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Academic literature on the topic 'Ratt (Musical group)'
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Journal articles on the topic "Ratt (Musical group)"
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Williams, Esther. "RCS promotes musical theatre." Bulletin of the Royal College of Surgeons of England 94, no. 6 (June 1, 2012): 188. http://dx.doi.org/10.1308/147363512x13311314196933.
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Easy listening music in the operating theatre could reduce anxiety for millions of patients undergoing operations using local anaesthetic each year, according to research. This is just one of the surgical news stories that captured the media's imagination last month. Surgeons from the plastic and reconstructive department at the John Radcliffe Hospital in Oxford measured the respiratory rates of emergency patients and asked them to rate their feelings of worry. Half the patients had their operation in a theatre with music playing and half without – the group who were exposed to music reported lower levels of anxiety and had a lower breathing rate.
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Santana, Milana Drumond Ramos, Eli Carlos Martiniano, Larissa Raylane Lucas Monteiro, Vitor E. Valenti, David M. Garner, Isabel Cristina Esposito Sorpreso, and Luiz Carlos de Abreu. "Musical Auditory Stimulation Influences Heart Rate Autonomic Responses to Endodontic Treatment." Evidence-Based Complementary and Alternative Medicine 2017 (2017): 1–7. http://dx.doi.org/10.1155/2017/4847869.
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We aimed to evaluate the acute effect of musical auditory stimulation on heart rate autonomic regulation during endodontic treatment. The study included 50 subjects from either gender between 18 and 40 years old, diagnosed with irreversible pulpitis or pulp necrosis of the upper front teeth and endodontic treatment indication. HRV was recorded 10 minutes before (T1), during (T2), and immediately (T3 and T4) after endodontic treatment. The volunteers were randomly divided into two equal groups: exposed to music (during T2, T3, and T4) or not. We found no difference regarding salivary cortisol and anxiety score. In the group with musical stimulation heart rate decreased in T3 compared to T1 and mean RR interval increased in T2 and T3 compared to T1. SDNN and TINN indices decreased in T3 compared to T4, the RMSSD and SD1 increased in T4 compared to T1, the SD2 increased compared to T3, and LF (low frequency band) increased in T4 compared to T1 and T3. In the control group, only RMSSD and SD1 increased in T3 compared to T1. Musical auditory stimulation enhanced heart rate autonomic modulation during endodontic treatment.
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Vanderark, Sherman D., and Daniel Ely. "University Biology and Music Majors' Emotional Ratings of Musical Stimuli and Their Physiological Correlates of Heart, Rate, Finger Temperature, and Blood Pressure." Perceptual and Motor Skills 79, no. 3 (December 1994): 1391–97. http://dx.doi.org/10.2466/pms.1994.79.3.1391.
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Physiological responses associated with the ratings of musical stimuli were investigated. For 101 university music and biology students in the experimental group, heart rate, blood pressure, and finger temperature were measured before and after listening to about 10 min. of music (Venus and Jupiter from Holst's The Planets) in an anechoic chamber. They also served as their own controls by sitting in silence for about 10 min. No significant differences were found on the three measures for the two musical stimuli between the musical or control conditions or between the two majors.
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Preti, Antonio, Francesca De Biasi, and Paola Miotto. "Musical Creativity and Suicide." Psychological Reports 89, no. 3 (December 2001): 719–27. http://dx.doi.org/10.2466/pr0.2001.89.3.719.
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The different abilities involved in artistic creativity may be mirrored by differences among mental disorders prevalent in each artistic profession, taking poets, painters, and composers as examples. Using suicide rates as a proxy for the prevalence of mental disorders in groups of artists, we investigated the percentage of deaths by suicide in a sample of 4,564 eminent artists who died in the 19th and 20th centuries. Of the sample, 2,259 were primarily involved in activities of a linguistic nature, e.g., poets and writers; 834 were primarily visual artists, such as painters and sculptors; and 1,471 were musicians (composers and instrumentalists). There were 63 suicides in the sample (1.3% of total deaths). Musicians as a group had lower suicide rates than literary and visual artists. Beyond socioeconomic reasons, which might favour interpretations based on effects of health selection, the lower rate of suicides among musicians may reflect some protective effect arising from music.
