Walker. "“Nothing About Us, without Us.” How Community-Based Participatory Research Methods Were Adapted in an Indigenous End-of-Life Study Using Previously Collected Data." Canadian Journal on Aging / La Revue canadienne du vieillissement 39, no. 2 (November 20, 2019): 145–55. http://dx.doi.org/10.1017/s0714980819000291.
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RÉSUMÉLa recherche en santé autochtone au Canada a été négligée dans le passé et qualifiée de problématique, notamment en raison du manque de collaboration avec les peuples autochtones. L’Énoncé de politique des trois Conseils sur l’éthique de la recherche avec des êtres humains décrit au chapitre 9 la conduite éthique de la recherche axée sur les Premières nations, les Inuits et les Métis. Les principes PCAP® des Premières nations (propriété, contrôle, accès et possession) soulignent l’importance majeure de l’engagement et de la gouvernance autochtones. En vue d’assurer que les buts et les activités de la recherche développée soient réalisés en partenariat complet et significatif avec les peuples et les communautés autochtones, il est possible de faire appel à des méthodes de recherche participative communautaire (RPC) intégrant leur plein engagement. Les recherches utilisant des ensembles de données secondaires, telles que les données administratives sur la santé recueillies en routine, ne devraient plus être exclues de cette approche. Notre objectif était de décrire comment notre équipe de chercheurs universitaires, alliée à un organisme national de santé autochtone, a adapté les méthodes de RPC dans le cadre d’un projet de recherche utilisant des données recueillies antérieurement pour examiner les lacunes dans la prestation de soins de fin de vie aux peuples autochtones en Ontario. Nous décrivons le processus d’élaboration de ce partenariat de recherche et expliquons comment l’intégration des principes de base et des processus de formation du savoir autochtones ont guidé cette collaboration. Notre partenariat de recherche, qui implique l’adaptation de méthodes de RPC, illustre un processus d’engagement qui pourrait guider d’autres chercheurs désirant mener des recherches en santé autochtone à l’aide de données déjà recueillies. Nous faisons aussi état d’une entente de recherche transparente, négociée équitablement entre un organisme national de santé autochtone et des chercheurs, qui pourrait servir de cadre pour des collaborations de recherche similaires. Il est essentiel de s’assurer que les perspectives autochtones soient au cœur des processus de recherche et qu’elles soient reflétées dans ceux-ci lorsque des données administratives sur la santé sont utilisées.
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Crête, Raymonde. "Le raisonnement judiciaire fondé sur l’équité dans les conflits entre actionnaires de petites sociétés : l’éclairage d’une approche consensuelle." Les Cahiers de droit 47, no. 1 (April 12, 2005): 33–87. http://dx.doi.org/10.7202/043880ar.
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En droit canadien des sociétés par actions, le recours en cas d’iniquité, appelé communément « recours pour oppression », est un terrain fertile pour résoudre les confits entre les administrateurs, les dirigeants et les actionnaires des sociétés. Ce recours permet d’apprécier le caractère juste des actes d’une société en tenant compte non seulement des droits explicitement reconnus mais également des intérêts implicites des personnes protégées. Dans l’hypothèse où ils concluent à l’existence d’un acte abusif ou injuste, les juges disposent d’une discrétion étendue pour rendre l’ordonnance qu’ils estiment appropriée dans les circonstances. En raison de la fexibilité inhérente au concept de l’équité, la tâche qui incombe aux tribunaux en cette matière est périlleuse, car elle exige la prise en considération d’un ensemble de variables en vue d’établir les attentes réciproques des parties au moment de la création de l’entreprise et pendant la vie de celle-ci. Dans le contexte des petites sociétés composées d’un nombre restreint d’actionnaires, les autorités judiciaires sont appelées à évaluer une dynamique complexe de relations d’affaires auxquelles se greffent souvent des liens familiaux ou amicaux. Sur la base de l’analyse économique du droit, notre recherche a pour but de proposer une méthode de raisonnement judiciaire aux fins de l’application des recours fondés sur l’équité, plus particulièrement ceux qui impliquent les confits entre les actionnaires de petites sociétés. De manière rétrospective, la méthode envisagée pourra servir à évaluer les décisions judiciaires rendues en cette matière et pourra, de manière prospective, guider les tribunaux appelés à intervenir sur cette base. Cette évaluation débouchera sur une remise en question du forum traditionnel d’adjudication judiciaire et mettra en lumière l’utilité de recourir à certaines formes de justice consensuelle, telles la médiation et la conciliation judiciaire, pour résoudre les litiges de cette nature.
