Academic literature on the topic 'One Direction (Musical group)'
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Journal articles on the topic "One Direction (Musical group)"
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Razduev, Aleksey V., and Eugenia G. Sharanova. "Semantic structure of the term and semantic oppositions in musical terminology (drawing on the English and Russian language material)." Current Issues in Philology and Pedagogical Linguistics, no. 4(2020) (December 25, 2020): 146–57. http://dx.doi.org/10.29025/2079-6021-2020-4-146-157.
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The analysis of the semantics and semantic oppositions of terminological units is one of the most productive ways to understand the systemic nature of terminological phenomena. The article is devoted to the study of semantic features of English- and Russian-language musical terminological units, namely, to the identification of the semantic structure of terms and semantic oppositions that arise between them. Within the semantic structure of musical terms, in the aggregate of their connections and relationships that form the musical terminological system, the core, semantic periphery and additional semantic area are distinguished and classified according to the presence of these components into uninuclear proper, uninuclear with the periphery and uninuclear with the periphery and additional semantic area. At the first stage, a selection of musical terms in modern English and Russian has been compiled, at the second stage, the semantic structure of terminological units has been analyzed, and at the third stage, the key aspects of nomination have been identified, according to which explicit and implicit oppositions are being formed. The material for the study comprises a selection of the English- and Russian-language musical terminological units with the total volume of 1000 units (500 units of each language), selected by the method of continuous selection from electronic and printed sources, including dictionaries and glossaries, musical notations, monographs, textbooks and manuals, web portals on music topics. The research methods of the English- and Russian-language musical terminological units include the method of continuous selection, methods of component and definition analysis, the method of linguacognitive modelling, as well as techniques of quantitative analysis. Within the framework of the study, three groups of musical terms have been identified depending on their semantic structure: the first group includes uninuclear terminological units with the semantic periphery, the second group includes uninuclear terms proper, and the third group is formed by uninuclear terms with the periphery and additional area of semantics. The first group is predominant in terms of quantity, the number of terms in which is almost 2.5 times more than in the second one, and the third group is represented by a small number of terminological units. There are at least 6 frequent and 12 less frequent key aspects of nomination within the musical terminology. The frequent key aspects of nomination with the help of which explicit oppositions are formed are: «Minor / major», «Volume / pitch», «Direction», «Location (locus)», «Singularity / Multiplicity», «Quantity». Less frequent aspects of nomination are: «Weakness / strength», «Perfection / imperfection», «Colour», «Presence / absence of sound», «Structure», «Quantity / Completeness / Size», «Genre of music», «Material», «Recommendations for performing a piece of music», «Role», «Style of playing an instrument», «Type of musical instrument».
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Levman, Bryan G. "Western Theories of Music Origin, Historical and Modern." Musicae Scientiae 4, no. 2 (September 2000): 185–211. http://dx.doi.org/10.1177/102986490000400203.
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All music origin theories are concerned with the purpose and effects of music, a subject first systematically broached by Plato who felt that music's primary use was for aggression, defence, persuasion and social harmony. In Cratylus Plato provided an epistemological foundation for later theorists by arguing for a natural correspondence between sound and meaning, opposing the view that names and sounds were arbitrary. One important group of musical origin theories developed this viewpoint, asserting that music evolved as a result of spontaneous emotional outbursts, a form of self expression and communication. Darwin heads a second adaptationist direction, maintaining that music evolved to enhance organisms' sexual attraction, thus increasing their ability to procreate. A third theoretical school asserts that music originated because of organisms' innate rhythmic sense. Other phylogenetic and functional ways of grouping music origin theories are also examined. In evolutionary time music's survival value lay in its use for territorial domination, deterrence of predators, intraspecific competition and social cohesion. Most musical/sonic signalling is deceptive and manipulative in nature, designed to give the signaller a competitive advantage against his/her rivals and therefore to increase his/her progeny. Although music in the western art tradition has only a limited social function, some of these utilitarian and duplicitous elements are preserved in the war, healing and supernatural songs of aboriginal tribes. Today music still serves the function of demarcating personal and group space, creating social cohesion, arousing to action and just pure enjoyment. Because of its ability to reawaken and allow us to re-experience primeval survival emotions, music is also cathartic and therapeutic.
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Pilgun, Vera S. "The Phonological Department of the Institute of Artistic Culture under the Direction of I.G. Terentiev." Observatory of Culture 19, no. 4 (September 5, 2022): 410–17. http://dx.doi.org/10.25281/2072-3156-2022-19-4-410-417.
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In the early 20th century, the avant-garde formation in Russia had one significant feature that helped science and art to interact productively throughout the 1920s. The feature was the creation of educational institutions and research institutes, which provided working space for avant-garde artists, theorists, philosophers and practitioners. These people were expected to create a new science of experimental art. Igor Terentiev, a member of the radical futuristic group “41°”, headed the Phonological Department of the Institute of Artistic Culture (INHUK, from 1925 — the State Institute of Artistic Culture (GINHUK)) for less than a year (from October 1923 to March 1924), but his theoretical work was reflected in theatrical practice. This research aims at presenting all the spectrum of searches and the specifics of the GINHUK Phonological Department on the basis of archival documents. The object of the research is the programs of the Department and the lectures of its members. The article focuses on the diversity of the Department’s research program, which was not limited to sound studies alone. The flexibleness of sound substance was equated to the concept of cogitative activity. Sound was considered as a “physical phenomenon” in musical and artistic contexts, and not only as a musical phenomenon, but also as an artistic device and a propaganda tool. The Department presented and discussed lectures on Zaum, noise music, theatrical material, compared the characteristics of the poetry of A.V. Tufanov, K.D. Balmont, V.V. Khlebnikov, discussed the opportunities for artistic work in the sphere of speech and sound. For Igor Terentiev, the most important subject of study was Zaum. On the basis of it, he wanted to develop a universal and international language. The article attempts to reconstruct the general directions of the Department’s work, to formulate a characteristic of its activities, as well as to analyze, for the first time, previously unpublished program theses of its employees.