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Wind, Stefanie A., Pey Shin Ooi, and George Engelhard. "Exploring decision consistency and decision accuracy across rating designs in rater-mediated music performance assessments." Musicae Scientiae 23, no. 4 (March 5, 2018): 465–85. http://dx.doi.org/10.1177/1029864918761184.
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Music performance assessments frequently include panels of raters who evaluate the quality of musical performances using rating scales. As a result of practical considerations, it is often not possible to obtain ratings from every rater on every performance (i.e., complete rating designs). When there are differences in rater severity, and not all raters rate all performances, ratings of musical performances and their resulting classification (e.g., pass or fail) depend on the “luck of the rater draw.” In this study, we explored the implications of different types of incomplete rating designs for the classification of musical performances in rater-mediated musical performance assessments. We present a procedure that researchers and practitioners can use to adjust student scores for differences in rater severity when incomplete rating designs are used, and we consider the effects of the adjustment procedure across different types of rating designs. Our results suggested that differences in rater severity have large practical consequences for ratings of musical performances that impact individual students and group of students differently. Furthermore, our findings suggest that it is possible to adjust musical performance ratings for differences in rater severity as long as there are common raters across scoring panels. We consider the implications of our findings as they relate to music assessment research and practice.
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Kumala, Ferry, Diyah Fatmasari, Kurniati Puji Lestari, and Suharyo Hadisaputro. "MUSIC AND AROMATHERAPY: A GOOD COMBINATION FOR REDUCING ANXIETY AND STABILIZING NON-INVASIVE HEMODYNAMIC STATUS IN PATIENTS IN THE INTENSIVE CARE UNIT." Belitung Nursing Journal 4, no. 2 (May 11, 2018): 186–94. http://dx.doi.org/10.33546/bnj.354.
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Background: Combining musical and aromatherapy therapy is expected to have a stronger effect in the reduction of anxiety and non-invasive hemodynamic stability.Objective: To examine the effect of the combination of music and aromatherapy on anxiety and non-invasive hemodynamic in patients in the intensive care unit.Methods: This was a quasy experimental study with non-equivalent group. An experimental group was given a combined musical and aromatherapy, while a control group was given music therapy. Thirty samples selected using accidental sampling, with 15 samples randomly assigned in the music group and combination group. HARS scale (Hamilton Anxiety Rating Scale) was used to measure anxiety. Non-invasive hemodynamic status of patients such as blood pressure and heart rate were documented in the observation sheet. Paired t-test and one-way ANOVA were used for data analysis.Results: There were significant effects of combination therapy on anxiety (p=0.001), diastole (p=0.004) and heart rate (p=0.031), but no significant effect on systole (p=0.387). While music therapy alone had a significant effect on anxiety (p=0.001), systole (p=0.047), and diastole (p=0.037).Conclusion: The combination therapy (music-aromatherapy) had a greater effect than the music therapy alone in decreasing anxiety, and stabilizing diastolic blood pressure and heart rate. This therapy can be used as an alternative in nursing interventions, and can be used as inputs to develop standard of operational procedure for anxiety and non-invasive hemodynamic stability.
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Milona, Gabriella, Vasilios Pergialiotis, Marianna Theodora, Dimitrios Loutradis, and Georgios Daskalakis. "The Effect of music on maternal anxiety and maternal and fetal heart rate during cardiotocography." Hellenic Journal of Obstetrics and Gynecology 19, no. 3 (July 3, 2020): 135–44. http://dx.doi.org/10.33574/hjog.2052.