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Robitaille, David. "La Charte québécoise des droits ou la consécration du libéralisme égalitaire de John Rawls." Revue générale de droit 34, no. 3 (November 14, 2014): 473–91. http://dx.doi.org/10.7202/1027287ar.
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La Charte des droits et libertés de la personne du Québec reconnaît de nombreux droits et libertés, parmi lesquels se trouvent les libertés individuelles fondamentales, le droit à l’égalité ainsi que plusieurs droits économiques et sociaux. Cet ensemble de droits et libertés s’avère très similaire aux principes qu’élabore le philosophe et économiste américain John Rawls dans son principal ouvrage, Théorie de la justice, qui a connu un succès retentissant dans le monde philosophique, juridique et politique. Ce dernier, s’exerçant à dégager les principes « constitutionnels » qui doivent selon lui guider toute société juste, accorde en effet une importance particulière aux notions de libertés individuelles, d’égalité des chances et de redistribution des richesses. Ces principes, cependant, n’ont pas tous la même valeur aux yeux du philosophe. Soucieux de l’efficacité du système économique, Rawls accorde une priorité de rang absolue aux libertés, aucune limite ne pouvant leur être apportée. Conscient des inégalités sociales que pourrait entraîner l’absolutisme des libertés, Rawls fait toutefois entrer en jeu deux concepts destinés à remédier à ce problème. Il y a d’abord le principe de l’égalité des chances, par lequel les postes ou fonctions institutionnels et sociaux importants dans la société doivent être ouverts à toute personne. Vient enfin, à titre supplétif, un principe de redistribution des richesses, lequel est toutefois subordonné à la réalisation du principe de l’égalité des chances. La Charte québécoise établit une hiérarchie semblable, mais non identique, entre les libertés fondamentales, le droit à l’égalité et les droits économiques et sociaux. Nous constaterons ainsi, par une analyse parallèle de la Théorie de la justice et de la Charte québécoise, comment cette dernière consacre actuellement une conception philosophique qui s’apparente, comme celle de Rawls, au libéralisme égalitaire.
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Lemieux, Vincent. "Commentaire." I. Perspectives historiques 3, no. 1-2 (April 12, 2005): 83–85. http://dx.doi.org/10.7202/055114ar.
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Pourquoi les responsables de l'organisation de ce colloque sur « L'état présent des recherches sur le Canada français » ont-ils demandé à un géographe de dresser le bilan des études régionales effectuées jusqu'ici sur le Québec et d'indiquer ce que peuvent être, selon lui, les perspectives de la recherche dans ce domaine ? Vous me permettrez de signaler quelques raisons qui ont pu, consciemment ou non, guider les responsables du colloque. Disons d'abord qu'il faut peut-être donner à cette invitation une signification symbolique. Discrètement, nos collègues sociologues auraient-ils voulu nous rappeler que nous aussi, géographes, nous pratiquons une discipline qui, par certains côtés, est bel et bien, ou devrait être, une science « sociale » qui pourrait normalement apporter une contribution de plus en plus importante à la connaissance du Canada français, des groupes humains qui l'habitent et des régions qui le composent ? C'est fort possible. S'il est encore trop tôt pour régler définitivement les rapports qui doivent exister entre la géographie et les sciences de l'homme, il était, en tous les cas, grand temps que nous nous trouvions tous ensemble à discuter de nos problèmes communs de description, de recherche et d'analyse du contexte québécois. L'organisation de ce colloque fait honneur à l'équipe de la revue Recherches sociographiques et il me plaît de le reconnaître avec gratitude. En me demandant cet exposé sur les études régionales, peut-être mes collègues ont-ils voulu tenir compte de cette prétention souvent affirmée par des géographes, mais, je dois dire, rarement admise par les autres, prétention suivant laquelle les études régionales constituent la chasse-gardée des géographes et, à la limite, disent certains, la justification ultime de la position de leur discipline à mi-chemin entre les sciences naturelles et les sciences de l'homme ? Est-il besoin d'ajouter que cette position n'est pas toujours très confortable ni très enviable ? Pour ma part, en tous les cas, je ne la recommande à personne et j'estime que les géographes ne se trompent pas trop quand ils considèrent la région comme le cadre privilégié de leurs recherches et quand ils cherchent à améliorer les méthodes susceptibles de faire avancer les études régionales. Nos collègues des Recherches sociographlques ont donc simplement voulu reconnaître, je crois, l'importance quantitative des efforts déployés jusqu'ici par les géographes en vue de l'établissement d'une première description régionale du Québec. Il me reste le redoutable honneur d'ébaucher un jugement d'ensemble sur les travaux de mes collègues et sur les miens, ce que je vais tenter de faire avec un très grand souci d'objectivité.
