Bibliografías temáticas / Musical intervals and scales

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Literatura académica sobre el tema "Musical intervals and scales"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Musical intervals and scales"

Nikolsky, Sergei S. "Musical Scales with Pythagorean Intervals". Music Scholarship / Problemy Muzykal'noj Nauki, n.º 3 (septiembre de 2020): 17–23. http://dx.doi.org/10.33779/2587-6341.2020.3.017-023.

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Douthett, J. y R. Krantz. "Continued fractions, best measurements, and musical scales and intervals". Journal of Mathematics and Music 1, n.º 1 (marzo de 2007): 47–70. http://dx.doi.org/10.1080/17459730601137799.

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Misto, Riccardo. "Therapeutic Musical Scales: Theory and Practice". OBM Integrative and Complementary Medicine 06, n.º 02 (19 de noviembre de 2020): 1. http://dx.doi.org/10.21926/obm.icm.2102019.

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Using musical scales in a therapeutic key is one of the fundamental music therapy techniques of the Yoga of Sound (Nāda Yoga). The practice consists of singing particular sound formulas (scales), which are devised on a logical mathematical basis formed by specific musical intervals. These scales can bring to the surface, in a clear (objective), recognizable, and predictable way, psycho-emotional states and transform the blocked emotional energies. These blocked emotional energies are caused by repeated emotional stress, which, according to the psychosomatic principle, is the main cause of the physical and mental problems and pathologies. In this article, the fundamental principles of this music therapy, in theory and practice, are uncovered and analyzed.

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Delviniotis, Dimitrios, Georgios Kouroupetroglou y Sergios Theodoridis. "Acoustic analysis of musical intervals in modern Byzantine Chant scales". Journal of the Acoustical Society of America 124, n.º 4 (octubre de 2008): EL262—EL269. http://dx.doi.org/10.1121/1.2968299.

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Parncutt, Richard y Graham Hair. "A Psychocultural Theory of Musical Interval". Music Perception 35, n.º 4 (1 de abril de 2018): 475–501. http://dx.doi.org/10.1525/mp.2018.35.4.475.

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The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as ratios. We argue that this idea is fundamentally incorrect and present convergent evidence against it. There is no internally consistent “Just” scale: a 6th scale degree that is 5:3 above the 1st is not a perfect 5th (3:2) above the 2nd (9:8). Pythagorean tuning solves this problem, but creates another: ratios of psychologically implausible large numbers. Performers do not switch between two ratios of one interval (e.g., 5:4 and 81:64 for the major third), modern studies of performance intonation show no consistent preferences for specific ratios, and no known brain mechanism is sensitive to ratios in musical contexts. Moreover, physical frequency and perceived pitch are not the same. Rameau and Helmholtz derived musical intervals from the harmonic series, which is audible in everyday sounds including voiced speech; but those intervals, like musical intervals, are perceived categorically. Musical intervals and scales, although they depend in part on acoustic factors, are primarily psychocultural entities—not mathematical or physical. Intervals are historically and culturally variable distances that are learned from oral traditions. There is no perfect tuning for any interval; even octaves are stretched relative to 2:1. Twelve-tone equal temperament is not intrinsically better or worse than Just or Pythagorean. Ratio theory is an important chapter in the history Western musical thought, but it is inconsistent with a modern evidence-based understanding of musical structure, perception and cognition.

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Ambrazevicius, Rytis. "Performance of musical scale in traditional vocal homophony: Lithuanian examples". Muzikologija, n.º 17 (2014): 45–68. http://dx.doi.org/10.2298/muz1417045a.