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Toiviainen, Petri, and Emily Carlson. "Embodied Meter Revisited." Music Perception 39, no. 3 (February 1, 2022): 249–67. http://dx.doi.org/10.1525/mp.2022.39.3.249.
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Previous research has shown that humans tend to embody musical meter at multiple beat levels during spontaneous dance. This work that been based on identifying typical periodic movement patterns, or eigenmovements, and has relied on time-domain analyses. The current study: 1) presents a novel method of using time-frequency analysis in conjunction with group-level tensor decomposition; 2) compares its results to time-domain analysis, and 3) investigates how the amplitude of eigenmovements depends on musical content and genre. Data comprised three-dimensional motion capture of 72 participants’ spontaneous dance movements to 16 stimuli including eight different genres. Each trial was subjected to a discrete wavelet transform, concatenated into a trial-space-frequency tensor and decomposed using tensor decomposition. Twelve movement primitives, or eigenmovements, were identified, eleven of which were frequency locked with one of four metrical levels. The results suggest that time-frequency decomposition can more efficiently group movement directions together. Furthermore, the employed group-level decomposition allows for a straightforward analysis of interstimulus and interparticipant differences in music-induced movement. Amplitude of eigenmovements was found to depend on the amount of fluctuation in the music in particularly at one- and two-beat levels.
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PALMER, JOHN R. "Yes, ‘Awaken’, and the progressive rock style." Popular Music 20, no. 2 (May 2001): 243–61. http://dx.doi.org/10.1017/s026114300100143x.
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Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the ‘first wave’ of progressive rock bands, Yes became ‘codifiers’ and for many, especially later detractors, the flagship of the ‘progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished.
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Yarbrough, Cornelia, Brant Karrick, and Steven J. Morrison. "Effect of Knowledge of Directional Mistunings on the Tuning Accuracy of Beginning and Intermediate Wind Players." Journal of Research in Music Education 43, no. 3 (October 1995): 232–41. http://dx.doi.org/10.2307/3345638.
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The purpose of this research was to study the effect of knowledge of directional mis-tunings on the tuning accuracy of beginning and intermediate wind players. Subjects (N = 197) were instrumental wind players who tuned to either an For a B-flat with both their own instrument—a performance task—and the tuning knob of a variable-pitch keyboard—a perception task. The subjects were randomly assigned to one of three treatment groups: Group 1 knew that their instruments and the tuning knob were mis-tuned in the sharp direction; Group 2 knew that their instruments and the tuning knob were mistuned in the flat direction; and Group 3 had no information regarding direction of mistunings. Data demonstrated that only years of instruction significantly affected subjects' tuning accuracy. There were no significant differences due to treatment, instrument type, or tuning pitch. There were only 6 in-tune performance responses and 12 in-tune perception responses. Approaching the target pitch from above resulted in more sharp responses; approaching it from below resulted in more flat responses; and having no knowledge of direction of mistuning resulted in an equal number of sharp and flat responses. There were a greater number of flat responses in the first year of instruction and a greater number of sharp responses in the fourth year. Finally, there was consistent improvement from the first to the fourth year in both perception and performance tuning tasks.
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Frisk, Henrik. "Aesthetics, Interaction and Machine Improvisation." Organised Sound 25, no. 1 (March 4, 2020): 33–40. http://dx.doi.org/10.1017/s135577181900044x.
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Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this article discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this article, with limited intelligence and no real cognitive skills, will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in a group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.
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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.
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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)
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Manko, S. "Analysis of the functioning of the domestic vocal variety school in the conditions of musical culture of Ukraine at the present stage." Culture of Ukraine, no. 72 (June 23, 2021): 118–23. http://dx.doi.org/10.31516/2410-5325.072.16.
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The aim. The aim of the article is to analyze the current stage of the functioning of the vocal variety school in the musical culture of Ukraine and identify certain trends in its development directions. In order to achieve the marked goal, it is necessary to solve the following tasks: to determine the specifics of the development of a modern Ukrainian vocal variety school, analyzing its real position and known methods for the teachers of a variety vocal and to reveal the directions of which their realization is in modern musical culture of Ukraine.
The methodology. In this publication, methods of comparative analysis and synthesis were used to identify the specifics of teaching a variety vocal by domestic teachers. Also, we used systemic and cultural approaches to the study of variety vocal school in the musical culture of Ukraine.
The results. Having studied the functioning of domestic modern vocal schools, it can be concluded that this phenomenon though is quite relevant in modern musical culture of Ukraine, based mainly on the generally accepted and already known methods of variety vocals. There are single cases when teachers form their own teaching methodology and distribute it as Iryna Tsukanova, demonstrating her own master classes on the Internet. But the main tendency among domestic vocal teachers is that they are based on already well-known vocal techniques, taking from them the basis that it is necessary for each particular performer.
It is worth noting separately such a trend of domestic artists-teachers, as a commercialization of teaching activities, when vocal workshops are carried out for a group of students that study with other teachers. Such events can be called a master class with a star-teacher and they become more popular.