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Davidson, Travis William. "A Review of Transgender Health in Canada." University of Ottawa Journal of Medicine 5, no. 2 (November 2, 2015): 40–45. http://dx.doi.org/10.18192/uojm.v5i2.1280.
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ABSTRACT:Transgendered individuals are defined by having a gender identity different from their birth gender. These individuals form a prevalent distinct group within the Lesbian, Gay, Bisexual and Transsexual (LGBT) community that has specific health needs. The goal of the current work is to identify the health needs affecting transgendered individuals in order to guide potential health interventions to ameliorate their well-being. Transgendered individuals often experience elevated rates of social stigma, discrimination and prejudice, which can alienate them from other members of society including family members and health care professionals. This can have negative effects on their employment and socioeconomic status and may even render them targets of hate crimes. The combination of these factors can have significant ill effects on the physical and mental health of transgendered individuals. For example, high rates of depression and anxiety are observed within this population with a reported suicide attempt rate of over 30%. Transgendered individuals are also at high risk of being infected with HIV, with those having undergone the transition from male to female (MTF) being most affected. Although Canada is ahead of the curve in equal rights pertaining to the LGBT community compared to many countries worldwide that still have anti-homosexual legislation, there still exists a considerable amount of stigma around the transgendered community. There is a need to educate the population at large to combat social stigma in order to reduce discrimination, increase social support, improve access to health services and ultimately improve the physical and mental wellbeing of transgendered people.RÉSUMÉ:Les personnes transgenres sont définies comme ayant une identité de genre différente de leur sexe de naissance. Ces personnes forment un groupe distinct au sein de la communauté des lesbiennes, gais, bisexuels et transsexuels (LGBT), ayant des besoins de santé spécifiques. Le but du travail actuel est d’identifier les besoins de santé touchant les personnes transgenres afin de guider les interventions de santé potentielles pour améliorer leur bien-être. Les personnes transgenres éprouvent souvent des taux élevés de stigmatisation sociale, de discrimination et de préjugés, ce qui peut les aliéner des autres membres de la société y compris les membres de leur famille et des professionnels de soins de santé. Cela peut avoir des effets négatifs sur leur emploi et leur statut socioéconomique et peut même les rendre cibles de crimes haineux. La combinaison de ces facteurs peut avoir des effets néfastes importants sur la santé physique et mentale des personnes transgenres. Par exemple, des taux élevés de dépression et d’anxiété sont observés dans cette population avec un taux de tentative de suicide déclaré de plus de 30%. Les personnes transgenres sont également à risque élevé d’être infectées par le VIH, celles ayant subi la transition d’homme à femme (MTF) étant les plus touchés. Bien que le Canada soit en avance dans l’égalité des droits se rapportant à la communauté LGBT par rapport à de nombreux pays à travers le monde, il existe encore une quantité considérable de stigmatisation qui entoure la communauté transgenre. Il est nécessaire d’éduquer la population dans son ensemble à lutter contre la stigmatisation sociale afin de réduire la discrimination, d’accroître le soutien social, d’améliorer l’accès aux services de santé et, finalement, d’améliorer le bien-être physique et mental des personnes transgenres.