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Acoustical measurements of pitches in a dozen songs exemplifying the Lithuanian traditional vocal homophony were carried out. Several phenomena were revealed. First, the entire scales experience gradual transposition (rise) from the beginning to the end of the song performances. Second, the transposition is supplemented with the gradual shrinking of the musical scales (the intervals become narrower). Third, the intonations of the scale degrees are dynamic, i.e. they depend on the musical (both melodic and harmonic) contexts. Fourth, the versions of musical scales work as certain markers for the idiolects (further studies could show if this might be extrapolated to the realm of dialects). All these insights raise issues about the perceptual qualities of the musical scales and their manifestations in the performance.

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McBride, John M., Sam Passmore y Tsvi Tlusty. "Convergent evolution in a large cross-cultural database of musical scales". PLOS ONE 18, n.º 12 (13 de diciembre de 2023): e0284851. http://dx.doi.org/10.1371/journal.pone.0284851.

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Scales, sets of discrete pitches that form the basis of melodies, are thought to be one of the most universal hallmarks of music. But we know relatively little about cross-cultural diversity of scales or how they evolved. To remedy this, we assemble a cross-cultural database (Database of Musical Scales: DaMuSc) of scale data, collected over the past century by various ethnomusicologists. Statistical analyses of the data highlight that certain intervals (e.g., the octave, fifth, second) are used frequently across cultures. Despite some diversity among scales, it is the similarities across societies which are most striking: step intervals are restricted to 100-400 cents; most scales are found close to equidistant 5- and 7-note scales. We discuss potential mechanisms of variation and selection in the evolution of scales, and how the assembled data may be used to examine the root causes of convergent evolution.

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Smith, Allan B. "A "Cumulative" Method of Quantifying Tonal Consonance in Musical Key Contexts". Music Perception 15, n.º 2 (1997): 175–88. http://dx.doi.org/10.2307/40285748.

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Huron (1994) recently calculated the tonal (sensory) consonance for interval categories for all scales that can be drawn from the 12 equally tempered pitch classes. Among scales with seven tones, the combinations that allow the highest tonal consonance were found in the diatonic major, natural minor, and several other scales. In this paper, an extension of Huron's approach that begins with a single tone and successively adds tones that bring the most tonal consonance to the existing set is tested. Based on (1) the order in which tones are added and (2) the mean tonal consonance of the intervals after each addition, values are assigned to each tone that are significantly correlated (p< .001) with ratings of stability that tones display in major and minor key contexts reported by Krumhansl and Kessler (1982). These findings suggest that tonal consonance is not only facilitated in major and minor scales, as Huron found, but that tonal consonance may also account for the tonal hierarchy for tones in both major and minor key contexts.

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Tsuzaki, Minoru. "Effects of the Preceding Scale on Melodic Interval Judgment in Terms of Equality and Size". Music Perception 9, n.º 1 (1991): 47–70. http://dx.doi.org/10.2307/40286158.

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In an investigation of interactions between scales and intervals in music cognition, melodic intervals were judged in three preceding-scale contexts: diatonic, chromatic, and no scale. Musically less trained and highly trained subjects compared standard and comparison intervals using three response categories: smaller, equal, and larger. Standard intervals began with notes B or C and ascended by 100, 150, or 200 cents. Discriminal dispersion was estimated for each combination of standard and comparison intervals, based on the assumption that the bandwidth of subjective equality was constant. The dispersion width and the modal dispersion corresponded to the equality- related and sizerelated aspects of interval judgments, respectively. The size-related aspect was strongly influenced by the size of the standard intervals. The point of balance, which corresponds to the traditional point of subjective equality (PSE), tended to be smaller as the standard interval became larger. It was, however, anchored to the point of musical equality when the standard interval began with the tonic. The equality-related aspect was influenced by the relationship between the preceding scale and the intervals to be judged. The diatonic preceding scale differentiated the intervals by their positions along the scale, that is, a sharp discriminal dispersion was estimated when the judged intervals were congruent with the diatonic scale. Such differentiation was not clearly observed in the chromatic condition. The relationship between these two aspects of interval judgment and the subject's musical ability is discussed.