Another trend when well-known artists, such as Natalia Mohylevska and Tetiana Piskarova create their own vocal studio based on vocal techniques that were developed by the heads of studios. Other teachers give their lessons in these studios, and celebrities conduct master class for students of their own institution.
Variety vocal schools that are different by their stylistics, as a jazz or rock schools are more narrowly specialized. This makes teachers rely on the generally recognized world techniques of jazz or rock music, concentrating on the specifics of these directions and working them out with students.
The scientific topicality. The work of the domestic vocal variety school in modern musical culture of Ukraine is investigated. The specifics of the development of modern vocal variety school of Ukraine is revealed. The well-known techniques of the variety vocal teachers are analyzed. The main tendencies that are the basis for Ukrainian teachers in their work with students are determined. One of them is based mainly on the techniques of a variety vocal of famous world teachers, the other one — on their own methods.
The practical significance. Since the vocal variety art in the musical culture of Ukraine occupies a quite important place, this publication may be useful for domestic modern variety singers, vocal teachers and scientists, which will study it in the future.
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Василь Семенчук. "IMPLEMENTATION OF INTERSUBJECT COMMUNICATIONS IN THE PROCESS OF STUDYING «MUSIC INFORMATICS»." Psychological and Pedagogical Problems of Modern School, no. 2(4) (September 4, 2020): 129–39. http://dx.doi.org/10.31499/2706-6258.2(4).2020.223058.
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The article sets the task to consider the interdisciplinary sphere of professional activity related to the creation and use of specialized musical software and hardware – music informatics – which requires knowledge and skills both in the music field and in the field of computer science.The issue of interdisciplinary links and their implementation in the educational process in higher education institutions has been raised in the article. The content of the concept of information competence as a component of professional competence and information culture has been consider.The author argues that the use of intersubject communications contributes to the formation of practical skills and abilities to apply knowledge in one discipline during the study of others.It has been analyzed the importance of pedagogy of cooperation, which uses a variety of forms of learning: group work, collective creative work, work in microgroups, work in variable groups;The result of a scientific article is the conclusion about the feasibility of the high-quality implementation of interdisciplinary connections, the spread of interdisciplinary relations within not only the artistic-aesthetic and related humanitarian cycles in the classes on “Music Informatics”, but also with other, so to speak, deleted subjects; the use of art both as a means of developing special artistic abilities and thinking, and as a universal way of stimulating the creative potential of an individual.Among the prospects for research in this direction, the author identifies a purely practical aspect, in particular, the creation of methodological materials, manuals, the development and implementation of a system that is based on an information technology basis and which takes into account the orientation of students in the use of computer technology in professional and musical pedagogical activities in a subtle combination with other disciplines, the establishment and strengthening of the relationships between them.
Dissertations / Theses on the topic "One Direction (Musical group)"
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Cruz, Joana Raquel de Almeida. "Estratégias de marketing das celebridades e a relação de idolatria com os fãs adolescentes: estudos de caso dos One Direction, Miley Cyrus, Ed Sheeran e Lady GaGa." Master's thesis, 2015. http://hdl.handle.net/1822/37697.
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Dissertação de mestrado em Marketing e EstratégiasO Marketing Digital assume um papel fulcral nas estratégias de marketing das celebridades passando pela publicação de fotografias, vídeos e desabafos nas redes sociais. A interação com os fãs assume um extremo valor para a celebridade. Os consumidores partilham informações com outros sobre o serviço ou o produto com os quais tiveram contacto, o que se reflete num aumento da notoriedade da marca/personalidade em questão. O conceito de worship ganha cada vez mais terreno no panorama das celebridades musicais - o fanatismo por uma celebridade pode estar na origem de inúmeros factos e tendências que fazem com que haja uma admiração extrema e um culto pela mesma. No âmbito da realização da dissertação, a parte metodológica divide-se num estudo qualitativo e quantitativo. A análise qualitativa engloba a realização de entrevistas exploratórias aos fãs de duas das celebridades em estudo. Ao nível das entrevistas realizadas aos fãs da banda One Direction e da cantora Lady GaGa verifica-se um elevado grau de envolvência psicológica com a celebridade, bem como a necessidade extrema da busca de informação diária sobre a mesma. A compra de objetos, a participação em fóruns e passatempos nas redes sociais são formas utilizadas pelos fãs adolescentes para se sentirem mais próximos da celebridade, fazendo parte do quotidiano da mesma. No estudo quantitativo foi elaborado um inquérito online para obter dados relacionados com o worship das celebridades, que resultou em 437 respostas válidas e que permitiu concluir que a adoração da celebridade está relacionada com Word-of-Mouth, Materialismo, Preço Premium, Lealdade, Brand Love e que a idade é um fator influente nas variáveis referidas anteriormente. Em suma, apesar das limitações registadas, verifica-se que este estudo fornece um importante contributo para a adoção de estratégias de marketing por parte das celebridades de forma a angariar fãs leais e, desta forma, rentáveis a curto e longo prazo.