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Clarke, Colin. "Yanov-Yanovsky, et al. - YANOV-YANOVSKY: Viderunt Omnes. ALI-ZADEH: Shyshter Metamorphoses. GUBAIDULINA: On the Edge of the Abyss1; Mirage: The Dancing Sun. KNAIFEL: O Comforter. Celli Monighetti with 1Maeve O'Hara and 1Ileana Waldenmeyer (waterphones). Louth Music Society LOMS1202. - YUSUPOVA: Kitezh-191. YANOV-YANOVSKY: Night Music: Voice in the Leaves2; Morning3. ALI-ZADEH: Aşk Havasi4. GUBAIDULINA: Repentance5. 1Lydia Kavina (theremin), 1,3,4,5Ivan Monighetti (vlc), 5Malachy Robinson (db), 5Dublin Guitar Quartet, 3The Hilliard Ensemble, 2,3EO Ens c. Jean Thorel. Louth Music Society LOMS1201." Tempo 67, no. 263 (January 2013): 101–2. http://dx.doi.org/10.1017/s0040298212001556.
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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.
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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinskyi). As a result, we have a textural style of saxophone based on melodic nature of this instrument, its specific timbre enriched by the influence of other instrumental sounds, including trumpet, piano, and later, electric guitar. Among the existing definitions of texture in music, there are three key, determinant parameters of the approach to the study of texture style of saxophone in jazz. The first of them is spatial-configurative (E. Nazaikinskyi), the second is procedural-dynamic (G. Ignatchenko), and the third is performance-based (V. Moskalenko). On aggregate, the textural style of jazz saxophone is defined in this article as the synthesis of the instrument’s “voice” and the “voice” of the improviser saxophonist. The former defines the typical in this style, and the latter defines the individual, unique. The specifics of texture in jazz, including saxophone jazz, are special, because this improvisation art does not have the component of final “finishing” of musical fabric. The formulas existing in saxophone jazz texture are divided into three types: specific (typical for jazz itself), specifized (stemming from the folklore and “third” layers), and transduction-reduction (according to S. Davydov, borrowed from the academic layer). The syntactic composition of saxophone jazz improvisation correlates by the textural one, taking the shape of textural-structural components (a term by G. Ignatchenko) – units of the first scaled level of the perception of form, which are related to the one and the other. The mechanism of anticipation – a forestalling perception of the next segment of the process of improvisation, and the intuitionallogical orientation of an improviser saxophonist toward the number “7” have great significance (E. Barban). Like in academic practice, syntax in jazz improvisation is built on the basis of “stability” and “instability” semantics (D. Terentiev), forming a complex system of paradigms and syntagmas (the former are typical for traditional jazz, the latter for contemporary one). The rules of jazz improvisation semantize, because the most important thing for a jazz musician is the process, not the result. At this point, the aspect of temporal distance from the “cause” to the “effect” becomes especially distinguishable: the farther they are from each other the less predictable improvisation becomes, and vice versa. The process of improvisation is largely structured by choruses, which represent sections of a form related to variant reproduction of a theme (standard theme or author’s theme). In addition, improvisation (including saxophone improvisation) may contain elements of general forms of sound used as the bridges connecting sections inside choruses.
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Rickards, Guy. "Rodolfo Halffter et al. - RODOLFO HALFFTER: Chamber Music, Volume 2. Giga, op. 31; Tres piezas breves, op. 13a2; Dos sonatas de El Escorial, op. 23; Homenaje a Antonio Machado, op. 133; Divertimento, op. 7a4-13; Laberinto, op. 343; Capricho, op. 409; Epinicio, op. 423,4; Secuencia, op. 393. 1Miguel Ángel Jimenez (gtr), 2Beatriz Millán (hp), 3Francisco José Segonia (pno), 4Cinta Vrea (fl), 5Vicente Fernández (ob), 6Nerea Meyer (cl), 7Francisco Mas (bn), 8César Asensi (tpt), 9Victor Arriola (vln), 10Paulo Vieira (vln), 11Alexander Trotchinsky (vla), 12Rafael Domínguez (vlc), c. 13Manuel Coves. Naxos 8.572419 - RODOLFO HALFFTER: Chamber Music, Volume 3. String Quartet, op. 241; Cello Sonata, op. 262. Tres Movimientos, op. 281; Ochos tientos, op. 351. 1Bretón String Quartet, 2John Stokes (vlc), Francisco José Segonia (pno). Naxos 8.572420 - NORDIN: Undercurrents1,2; Surfaces Scintillantes2; Cri du Berger1; The Aisle2; Pendants I-III2. 1Benjamin Carat (vlc). 2Gageego!