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Introduction: It is well known that music acts as an analgesic. Facilitates muscle relaxation, reduction of physical pain and mental tension. Purpose of this original investigation: study the effect of music on maternal anxiety during cardiotocography as well as its effect on embryonic cardiac function in relation to mother’s heart rate. Method and materials: The survey, conducted in external midwifery medical services of Alexandra’s Hospital, involved 80 pregnant women who met the criteria for participation. They were divided in two groups. The 40 pregnant women were the Musical Group, and the other 40 were the Control Group. In both groups, the STAI scale was used. The control group underwent cardiotocography examination without listening to music. The Musical Group were selected to hear the music track ‘Kung Fu Piano: Cello Ascends’, a cover of the Piano Guys band. The hearing started 5 minutes before the end of the cardiotocography, with headset playing frequencies that are within the frequency spectrum of the music track and special music player, and 10 minutes before the end of the cardiotocography the pulse oximeter Beurer P080 was placed. In this music track we did music and frequency analysis with the following programs: SPAN of Voxeno and Reaper of Cocos, as well as Theory-Harmony of Music, to see if at the time certain changes in the track occur, there are corresponding changes in the heart rate of the mother and the fetus. Results: In our study we observed that music significantly decreased the level of anxiety of women subjected to non-stress test (NST) (Median anxiety score prior to the conduct of the non-stress test 53.38 (49-57) vs 25.20 (23-28) following the completion of the test. Moreover differences among women that heard music were significant compared to those that did not (25.20 (21-28) vs 56 (48-64)) despite the fact that baseline differences among the two groups were comparable (54.45 (59-67) vs 50.80 (53-58). Finally, following performance of music analysis we observed significant variations in the baseline heartbeat of pregnant women as well as in the cardiotocographic analysis of fetuses (number of accelerations, baseline rhythm); those patterns were directly related to musical characteristics of the track that women listened to. Conclusions: Music has a positive effect on pregnancy. It is a non-invasive way of anxiety relief, as well as a simple, non-time-consuming way of improving cardiotocography among low risk cases; thus, potentially diminishing false-positive results which may result in unnecessary deliveries.
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Satriani G, Satriani G., and Abbas Mahmud. "Teknik Relaksasi dengan Alat Musik Tradisional Mandar Menurunkan Skala Nyeri pada Ibu Bersalin Kala I Fase Aktif." Jurnal Kebidanan Malakbi 1, no. 2 (August 20, 2020): 57. http://dx.doi.org/10.33490/b.v1i2.208.
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The direct causes of maternal mortality rate are bleeding, eclampsia, abortion, infection, and prolonged labor. Maternal mortality rate can be minimized by safe, clean help, and prevent complications. Labor is a process that begins with uterine contractions causing progressive dilation of the cervix, birth of a baby, and labor of placenta and it is a natural process. This study aims to see the effectiveness of instrumental music relaxation techniques using traditional musical instruments on the labor process of inpartu mothers when phase I was active at Community Health Center in Tampa Padang, Mamuju. This study is an experimental study with a pre-experimental conception and use one group pretest-posttest conception with the population of maternal mothers at Tampa Padang Community Health Centre. The samples are pregnant women who entered the delivery room with inpartu diagnosis of the first stage/phase is active or the opening stage. The sampling technique was consecutive sampling which could be done by 31 people. The data then being analyzed with univariable analysis and bivariable analysis using the Wilcoxon Test with a significance level of 0.05 to see the interface relationship with the decrease in pain scale. The results showed a relationship in reducing pain scale of mothers who were given musical intervention with Mandar traditional musical instruments where p = 0.000. The conclusion of this study shows that by applying instrumental music relaxation techniques with traditional Mandar musical instruments, mothers can adjust to pain during labor so that it can reduce the pain scale in mothers in labor when phase 1 is active.
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Wassermann, Gilbert, and Mark Glickman. "Automated Harmonization of Bass Lines from Bach Chorales: A Hybrid Approach." Computer Music Journal 43, no. 2-3 (June 2020): 142–57. http://dx.doi.org/10.1162/comj_a_00523.
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In this article, a combination of two novel approaches to the harmonization of chorales in the style of J. S. Bach is proposed, implemented, and profiled. The first is the use of the bass line, as opposed to the melody, as the primary input into a chorale-harmonization algorithm. The second is a compromise between methods guided by music knowledge and by machine-learning techniques, designed to mimic the way a music student learns. Specifically, our approach involves learning harmonic structure through a hidden Markov model, and determining individual voice lines by optimizing a Boltzmann pseudolikelihood function incorporating musical constraints through a weighted linear combination of constraint indicators. Although previous generative models have focused only on codifying musical rules or on machine learning without any rule specification, by using a combination of musicologically sound constraints with weights estimated from chorales composed by Bach, we were able to produce musical output in a style that closely resembles Bach's chorale harmonizations. A group of test subjects was able to distinguish which chorales were computer generated only 51.3% of the time, a rate not significantly different from guessing.