Digital Marketing plays a key role in the marketing strategies of the celebrities that go through the publication of photos, videos, and posts on the social media. The interaction with the fans has a high value for the celebrity. The consumers share information with others about the service or the product with which they had contact that results in an increased visibility of the brand/personality concerned. The concept of worship is increasingly gaining ground on the scene of the musical celebrities – the fanaticism for a celebrity can be the cause of various facts and trends that create around him/her an extreme admiration and even adoration. Within the scope of this dissertation, the methodology is divided into a qualitative and a quantitative study. The qualitative analysis includes exploratory interviews with the fans of two of the celebrities being studied. Concerning the interviews with the fans of the band One Direction and the singer Lady GaGa, there is a strong psychological involvement with the celebrity, as well as an extreme need of searching for daily information on the celebrity. The purchase of memorabilia, the participation in forums and hobbies in the social media are different ways used by the adolescent fans to feel closer to the celebrity, as if they belong to his/her daily life. The quantitative study includes an online questionnaire in order to obtain data on the worship of the celebrities, which provided 437 valid responses, and showed that the worship of the celebrity is tied up with the Word-of- Mouth, Materialism, Premium Price, Loyalty, and Brand Love, being age a major factor in the above mentioned variables. To summarise, in spite of the constraints observed this study provides a fundamental contribution for the celebrities to follow strategies that lure faithful and, therefore, profitable fans in the short and long term.
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Carstens, Christoffel. "Invloed van televisie op die verwestersingsproses by die Swart adolessent." Thesis, 1995. http://hdl.handle.net/10500/16335.
Full textBooks on the topic "One Direction (Musical group)"
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translator, Paredes Laura, ed. One Direction: La guía del perfecto Directioner. Barcelona: B de Blok, 2014.
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French, Holly. One Direction: The story so far. [Swindon, Wiltshire]: Instinctive Product Development, 2012.
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James, Sarah-Louise. One Direction: The ultimate fan book. Hauppauge, NY: Barron's Educational Series, Inc., 2012.
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White, Danny. The One Direction story: An unauthorized biography. Toronto: Scholastic Canada, 2012.
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Archer, Mandy. One Direction: The official annual 2016. London: Harper Collins Children's Books, 2015.
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Avery, Jo. One Direction: The official annual 2013. London: HarperCollins Children's Books, 2012.
Find full textBook chapters on the topic "One Direction (Musical group)"
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Meanwell, Peter, Tine Rude, and Brandon Farnsworth. "“We Started Expanding the ‘Us,’ Rather Than Including Someone Else”—Peter Meanwell and Tine Rude Interviewed by Brandon Farnsworth." In New Music and Institutional Critique, 165–70. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_12.
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AbstractThe festival Borealis—a festival for experimental music in Bergen, Norway, whose artistic director Peter Meanwell and former managing director Tine Rude are being interviewed by Brandon Farnsworth, works with an expanded definition of experimentation in both programming and how it is organised. It focusses on including artists pushing boundaries in a variety of contexts, trying to move beyond being a festival for any one genre. The festival also extends its concept of experimentation to include how it is organised, linking the act of hearing other’s perspectives that experimental music demands of its listeners with fostering a sense of community among marginalised people and groups. This approach has led the festival to implement a number of accessibility and inclusion measures, creating a unique mix of forms of musical experimentation and community-building that materialise many other contributors’ calls for modelling change in both form and content.
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Wood, Stuart, and Stephen Clift. "Musical care in older adulthood." In Collaborative Insights, 102–18. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197535011.003.0006.
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This chapter explores, from the authors’ combined perspectives, how musical care can be employed as a strategy of health and social care in older adulthood. The approach to musical care in this chapter reflects the authors’ interdisciplinary stance and their shared belief that music touches upon aspects of care at micro (within individuals), meso (amongst groups and institutions), and macro (society and culture at large) levels. This chapter is written by a music therapist and a health promotion specialist interested in music and health. The chapter surveys recent research on group singing as an intervention for older people living with long-term health complications, with particular reference to chronic obstructive pulmonary disease (COPD). The authors then discuss musical care in the context of nursing and music therapy interventions, particularly with reference to dementia. The final section includes two case examples of the authors’ own work. The first concerns a symptom-specific intervention for singing and respiratory illness and describes the experience of a married couple, one of whom lives with COPD, participating in a singing-for-breathing initiative. The second tells the experiences of a woman in residential care who is working with a music therapist. Finally, the concluding section proposes future directions for research and suggests that imagination, collaboration, and care amongst musical practitioners may ensure that older adulthood remains a time of flourishing.
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Mordden, Ethan. "Dancing With a Ghost." In Pick a Pocket Or Two, 73–89. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0006.
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This chapter evaluates British musicals in the 1930s and 1940s. This period, the chapter argues, was characterized by a lack of ambition. One problem was the paucity of Jewish writers in the UK. This ethnic group is notable for imaginative expertise in musical theatre and this is one of many reasons why the American brand is so protean. The most disappointing element could be argued to be passéiste choreography. In the meantime, the American musical was letting dance evolve most originally than in the UK. It is worth noting that Charles B. Cochran hired American choreographers for his most aspiring shows of the early 1930s, Ever Green (1930) and Nymph Errant (1933). Ever Green is a spectacular book musical that introduced Britain to the recent German invention of the revolving stage. The comedy musical then became less popular. However, Me and My Girl (1937) was an outstanding comedy musical. Me and My Girl was the work of composer Noel Gay, with L. Arthur Rose and Douglas Furber involved. Though as producer-director Lupino Lane could be called the show's auteur.
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Williams, Martin. "John Lewis And The Modern Jall Quartet Modem Conservative." In The Jazz Tradition, 168–78. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195078152.003.0014.