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Moore, Sarha. "Interval Size and Affect: An Ethnomusicological Perspective". Empirical Musicology Review 7, n.º 3-4 (27 de junio de 2013): 138. http://dx.doi.org/10.18061/emr.v7i3-4.3747.

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This commentary addresses Huron and Davis’s question of whether “The Harmonic Minor Provides an Optimum Way of Reducing Average Melodic Interval Size, Consistent with Sad Affect Cues” within any non-Western musical cultures. The harmonic minor scale and other semitone-heavy scales, such as Bhairav raga and Hicaz makam, are featured widely in the musical cultures of North India and the Middle East. Do melodies from these genres also have a preponderance of semitone intervals and low incidence of the augmented second interval, as in Huron and Davis’s sample? Does the presence of more semitone intervals in a melody affect its emotional connotations in different cultural settings? Are all semitone intervals equal in their effect? My own ethnographic research within these cultures reveals comparable connotations in melodies that linger on semitone intervals, centered on concepts of tension and metaphors of falling. However, across different musical cultures there may also be neutral or lively interpretations of these same pitch sets, dependent on context,manner of performance, and tradition. Small pitch movement may also be associated with social functions such as prayer or lullabies, and may not be described as “sad.” “Sad,” moreover may not connote the same affect cross-culturally.<br />

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Tesis sobre el tema "Musical intervals and scales"

McGeough, Carol Sigrid Westdal. "Absolute pitch and the perception of sequential musical intervals". Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.

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The perception of musical intervals by musicians can be envisaged as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. In the first of four experiments, most subjects in both groups were able to name accurately standard sequential musical intervals based on the equal-tempered scale. In the second experiment, most subjects in the AP group were able accurately and consistently to name notes of the equal-tempered scale, whereas subjects without AP were not able to name them consistently or accurately. In the third experiment, subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4 semitone range, using the standard musical note names. This experiment also demonstrated that not all subjects had the same internal pitch reference. In the final and major experiment, subjects identified sequential musical intervals ranging in 20-cent steps from 260 to 540 cents, using the standard musical interval names. Subjects, both with and without AP, appeared to identify the intervals by directly evaluating the musical interval between the two notes, rather than first identifying the two pitches and then inferring the musical interval. One subject in the AP group showed a strong tendency to use the latter method, but only in certain contexts, the reason for which remains unexplained. Although more research is needed for stronger conclusions to be drawn, it appears that most musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.
Medicine, Faculty of
Audiology and Speech Sciences, School of
Graduate

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Klein, Rolf. "Die Intervallehre in der deutschen Musiktheorie des 16. Jahrhunderts". Regensburg : G. Bosse, 1989. http://books.google.com/books?id=IkxGAAAAMAAJ.

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Ng, Kwok Wai. "The modes of tōgaku from Tang-period China to modern Japan : focusing on the ōshikichō, banshikichō and hyōjō modal categories". Thesis, Department of Music, 2007. http://hdl.handle.net/2123/8716.

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Bernal, Leonardo Camacho. "Miles Davis the road to modal jazz /". connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3693.

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Derfler, Brandon Joel. "Single-voice transformations : a model for parsimonious voice leading /". Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11418.

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Gerhardt, Kris. "The tritone paradox : an experimental and statistical analysis /". *McMaster only, 2002.

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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.

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Berens, Melody Sue. "Limitations on contextual assistance for relative-temporal-duration-judgment". Diss., Online access via UMI:, 2004. http://wwwlib.umi.com/dissertations/fullcit/3150496.

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Vail, Kimberly Gail. "Musical Priming and Operant Selection". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062812/.