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Huang, Ya-li, Yu-qing Lei, Jian-feng Liu, Hua Cao, Xian-rong Yu, and Qiang Chen. "Comparison of the Effectiveness of Music Video Therapy and Music Therapy on Pain after Cardiothoracic Surgery in Preschool Children." Heart Surgery Forum 24, no. 2 (March 26, 2021): E299—E304. http://dx.doi.org/10.1532/hsf.3509.
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Objective: To explore the effects of music video therapy on pain among preschool children after cardiothoracic surgery. Methods: Patients in the music video therapy (MVT) group received a 30-min music video intervention, while patients in the music therapy (MT) group received a 30-min musical intervention. Both groups were given their respective therapy three times a day for three days. Patients in the control group did not receive MVT or MV. Measures, including pain scores, vital signs (heart rate, mean arterial pressure, respiratory rate, and oxygen saturation), and other postoperative indicators were recorded and analyzed. Results: The MVT group showed a statistically significant decrease in heart rate, mean arterial pressure, and respiratory rate at the first day after surgery and pain scores at the first and second day after surgery compared to the MT group, but no significant difference was identified in oxygen saturation. The postoperative indicators including cumulative capacity of sufentanil use, the length of intensive care unit (ICU) stay, and the length of hospital stay in the MVT group were significantly lower than those in the control group. Conclusion: The findings provide further evidence to support the practice of music video therapy as a non-pharmaceutical intervention to reduce postoperative pain, reduce the dosage of analgesics, shorten the length of ICU and hospital stay in preschool children after the cardiothoracic surgery.
Books on the topic "Ratt (Musical group)"
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Bergeron, Alain M. Les tempêtes, ou, Les mémoires d'un Beatle raté. Saint-Lambert, Québec: Soulières, 2004.
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MacDonald, Raymond, David J. Hargreaves, and Dorothy Miell. Musical identities. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0043.
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This article presents a number of key themes relating to the concept of musical identities. It provides a definition of identity, with a discussion of why identity is a timely topic for consideration. The article then presents an overview of a series of studies investigating musical identities of jazz musicians. These highlight the utility of qualitative techniques, and in particular focus-group and semi-structured interview methods, for understanding how professional musicians construct their identities in relation to both their musical activities and wider psychological and cultural issues. The article looks next at how theories of motivation and the self can help to explain some of the behavioural aspects of musical identities. It provides evidence that children's self-concepts, and in particular their levels of confidence (both of which are related to musical identities), can influence the rate of musical development and musical achievement, drawing briefly on a study which compares the views of pupils, parents, and teachers about what it is to be ‘good at music’.
Book chapters on the topic "Ratt (Musical group)"
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Lapidus, Benjamin. "“Invasión Del 80/¡Yo Vine Del Mariel!”." In New York and the International Sound of Latin Music, 1940-1990, 279–322. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0007.
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This chapter discusses the immediate musical impact of the 1980 Mariel Boatlift by examining some of the dancers and musicians who arrived in New York City at that time: Orlando “Puntilla” Ríos, Manuel Martínez Olivera “El llanero solitario” (The Lone Ranger), Roberto Borrell, Rita Macías, Xiomara Rodríguez, Félix “Pupy” Insua, Pedro Domech, Daniel Ponce, Fernando Lavoy, Gerardo “Taboada” Fernández, Gabriel “Chinchilita” Machado, and many others. The chapter highlights the musical activities of these people and other musicians and its long-term effects on the folkloric and Latin popular dance music scenes in New York and the greater United States, not only in the performance realm but in many cases also as teachers for subsequent generations of Cuban and non-Cuban musicians, particularly Puerto Ricans in New York City. This group of artists who arrived during El Mariel would also serve as important points of connection for the next major wave of newly arriving musicians and dancers in the early 1990s, known as the balseros (raft people). Ultimately, the chapter provides an analysis of and insight into this overlooked era of Cuban musical history in New York and how it would impact Latin music in New York and elsewhere.