/Pierre-Andre Valade. Phono Suecia PSCD 192 - SUNLEIF RASMUSSEN: Dancing Raindrops; Suite for guitar and effect processor; Andalag #2; Like the Golden Sun; Mozaik/Miniature. Aldubarán. Dacapo 8.226567. - WEINBERG: Sonatas for violin and piano Nos. 1, op. 12; 4, op. 39; Sonata for violin solo No. 1, op. 82. Sonatina for violin and piano, op. 46. Yuri Kalnits (vln), Michael Csányi-Wills (pno). Toccata Classics TOCC 0007. - ‘Dedicated to Trio’. SVEN-DAVID SANDSTRÖM: 5 Pieces. ÖSTERLING: Lundi1. MONNAKGOTLA: 5 Pieces. HEDELIN: Akt. TALLY: Winter Island. 1Dan Laurin (rec), Trio Zilliacusperssonraitinen (ZPR). Phono Suecia PSCD 189. - HENZE: ‘Hommages’. Sonata for 6 players; Margareten-Walzer; Ländler; La mano sinistra; Epitaph; Toccata mistica; String Trio; Ode al dodicesimo apostolo; An Brenton; Klavierstück für Reinhold; Serenade; Adagio, adagio. Ensemble Recherche. Wergo WER 6727 2. - ‘Silver Tunes’. VON KOCH: Silver Tunes. LANGLAIS: 5 Pieces. AUGUSTA READ THOMAS: Angel Tears and Earth Prayers. DEBUSSY: Syrinx. LIEBERMANN: Air, op. 106. LÖFBERG Sonata-I Choral (plus works by ROMAN, GLUCK, HILDEGARD VON BINGEN). Elivi Varga (fl), Ole Långström (org). Sterling CDA 1676-2." Tempo 67, no. 265 (July 2013): 112–17. http://dx.doi.org/10.1017/s0040298213000739.
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"GFA Guitar Festival: Mixed Ensembles Highlight Five Days of Musical Feast." American String Teacher 39, no. 1 (February 1989): 29. http://dx.doi.org/10.1177/000313138903900109.
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Indrawan, Andre. "Adaptasi Konserto pada Ensambel Gitar sebagai Upaya Pengayaan Bahan Ajar Matakuliah Ensambel." Resital: Jurnal Seni Pertunjukan 16, no. 2 (August 15, 2015). http://dx.doi.org/10.24821/resital.v16i2.1509.
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Penelitian ini membahas sebuah upaya pengembangan formasi ensambel gitar dalam rangka pencapaian suatu kesetaraan artistik terhadap penyajian sebuah konseto untuk orkestra dan solois instrumen tiup. Proses penelitian ini diterapkan dalam konteks pembelajaran dan pengajaran paket mata kuliah Koor/ Orkes/ Ensambel (KOE) pada kurikulum pendidikan tinggi musik di Indonesia. Permasalahan utama yang dibahas dalam studi ini ialah bagaimana menerapkan repertoar orkestra pada sebuah ensambel gitar? Tujuan dari pemecahan masalah tersebut ialah untuk memperkaya materi pengajaran ensambel gitar yang termasuk salah satu kelompok studi dari paket kelas-kelas KOE. Kontribusi hasil penelitian ini adalah rekonstruksi model pembelajaran ensambel gitar dari tingkat menengah hingga tinggi. Guna mencapai target yang telah ditetapkan, penelitian ini dilakukan dengan menggunakan kombinasi metodologis di antara metode transkripsi musikologis dengan metode tindakan kelas yang diadopsi pada studi material dan proses belajar ensambel gitar. Permasalahan yang teridentifikasi disimpulkan dengan pembuatan prototipe aransemen baru sebagai alternatif materi pengajaran melalui proses pengolahan editorial. Penelitian ini menyimpulkan bahwa keterbatasan gitar dalam menghasilkan kesetaraan terhadap kulalitas artistik orkestra dapat diatasi tidak hanya dengan mentranskrip reduksi pianonya tapi langsung dari skor orkestranya. Oleh karena itu, ensambel gitar dapat menjadi alternatif yang lebih baik dari versi pengiring piano dalam menyajikan sebuah konsert The Adaptation of Concerto on a Guitar Ensemble as the Enrichment Effort of the Ensamble Teaching Materials. This study discusses an effort in developing guitar ensemble formation in order to achieve an artistic equality to the performance of a concerto for orchestra and wind soloist. This is applied in the context of Indonesian higher music education’s curriculum for the class room teaching and learning of the choir/ orchestra/ ensemble (COE) subject package. The main problem discussed in this study is how to apply an orchestral repertoireire to an ensemble guitar? The purpose of this study is to enrich the teaching material of guitar ensemble, which is one among the COE classes. The result of this study is contributed to the reconstruction of guitar ensemble teaching model from middle to higher grades. To achieve the target that have formerly been set, this study has combined musicological transcription method and the class room action research which are adopted to research material study as well as guitar ensemble learning process. Problems that had identified was concluded by prototyping the new arrangement through transcription process from the concerto repertoire as the teaching material alternative, by editorial treatment. This study concludes that the guitar limitedness to result the equality with the orchestral artistic quality could be overcome not by transcribing from its piano reduction but directly from orchestral score. Because of that reason, guitar ensemble could be a better alternative to the piano accompaniment in performing a concerto for a wind solist, and at the same time it enriches guitar ensemble repertoire.