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Language is a cultural construct, and the relationship between words is taught. Priming research has long investigated the relationship between related and unrelated words. Similar research has been seen in music relationships, but most of these investigate harmonic relations despite the melodic relationship being the one listeners are mostly likely to describe. Further, these studies typically measure existing relationships and do not attempt to teach a new relationship, nothing that most adults are experienced musical listeners. This study seeks to establish a new melodic relationship (the enigmatic Scale) in addition to a familiar one (the major Scale) while measuring response time to the musical sequences. A baseline was conducted in which participants listened to a musical sequence and selected via response box if the final note is consonant (major Scale) or dissonant (enigmatic Scale). Following baseline a training section occurred in which participants heard sequences ranging from 2-7 notes and were provided feedback for correct and incorrect responses. Following completion of the training participants completed a post-test identical to baseline. Behavioral results are discussed in relation to Palmer's (2009) concept of the repertoire.

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Hyouck, Jin Kwon. "Modio : interactive sound visualization /". Electronic version of thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/2684.

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Libros sobre el tema "Musical intervals and scales"

David, Lewin. Generalizedmusical intervals and transformations. New Haven: Yale University Press, 1987.

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Mann, Chester D. Analytic study of harmonic intervals. Tustin, CA: Chester D. Mann, 1990.

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Neuwirth, Erich. Musical temperaments. Wien: Springer, 1997.

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Wehrli, Barry. Mastering intervals: How to understand & write any interval, how to see & hear intervals at the piano, for intermediate to advanced levels. 3^a ed. Valley Village, CA: Wehrli Publications, 2010.

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Righini, Pietro. Gli intervalli musicali e la musica: Dai sistemi antichi ai nostri giorni. 2^a ed. Padova, Italy: G. Zanibon, 1988.

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Stefani, Gino. Gli intervalli musicali: Dall'esperienza alla teoria. Milano: Bompiani, 1990.

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Rué, Roberto y Roberto Rué. Sonido, estructura y percepción musical. [Argentina?: s.n., 1992.

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Mackay, Gerald M. Global scales: A book of rare and customary musical scales, chords and compositions of the world. [Willowdale, Ont.]: G. Mackay, 1992.

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Powers, Cameron. Arabic musical scales: Basic maqam teachings. Boulder, Colo: G.L. Designs, 2005.

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Rechberger, Herman. Scales and modes around the world. [Helsinki]: Fennica-Gehrman, 2008.

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Capítulos de libros sobre el tema "Musical intervals and scales"

Tsuji, Kinko y Stefan C. Müller. "Intervals and Scales". En Physics and Music, 47–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68676-5_3.

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Kidde, Geoffrey. "Pitch, Intervals, Scales". En Learning Music Theory with Logic, Max, and Finale, 40–69. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351004381-3.

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Sethares, William A. "Musical Scales". En Tuning, Timbre, Spectrum, Scale, 49–71. London: Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_3.

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Moravcsik, Michael J. "Pitch and Musical Scales". En Musical Sound, 115–26. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_9.

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Hooker, J. N. "Finding Alternative Musical Scales". En Lecture Notes in Computer Science, 753–68. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44953-1_47.

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Amiot, Emmanuel y Tom Johnson. "Of All Interval Tetrachords and Octatonic Scales". En Mathematics and Computation in Music, 423–35. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60638-0_35.

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McCarthy, Daniel y Ralph Turek. "Intervals of the Major and Minor Scale". En Singing and Dictation for Today#x2019;s Musician, 13–22. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367814984-4.

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Eichhoff, Markus y Claus Weihs. "Recognition of Musical Instruments in Intervals and Chords". En Studies in Classification, Data Analysis, and Knowledge Organization, 333–41. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-01595-8_36.

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Agarwal, Ravi, Martin Bohner y Donal O’Regan. "Boundary Value Problems on Infinite Intervals: A Topological Approach". En Advances in Dynamic Equations on Time Scales, 275–91. Boston, MA: Birkhäuser Boston, 2003. http://dx.doi.org/10.1007/978-0-8176-8230-9_9.

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Muzzulini, Daniel. "Taming the Irrational Through Musical Diagrams – from Boethius to Oresme and Nemorarius". En Diagrammatic Representation and Inference, 114–22. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15146-0_9.