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Abstract One could say that the Modern Jazz Quartet actually began in 1946 as the rhythm section of Dizzy Gillespie ‘s orchestra: two years later, in fact, four titles were rather obscurely recorded by Milt Jackson, John Lewis, Kenny Clarke, Al Jackson on bass, plus Chano Pozo on Conga drum. However, in August 1951 the “Milt Jackson Quartet “ assembled for a recording date, and its members decided they liked playing together. Percy Heath came in on bass for Ray Brown, Milt Jackson on vibraphone, John Lewis on piano, Kenny Clarke on drums. Lewis soon became musical director, and the group was called the Modern Jazz Quartet. Success was gradual, and the Quar tet ‘s career was interrupted several times as its members briefly took other jobs. Then in 1955, Clarke left and Connie Kay became the group ‘s drummer.
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Kennedy, Michael. "War." In Portrait of Elgar, 265–87. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163657.003.0012.
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Abstract Ernest Newman, writing in the Musical Times of September 1914 on ‘The War and the Future of Music’, remarked that in England Elgar was still ‘the one figure of impressive stature’. It was nearly fifteen years since the Variations had first been played and the English musical scene in that time had been transformed. Yet much remained the same. Parry was still director of the Royal College of Music, Stanford still taught there and was still Professor at Cambridge, Mackenzie was still Principal of the Royal Academy of Music, Brodsky was still Principal of the Royal Manchester College of Music and still active enough as a soloist to have played the Violin Concerto in Vienna in 1913 under Franz Schalk. But Elgar’s name and fame surpassed them all. He stood aloof from ‘schools’ of music, he had no academic position, he exerted no direct influence on the young. He had seen new names come into prominence but none challenged his supremacy. Bantock had his admirers, Josef Hol¬ brooke enjoyed a brief spell of attention, and Delius was regarded almost as a foreign composer. Of a younger group the most successful and admired was Vaughan Williams, whose A London Symphony, first played in March 1914, owed something to Elgar’s example. His friend Gustav Holst was known only to a restricted circle. Ethel Smyth, J. B. McEwen, Frank Bridge, Arnold Bax, Cyril Scott, York Bowen, Percy Grainger—all had work to their credit but some had yet to make their mark and others, though they did not realize it, had already made what mark was within their capacity. One thing was common to all the younger men: they could face the world of music bravely and confidently, and this they owed, as much as to anything, to the vantage-point won for them by Elgar.
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Graham, Sandra Jean. "Innovators, Imitators, and a Jubilee Industry." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0004.
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The ever-growing success of the Fisk Jubilee Singers attracted widespread notice, and by 1873–1874 the troupe was facing a field of competitors, some of whom made innovations to the concert presentation of spirituals and others of whom were content to imitate the Fisk Jubilee Singers in style and repertory. Among the innovators were the Hampton Institute Singers, directed by Thomas P. Fenner. Their repertory was largely distinct from that of the Fisk singers, and they sang in a more folk-oriented performance style, as evidenced by the fact that they had a “shout leader” and sang in dialect. Another group of innovators was the Tennesseans (1874), directed by John Wesley Donavin, who sang in support of Central Tennessee College in Nashville. Their popularity rested on the supposed authenticity of what they billed as their “slave cabin concerts”—not a Fisk service of song but meant to be a naturalistic representation of slave life. The Tennesseans’ bass singer Leroy Pickett made many of their arrangements, becoming one of the earliest black arrangers of concert spirituals; later he became acting musical director. Imitators, on the other hand, reproduced the repertory and aesthetic of the Fisk Jubilee Singers. They included the Hyers sisters, who reoriented their programming of art songs to include spirituals so that they could complete with other black singers at the time, as well as the Shaw Jubilee Singers, New Orleans Jubilee Singers, Jackson Jubilee Singers, Old Original North Carolinians (managed by T. H. Brand), and Sheppard’s Colored Jubilee Singers. With all of these groups, a jubilee entertainment industry began to take shape in 1872 to 1874, as performance norms were established and as organizations like lyceum bureaus began to add jubilee troupes to their roster.
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Cook, Nicholas. "Introduction: Music and Meaning in the CoD1D1ercials." In Analysing Musical Multimedia, 3–23. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165897.003.0001.
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Abstract What does music mean, if anything? The question is one of the hardy perennials of musical aesthetics, and there is no shortage of answers to it. Indeed, there is a plethora of seemingly unrelated answers. We can talk about music’s internal structure, about its symmetries and directional motions, about patterns of implication and their realization or lack of realization; moving from ‘the music itself to listeners’ responses, approaches like this offer a psychological approach to meaning (and the work of Leonard Meyer and Eugene Narmour provide the best-known examples). Or we can approach the music from the opposite direction, talking about the context of its creation, the context of its performance, and the context of its reception; here the assumption is that music acquires meaning through its mediation of society. Or again, we can oscillate between these two viewpoints, on the assumption that meaning arises from the mutual mediation of music and society. That is the central assumption of musical hermeneutics, whether we are applying this term to the work of Hermann Kretzschmar in the 1890s or Lawrence Kramer in the 1990s.
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Kivy, Peter. "Making the Codes and Breaking the Codes: Two Revolutions in Twentieth-Century Music." In New Essays on Musical Understanding, 44–67. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198250838.003.0004.
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Abstract The title of this chapter taps into two senses of the word ‘code’: the sense in which a code is a kind of language, as where one devises a code for conveying secret messages, and the sense in which a code is a prescription for behavior, as where a restaurant imposes a dress code on its patrons. Of course my subject is music, not cryptography or etiquette, so I will begin by stating briefly what it is in the musical experience that I think best exemplifies the linguistic sense of a code, and what the prescriptive sense. When I have done this I can then be more specific about the direction this chapter is going to take.