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Dillon, Steve. "Jam2jam." M/C Journal 9, no. 6 (December 1, 2006). http://dx.doi.org/10.5204/mcj.2683.
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Introduction Generative algorithms have been used for many years by computer musicians like Iannis Xenakis (Xenakis) and David Cope (Cope) to make complex electronic music composition. Advances in computer technology have made it possible to design music algorithms based upon specific pitch, timbre and rhythmic qualities that can be manipulated in real time with a simple interface that a child can control.jam2jam (Brown, Sorensen, & Dillon) is a shareware program developed in java that uses these ideas and involves what we have called Networked Improvisation, which ‘can be broadly described as collaborative music making over a computer network’ (Dillon & Brown). Fig. 1: jam2jam interface (download a shareware version at http://www.explodingart.com/.) Jamming Online With this software users manipulate sliders and dials to influence changes in music in real time. This enables the opportunity for participants to interact with the sound possibilities of a chosen musical style as a focused musical environment. Essentially by moving a slider or dial the user can change the intensity of the musical activity across musical elements such as rhythm, harmony, timbre and volume and the changes they make will respond within the framework of the musical style parameters, updating and recomposing within the timeframe of a quaver/eighth note. This enables the users to play within the style and to hear and influence the shape and structure of the sound. Whilst real time performance using a computer is not new, what is different about this software is that through a network users can create virtual ensembles, which are simultaneously collaborative and interactive. jam2jam was developed using philosophical design principals based on an understanding of ‘meaning’ gained by musicians drawn from both software, live music experiences (Dillon, Student as Maker) and research about how professional composers engage with technology in creative production (Brown, Music Composition). New music technologies have for centuries provided expressive possibilities and an environment where humans can be playful. With jam2jam users can play with complex or simple musical ideas, interact with the musical elements, and hear the changes immediately. When networked they can have these musical experiences collaboratively in a virtual ensemble. Background The initial development of jam2jam began with a survey of the musical tastes of a group of children between the ages of 8-14 in a multi racial community in Delaware, Ohio in the USA as part of the Delaware Children’s Music Festival in 2002. These surveys of ‘the music they liked’ resulted in the researchers purchasing Compact Discs and completing a rule based analysis of the styles. This analysis was then converted into numerical values and algorithms were constructed and used as a structure for the software. The algorithms propose the intensity of range of each style. For example, in the Grunge style the snare drum at low intensity plays a cross stick rim timbre on the second and fourth beat and at high intensity the sound becomes a gated snare sound and plays rhythmic quaver/eighth note triplets. In between these are characteristic rhythmic materials that are less complex than the extreme (triplets). This procedure is replicated across five instruments; drums, percussion, bass, guitar and keyboard. The melodic instruments have algorithms for pitch organisation within the possibilities of the style. These algorithms are the recipes or lesson plans for interactive music making where the student’s gestures control the intensity of the music as it composes in real time. A simple interface was designed (see fig. 1) with a page for each instrument and the mixer. The interface primarily uses dials and sliders for interaction, with radio buttons for timbrel/instrument selection. Once the software was built and installed students were observed using it by videotaping their interaction and interviewing both children and teachers. Observations, which fed into the developmental design, were drawn on a daily basis with the interface and sound engine being regularly updated to accommodate students and teacher requirements. The principals of observation and analysis were based upon a theory of meaningful engagement (Brown, “Modes”, Music Composition; Dillon, “Modelling”, Student as Maker). These adjustments were applied to the software, the curriculum design and to the facilitators’ organisational processes and interactions with the students. The concept of meaningful engagement, which has been applied to this software development process, has provided