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Laws, Chantal. "Responsible Entertainment Greening festivals and events." In Key Issues in the Arts and Entertainment Industry. Goodfellow Publishers, 2011. http://dx.doi.org/10.23912/978-1-906884-20-8-1453.
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This chapter explores the contemporary issue of responsible production within the arts and entertainment industries, focusing on live music events and festivals in particular. In its broadest context the entertainment industry is vast, encompassing 18 unique sectors (Moss, 2009), each providing a plethora of tangible and intangible products that, according to Vogel (2007), is estimated at US$1 trillion annually. This makes it the largest industry in the world, generating more revenue and growing at an exponential rate as leisure time becomes increasingly important as an escape from,or antidote to, the pressures of modern life. Live events bridge the distinction between high art products which are considered as a ‘merit good’ (Pratt, 2005) and forms of popular culture and leisure that can be consumed both at home and in designated public spaces. Hughes (2000) states that live performance of both art and entertainment is a distinct area for management, as such events require active participation on the part of an audience. As pop/rock consumers can now choose from ‘an almost limitless number of events’ (Mintel Group, 2008) at any given time, the viability of continued growth in the industry becomes of real concern, and the impact of such intense consumption levels can no longer be ignored.
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Koukia, Spiridoula, Maria Rigou, and Spiros Sirmakessis. "Content Personalization for Mobile Interfaces." In Human Computer Interaction, 992–96. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-87828-991-9.ch061.
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The contribution of context information to content management is of great importance. The increase of storage capacity in mobile devices gives users the possibility to maintain large amounts of content to their phones. As a result, this amount of content is increasing at a high rate. Users are able to store a huge variety of content such as contacts, text messages, ring tones, logos, calendar events, and textual notes. Furthermore, the development of novel applications has created new types of content, which include images, videos, MMS (multi-media messaging), e-mail, music, play lists, audio clips, bookmarks, news and weather, chat, niche information services, travel and entertainment information, driving instructions, banking, and shopping (Schilit & Theimer, 1994; Schilit, Adams, & Want, 1994; Brown, 1996; Brown, Bovey, & Chen, 1997). The fact that users should be able to store the content on their mobile phone and find the content they need without much effort results in the requirement of managing the content by organizing and annotating it. The purpose of information management is to aid users by offering a safe and easy way of retrieving the relevant content automatically, to minimize their effort and maximize their benefit (Sorvari et al., 2004). The increasing amount of stored content in mobile devices and the limitations of physical mobile phone user interfaces introduce a usability challenge in content management. The physical mobile phone user interface will not change considerably. The physical display sizes will not increase since in the mobile devices the display already covers a large part of the surface area. Text input speed will not change much, as keyboard-based text input methods have been the most efficient way to reduce slowness. While information is necessary for many applications, the human brain is limited in terms of how much information it can process at one time. The problem of information management is more complex in mobile environments (Campbell & Tarasewich, 2004). One way to reduce information overload and enhance content management is through the use of context metadata. Context metadata is information that describes the context in which a content item was created or received and can be used to aid users in searching, retrieving, and organizing the relevant content automatically. Context is any information that can be used to characterize the situation of an entity. An entity is a person, place, or object that is considered relevant to the interaction between a user and an application, including the user and the applications themselves (Dey, 2001). Some types of context are the physical context, such as time, location, and date; the social context, such as social group, friends, work, and home; and the mental context, which includes users’ activities and feelings (Ryan, Pascoe, & Morse, 1997; Dey, Abowd, & Wood, 1998; Lucas, 2001). By organizing and annotating the content, we develop a new way of managing it, while content management features are created to face efficiently the usability challenge. Context metadata helps the user find the content he needs by enabling single and multi-criteria searches (e.g., find photos taken in Paris last year), example-based searches (e.g., find all the video clips recorded in the same location as the selected video clip), and automatic content organization for efficient browsing (e.g., location-based content view, where the content is arranged hierarchically based on the content capture location and information about the hierarchical relationships of different locations).