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Akutsu, Taichi, Richard K. Gordon, and Keiko Noguchi. "Critical Pedagogy and Children's Musical Flow." In Advances in Early Childhood and K-12 Education, 170–96. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5059-6.ch008.
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This study investigates the authors’ application of critical pedagogy constructs during Japanese children’s violin learning. Designing and implementing the Instructional Organizer (IO) for critical practice and adapting Custodero’s (1998, 2005) flow studies in children’s musical activities forms the conceptual framework of the study. A Japanese violin teacher, one of the researchers of this study, applied the IO in a Japanese public school’s afterschool program to construct community violin classes. In contrast, the same teacher taught group violin classes in a traditional manner at another public school. Lesson videos and field notes enabled the authors to narratively describe children’s flow experiences. Findings suggest that multiple flow experiences were identified in the community classes. In contrast, the flow was often stifled in the traditional group classes. The IO template was very useful in aiding the teacher in creating rich pedagogical spaces where community group students were able to exhibit hallmarks of “flow.”
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McComb, W. D. "Easy Applications of Renormalization Group to Simple Models." In Renormalization Methods, 53–70. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198506942.003.0006.
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Abstract We start with a one-dimensional magnet, in which the individual, microscopic magnets either point up or down but not in any other direction. In physics this is known as the one-dimensional Ising model. The problem it poses is something of a “cheat,” because not only can it be solved exactly but the approximate RG method is readily converted to an exact solution! Nevertheless, it is a nice introduction to how one may calculate the partition function recursively.
Conference papers on the topic "One Direction (Musical group)"
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Cedrón, María Gutiérrez, and Jose Pons. "Thinking about the Storm: Analysis of the concert/performance that fuses music, wearable technology and bodily expression." In VI Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvimulti2024-072.
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Thinking about the Storm was a concert performance developed by the NubeiLab group during the residency of Emerging Creators in the Mariñán neighborhood in 2022. We will dedicate ourselves in this article to analyzing the convergence between the different artistic disciplines that shaped the representation. On the one hand we will expose the work process for the realization of the technological wearable used as clothing for a part of the performance, and on the other hand we will analyze the process of direction and musical and sound improvisation, to finally expose the final result of the convergence of different arts materialized in the performance presented in the same artistic residence.
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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.
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The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.
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Gorodscy, Fábio, Guilherme Feulo, Nicolas Figueiredo, Paulo Vitor Itaboraí, Roberto Bodo, Rodrigo Borges, and Shayenne Moura. "Computer Music Research Group - IME/USP Report for SBCM 2019." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10443.
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The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.
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Melnic, Victoria, and Vladimir Andrieş. ""Authenticity" in musical performance: For or against?" In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.01.
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The word „authentic” is used very frequently in the context of all arts, „authenticity”being one of the obligatory conditions for assessing the value and quality of an artistic product. But the meaning of this term and its semantic field varied depending on the historical moment and the artistic field. In the context of musical art, this concept is associated with the interpretation of ancient music, especially baroque music (although obviously, it can be applied to any other music). In this article, we will address the so-called „authentic” interpretation- the direction in musical interpretation that promotes a vision based on the traditions of the period in which the music was composed and accentuated by the use of historical instruments.
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Loureiro, Mauricio. "The First Brazilian Symposium on Computer Music presents Brazilian computer music potentials - Caxambu, MG, 1994." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10463.
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The main objective of this talk is to report on the First Brazilian Symposium on Computer Music, which occurred in August 1994, at the city of Caxambu, Minas Gerais, promoted by the UFMG. The meeting occurred one year after the creation of NUCOM, a group of young academics dedicated to this emerging research field in Brazil gathered as a discussion list. This quite exciting and fancy event at Hotel Gloria in Caxambu was able to imposingly launch the group to the national, as well as to the international academic community. First, due to the excellency of the event’s output and its daring program, that included 34 selected papers by researchers from various institutions from Argentina, Brazil, Canada, Denmark, France, Hong Kong, Mexico, UK, and USA, five lectures an two panels of discussion offered by researchers from the most advanced computer music research centers all over the world. The program also included eight concerts, two of them featuring traditional music, such as Bach, Mozart, and Brazilian music.Six computer music concerts presented 48 selected compositions submitted to the symposium. Second, as the symposium happened as apart of the 14th Congress of Brazilian Computer Science Society (SBC), the excellency of its output was able to attract the interest of SBC’s board of directors. They invited NUCOM to integrate the society as a Special Committee, which are sub-groups of SBC dedicated to specific computer science topics. At the end of the description, this report aims at raising questions, arguments, and debates about today’s format of NUCOM meetings, considering more seriously the interdisciplinary character of the methodologic approaches adopted by the field. Interdisciplinarity should be pursued by striving to contaminate a growing number of different topics of musical sciences, as well as of other research fields.
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Zhang, Z. M., and Keunhan Park. "On the Group Front and Group Velocity in a Dispersive Medium Upon Refraction From a Nondispersive Medium." In ASME 2003 Heat Transfer Summer Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/ht2003-47368.