an effective tool for identifying the location of meaning and describing modes of creative engagement experienced through networked jamming. It also provided a framework for dynamic evaluation and feedback which influences the design with each successive iteration. Defining a Contemporary Musicianship Networked improvisational experiences develop a contemporary musicianship, in which the computer is embraced as an instrument that can be used skillfully in live performance with both acoustic/electric instruments and other network users. The network itself becomes a site for a virtual ensemble where users can experience interaction between ‘players’ in real time. With networked improvisation, cyberspace becomes a venue. Observations have also included performances between two distant locations and ones where computers on the network simultaneously ‘jammed’ with ‘live’ acoustic performers. The Future The future of networked jamming is exciting. There is potential for these environments to replicate complex musical systems and engage participants in musical understandings, linking gesture and sound with concepts of musical knowledge that are constructed within the algorithm and the interface. The dynamic development of Networked Jamming applications involve designs which apply philosophical and pedagogical principles that encourage and sustain meaningful engagement with music making. These are sufficiently complex to allow the revisiting of musical experiences and knowledge at increasingly deeper levels. Conclusion jam2jam is a proof of concept model for networked jamming environments, where people and machines play music in collaborative ensembles. Network jamming requires a contemporary musicianship, which embraces the computer as an instrument, the network as an ensemble and cyberspace as venue for performance. These concepts facilitate access to the ensemble performance of complex musical structures through simple interfaces. It provides the opportunity for users to be creatively immersed in the simultaneous act of listening and performance. jam2jam represents an opportunity for music-makers to have interactive experiences with musical knowledge in a way not otherwise previously available. It enables children, adults and the disabled to enter into a collaborative community where technology mediates a live ensemble performance. The experience could be an ostinato pumping out hip-hop or techno grooves, a Xenakis chaos algorithm, or a minimal ambient soundscape. With the development of new algorithms, a sample engine and creative interface design we believe this concept has amazing possibilities. The real potential of this concept lies in the access that the users have to meaningful engagement with ensemble performance in the production of music, in real time, even with limited previous experience or dexterity. References Brown, A. “Modes of Compositional Engagement.” Paper presented at the Australasian Computer Music Conference-Interfaces, Brisbane, Australia. 2000. ———. Music Composition and the Computer: An Examination of the Work Practices of Five Experienced Composers. Unpublished PhD, University of Queensland, Brisbane, 2003. ———, A. Sorensen, and S. Dillon. jam2jam (Version 1) Interactive generative music making software. Brisbane: Exploding Art Music Productions, 2002. Cope, D. “Computer Modelling of Musical Intelligence in EMI.” Computer Music Journal 16.2 (1992): 69-83. Dillon, S. “Modelling: Meaning through Software Design.” Paper presented at the 26th Annual Conference of the Australian Association for Research in Music Education, Southern Cross University Tweed Heads, 2004. ———, and A. Brown. “Networked Improvisational Musical Environments: Learning through Online Collaborative Music Making.” In Embedding Music Technology in the Secondary School. Eds. J. Finney & P. Burnard. Cambridge: Continuum Press, In Press. Dillon, S. C. The Student as Maker: An Examination of the Meaning of Music to Students in a School and the Ways in Which We Give Access to Meaningful Music Education. Unpublished PhD, La Trobe, Melbourne, 2001. Xenakis, I. Formalized Music. New York: Pendragon Press, 1991.
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Dillon, Steve. "Jam2jam: Networked Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/04-dillon.php>. APA Style
Dillon, S. (Dec. 2006) "Jam2jam: Networked Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/04-dillon.php>.
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Han, Yang, Xinxin Li, Mingxin Zhang, Yang Yang, Guangzhe Ge, Kunxiang Wang, Yanqing Gong, Yuan Liang, Haitao Niu, and Weimin Ci. "Enhanced Detection of Genitourinary Cancers Using Fragmentation and Copy Number Profiles Obtained from Urinary Cell-Free DNA." Clinical Chemistry, December 14, 2020. http://dx.doi.org/10.1093/clinchem/hvaa283.
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Abstract Background Recent studies have reported that examining the fragmentation profiles (FP) of plasma cell-free DNA (cfDNA) further improves the clinical sensitivity of tumor detection. We hypothesized that considering the differences of the FP of urinary cfDNA would increase the clinical sensitivity of genitourinary (GU) cancer detection. Methods 177 patients with GU cancer and 94 individuals without tumors were enrolled in the discovery cohort. An independent validation dataset comprising 30 patients without tumors and 66 patients with GU cancer was also collected. We constructed an ensemble classifier, GUIDER, to detect and localize GU cancers using fragmentation and copy number profiles obtained from shallow whole-genome sequencing of urinary cfDNA. Results Urinary cfDNA of patients with GU cancer had a higher proportion of long fragments (209–280 bp) and a lower proportion of short fragments (140–208 bp) compared to controls. The overall mean classification accuracy of the FP was 74.62%–85.39% for different algorithms, and integration of the FP and copy number alteration (CNA) features further enhanced the classification of samples from patients with GU cancer. The mean diagnostic accuracy was further improved by the ensemble classifier GUIDER, which integrated the FP and CNA profiles and resulted in a higher mean accuracy (87.52%) compared to the analysis performed without FP features (74.62%). GUIDER performed well in an independent validation dataset. Conclusions The lengthening and shortening of urinary cfDNA within specific size ranges were identified in patients with GU cancer. Integration of the FP should further enhance the ability to use urinary cfDNA as a molecular diagnostic tool.
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Sakhnovskaya, Yulia V. "Django Reinhardt’s “Minor Swing” in the Novel “Petrushka Syndrome” By Dina Rubina: Jazz Adaptation of Prose." KnE Social Sciences, January 30, 2020. http://dx.doi.org/10.18502/kss.v4i2.6360.
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This article explores the features of the mutual influence of musical and verbal texts in the works of Dina Rubina, the features of their interaction, the system of key-notes in various works and its functions. The principle of the influence of musical form on the compositional structure of a verbal text is disclosed. From these positions, the novel “Parsley Syndrome” is analyzed and a hypothesis is put forward on the reasons for choosing Jango Reinhardt’s jazz composition “Minor Swing” as the leitmotif of the novel. Also, the intersection points of the two texts are indicated both in the symbolic, and in the ideological and artistic part. The figurative structure of the novel and the similarity of the fate of the central characters with the fate of the author of “Minor Swing” are considered. The development of one of the main themes of Dina Rubina is shown: the continuity of the fate of the family and the clan, the mystical connection of the past and the present, the fatal inevitability of the logic of fate belonging to one genus, the talent and fortitude of the heroes of the novel, which allows one to overcome the vicissitudes of fate. The theme “doll-man” is highlighted, relevant for the novel “Parsley Syndrome”, its variations and forms.
Keywords: musical text, verbal text, jazz, ensemble, big band, chamber ensemble, violin, guitar, literature, book, leitmotif, system of characters, theatre, puppet, marionette, animate-inanimate, symbolism of a puppet
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Hall, Ingrid. "Les ancêtres au prisme des pommes de terre non domestiquées. Une perspective andine." Articles 29, no. 2 (March 23, 2018). http://dx.doi.org/10.7202/1044161ar.
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Les pommes de terre ont une âme dans les Andes. Il y a des « pommes de terre (du) cadavre » (aya papa), des « pommes de terre des mauvais-morts » (papa de losgentiles), lesquelles ont en commun de n’être pas domestiquées. Il y a aussi des pommes de terre déshydratées (chuño) qui sont presque mortes. Que nous enseigne ceci sur la façon dont les morts, pour les populations des communautés andines, participent encore de la vie ? Voici la question qui va guider cet article. Les conceptions sur la vie et la mort sont ancrées dans un ensemble de pratiques qui débordent le monde des humains, dans une logique pratique et productive qui leur donne sens. Selon ces conceptions, la mort est étroitement associée à la fertilité, à la force-vitale qui anime plantes et individus et ne disparaît pas purement et simplement après la mort mais continue à circuler. Il s’agit là d’un point central de la conception des personnes et du monde dans les Andes. Cet article repose sur des références bibliographiques issues tant de l’agronomie que de l’ethnologie et portant sur l’aire andine, qui sont complétées et éclairées par des données portant sur la région de Cusco (Pérou), lesquelles comprennent des données ethnographiques de première main.