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Conventional definitions of the velocities associated with the propagation of the modulated wave are both confusing and insufficient to describe the behavior of the wave packet clearly in a multi-dimensional dispersive medium. There exist infinite solutions to the general equation of wave-front movement, suggesting that there are infinite phase velocities. Therefore, the introduction of “normal phase velocity” becomes necessary to unambiguously define the phase velocity in the direction perpendicular to the wave front. Similarly, there exist infinite solutions to the equation describing the group-front movement in the case of a wave packet, resulting in infinite “group-front velocities.” The “normal group-front velocity” is defined as the smallest speed at which the group-front travels and is in the direction perpendicular to the group front. We show that the group velocity (i.e., the velocity of energy flow) is one of the group-front velocities and, in general, is not the same as the normal group-front velocity. Hence, the direction in which the wave packet travels is not necessarily normal to the group front. Examples are used to demonstrate the behavior of a wave packet that is refracted from vacuum to a positive index medium (PIM) or a negative index medium (NIM).
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Tate, Derrick, Xiaoyi Hu, Mengyue Li, and Ruotong Wang. "Application of Robust Design Techniques to Chinese Huqin Musical Instrument Design." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59462.
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This paper presents the results of teaching robust design techniques to industrial design students in the Chinese context. Year 3 students in a Bachelor of Engineering programme at Xi’an Jiaotong-Liverpool University in Suzhou, China studied robust design techniques over a one-semester course. As part of the course, the students worked in two groups to apply robust design techniques to traditional Chinese musical instruments: the jinghu and the erhu. The two groups took divergent approaches to the project. One group sought to follow traditional manufacturing processes (craftmaking) for the instruments, and the other applied typical simple prototyping techniques used within industrial design. Through selection of control factors, creation of orthogonal arrays, prototyping, and experimentation, the students were able to characterize the main effects of four control factors on the sound quality of the instruments, loudness or harmonics, and to explore the feasibility of robust design for instrument design.
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Ionica, Svetlana. "State I for soprano and instrumental group by Vlad Burlea – composition and dramaturgical features." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.22.
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Vlad Burlea is a prominent representative of contemporary national music, who actively participates in the national artistic life, manifesting himself in fields such as music propagation projects, pedagogy, animator of musical life etc. He has tackled almost all the chamber, instrumental, symphonic and oratorical genres. One of the representative works is Starea I (State I), composed in 2018 for soprano and instrumental group. The interpretation of the work State I presents certain difficulties for musicians – both intonational (for the soprano part), and rhythmic and of character (in the piano part).
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
Reports on the topic "One Direction (Musical group)"
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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.
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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Dukelow, Fiona, Joe Whelan, and Margaret Scanlon. In transit? Documenting the lived experiences of welfare, working and caring for one-parent families claiming Jobseeker’s Transitional Payment. Institute for Social Science in the 21st Century, University College Cork, May 2023. http://dx.doi.org/10.33178/10468/14485.
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This research, conducted in conjunction with One Family, set out to document the lived experiences of Jobseeker’s Transitional Payment (JST) recipients and to explore how JST is working ‘on the ground’. Because JST is a relatively new payment in the Irish social welfare system, little is known about how it is experienced by recipients. Furthermore, because people living in single parent households are consistently over-represented in poverty statistics across all metrics (at risk of poverty, enforced deprivation and consistent poverty), how caregivers in one-parent households experience a policy that is designed with such households in mind represents important work. The research was qualitative in nature and the original data presented in the report were collected via one focus group coupled with a series of ten interviews. A substantial review of the literature was also undertaken, and this was used to frame the research. Available statistics, along with statistics obtained via parliamentary questions, are also used to inform the research. The core aims for this research were as follows: Develop an in-depth understanding of the lived experiences of the recipients of JST; Develop an understanding of how JST policy is working ‘on the ground’; Document the challenges and benefits associated with the payment; Develop a claimant-based user guide as a resource for new entrants to the payment scheme; Generate research data of relevance to One Family and related support and advocacy groups in their work with one parent families and their policy work in terms of the future direction of JST.
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Lumpkin, Shamsie, Isaac Parrish, Austin Terrell, and Dwayne Accardo. Pain Control: Opioid vs. Nonopioid Analgesia During the Immediate Postoperative Period. University of Tennessee Health Science Center, July 2021. http://dx.doi.org/10.21007/con.dnp.2021.0008.
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Background Opioid analgesia has become the mainstay for acute pain management in the postoperative setting. However, the use of opioid medications comes with significant risks and side effects. Due to increasing numbers of prescriptions to those with chronic pain, opioid medications have become more expensive while becoming less effective due to the buildup of patient tolerance. The idea of opioid-free analgesic techniques has rarely been breached in many hospitals. Emerging research has shown that opioid-sparing approaches have resulted in lower reported pain scores across the board, as well as significant cost reductions to hospitals and insurance agencies. In addition to providing adequate pain relief, the predicted cost burden of an opioid-free or opioid-sparing approach is significantly less than traditional methods. Methods The following groups were considered in our inclusion criteria: those who speak the English language, all races and ethnicities, male or female, home medications, those who are at least 18 years of age and able to provide written informed consent, those undergoing inpatient or same-day surgical procedures. In addition, our scoping review includes the following exclusion criteria: those who are non-English speaking, those who are less than 18 years of age, those who are not undergoing surgical procedures while admitted, those who are unable to provide numeric pain score due to clinical status, those who are unable to provide written informed consent, and those who decline participation in the study. Data was extracted by one reviewer and verified by the remaining two group members. Extraction was divided as equally as possible among the 11 listed references. Discrepancies in data extraction were discussed between the article reviewer, project editor, and group leader. Results We identified nine primary sources addressing the use of ketamine as an alternative to opioid analgesia and post-operative pain control. Our findings indicate a positive correlation between perioperative ketamine administration and postoperative pain control. While this information provides insight on opioid-free analgesia, it also revealed the limited amount of research conducted in this area of practice. The strategies for several of the clinical trials limited ketamine administration to a small niche of patients. The included studies provided evidence for lower pain scores, reductions in opioid consumption, and better patient outcomes. Implications for Nursing Practice Based on the results of the studies’ randomized controlled trials and meta-analyses, the effects of ketamine are shown as an adequate analgesic alternative to opioids postoperatively. The cited resources showed that ketamine can be used as a sole agent, or combined effectively with reduced doses of opioids for multimodal therapy. There were noted limitations in some of the research articles. Not all of the cited studies were able to include definitive evidence of proper blinding techniques or randomization methods. Small sample sizes and the inclusion of specific patient populations identified within several of the studies can skew data in one direction or another; therefore, significant clinical results cannot be generalized to patient populations across the board.
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Nechaev, V., Володимир Миколайович Соловйов, and A. Nagibas. Complex economic systems structural organization modelling. Politecnico di Torino, 2006. http://dx.doi.org/10.31812/0564/1118.
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One of the well-known results of the theory of management is the fact, that multi-stage hierarchical organization of management is unstable. Hence, the ideas expressed in a number of works by Don Tapscott on advantages of network organization of businesses over vertically integrated ones is clear. While studying the basic tendencies of business organization in the conditions of globalization, computerization and internetization of the society and the results of the financial activities of the well-known companies, the authors arrive at the conclusion, that such companies, as IBM, Boeing, Mercedes-Benz and some others companies have not been engaged in their traditional business for a long time. Their partner networks performs this function instead of them. The companies themselves perform the function of system integrators. The Tapscott’s idea finds its confirmation within the framework of a new powerful direction of the development of the modern interdisciplinary science – the theory of the complex networks (CN) [2]. CN-s are multifractal objects, the loss of multifractality being the indicator of the system transition from more complex state into more simple state. We tested the multifractal properties of the data using the wavelet transform modulus maxima approach in order to analyze scaling properties of our company. Comparative analysis of the singularity spectrumf(®), namely, the difference between maximum and minimum values of ® (∆ = ®max ¡ ®min) shows that IBM company is considerably more fractal in comparison with Apple Computer. Really, for it the value of ∆ is equal to 0.3, while for the vertically integrated company Apple it only makes 0.06 – 5 times less. The comparison of other companies shows that this dependence is of general character. Taking into consideration the fact that network organization of business has become dominant in the last 5-10 years, we carried out research for the selected companies in the earliest possible period of time which was determined by the availability of data in the Internet, or by historically later beginning of stock trade of computer companies. A singularity spectrum of the first group of companies turned out to be considerably narrower, or shifted toward the smaller values of ® in the pre-network period. The latter means that dynamic series were antipersistant. That is, these companies‘ management was rigidly controlled while the impact of market mechanisms was minimized. In the second group of companies if even the situation did changed it did not change for the better. In addition, we discuss applications to the construction of portfolios of stock that have a stable ratio of risk to return.
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Pires, Jose Claudio Linhares, Claudio Frischtak, Simon Lodato, Tulio Cravo, Caio Piza, and José Luis Guasch. IDB-9: Assessment of IDB-9's Private Sector Development Framework. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0010532.
Full textAbstract:
This background paper assesses the actions of the Inter-American Development Bank (IDB, or Bank) related to private sector development (PSD) that were mandated under the Ninth General Capital Increase in Resources (IDB-9). It finds that Management has taken the necessary formal steps to address most of the requirements: preparing a new PSD Strategy; drafting a Non-Sovereign Guarantee (NSG) Business Plan; creating guidelines for specific sectors, beginning with small and medium-sized enterprises; reviewing the NSG guidelines for entities with public participation; gradually expanding NSG prudential limits; supporting the Inter-American Investment Corporation with subordinated lending; adapting the public-private mix to country requirements; adopting measures to improve coordination among PSD and private sector operations windows; and taking steps to enhance NSG development effectiveness. The major area not yet addressed is the integration of NSG operations in Country Strategies and programs. The paper also finds, however, that these steps do not yet provide an appropriate and effective way to achieve the underlying objectives of IDB-9 with regard to the IDB Group's support for development through the private sector. The strategic documents do not lay out an effective and operationally relevant strategy to ensure substantial value added in IDB's support for the private sector. Such a strategy would need to recognize and build on the drivers of productivity gain and economic growth: fostering entry, creating new markets, and supporting competition and innovation. These drivers depend both on public sector initiatives to improve the business environment and on private sector response, and thus an effective strategy has important implications for the sovereign guarantee (SG) and NSG sides of the Bank and for the IDB Group as a whole. One significant challenge relates to coordination between the two sides of the Bank and among the private sector windows of the Bank Group. Despite repeated attempts by Bank Management to strengthen this coordination, it remains a major challenge. Indeed, the analysis finds that operations with coordinated SG and NSG actions and integrated objectives are rare. Limited coordination has resulted in significant lost opportunities¿ and not only in infrastructure, where improved collaboration would bring clear gains (as in operations involving public-private partnerships and concessions). Coordination could enhance the Bank's additionality in financial sector operations as well, with improvements of financial markets regulation concomitant with second-tier support or the set-up of facilities with client financial institutions. OVE also finds that, despite some progress, the accomplishment of the IDB-9 requirements pertaining to development effectiveness is still a work in progress. Going forward, it is critical for the Bank to forge an institution-wide shared vision for the private sector, while leveraging the potential for collaboration of the public and private sides of the Bank. The paper suggests some structural options and incentive-related steps in that direction.