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AbstractBoethius and his followers used diagrammatic methods to estimate musical intervals with epimoric ratios, they determined geometric number sequences with triangular tables, and they treated the converse problem of dividing musical intervals equally. The collection of mathematical manuscripts Codex Basel F II 33 (ca. 1360) contains treatises by Nicolaus Oresme, Jordanus Nemorarius and others. Images in Nemorarius’ treatise combine number triangles into complex spider webs and they display recursive algorithms. Oresme diagrams make use of irrational ratios. These little known images and their relationship to music theory are the focus of this paper.

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Actas de conferencias sobre el tema "Musical intervals and scales"

Brezina, Pavol, Alena Čierna y Martin Vozár. "Výučba hudobnej teórie prostredníctvom softvéru Albrechtic". En Musica viva in schola. Brno: Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-15.

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The use of modern didactic software in teaching music theory has been a worldwide trend for several years. Within the Czech and Slovak regions, no specific software has taken into account the nuances of its musical terminology. This article provides general information about the Albrechtic software, which is used to improve music-theoretical knowledge in the field of tones, intervals, scales, and chords. The authors of the article and the developers of Albrechtic are mainly concerned with the concept and functionality of the beta version of the software.

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Soshinsky, Ivan. "Two-Interval Musical Scales and Binary Structures in Computer Science and Biology". En ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-t7005.

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Musil, Jaroslav. "Multimediální pracoviště učitele ve výuce hudební výchovy, nauky". En Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-10.

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The paper introduces the hardware and software of a teacher’s multimedia workplace and its integration into music education or music theory. It deals with the use of modern interactive teaching technologies and describes the possibilities and advantages of additional music hardware as a more comfortable input and output for users - musicians. It also presents electronic documents as resources for creating teaching materials, their acquisition, modification, and use, and basic software for the teacher’s workplace, its possibilities, and the use of already created lessons. Finally, it provides examples of tutorials specifically designed for teaching music (notes, rhythm, intervals, chords, scales, intonation, etc.), notation programs, programs for recording and editing music, and examples of online applications that can be used in music education.

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SWALLOWE, GM, T. CHARNLEY y R. PERRIN. "ANHARMONIC MUSICAL SCALES". En Acoustics '93. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20499.

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Taitz, Alan, Diego Shalom, Marcos Trevisan y Bruno Mesz. "The taste of scales and chords". En Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10445.

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Reliable crossmodal correspondences between basic tastes and music features have been found in recent studies [1,2]. In this work, we explore associations between scales, chords and tastes. Several of these elementary musical structures show non-random patterns of matching with basic tastes. Moreover, their aggregate dyadic consonance [3] anti-correlates with the relative frequency of their matching to bitter taste.

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Yiu, Suki. "Musical Intervals of Tones in Cantonese English". En 7th International Conference on Speech Prosody 2014. ISCA: ISCA, 2014. http://dx.doi.org/10.21437/speechprosody.2014-105.

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Egloff, Deborah C., Marcelo M. Wanderley y Ilja Frissen. "Haptic display of melodic intervals for musical applications". En 2018 IEEE Haptics Symposium (HAPTICS). IEEE, 2018. http://dx.doi.org/10.1109/haptics.2018.8357189.

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Husa, Pavel, Cyril Kaplan y Zdenek Mikovec. "Scale_it: Converting time series data into musical scales". En 2022 13th IEEE International Conference on Cognitive Infocommunications (CogInfoCom). IEEE, 2022. http://dx.doi.org/10.1109/coginfocom55841.2022.10081873.

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Fridrich, Richard J. "Pitch Intervals: Linking Sound Quality Engineering and Musical Acoustics". En SAE 2003 Noise & Vibration Conference and Exhibition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2003. http://dx.doi.org/10.4271/2003-01-1503.

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S., Andres Eduardo Coca y Liang Zhao. "Musical Scales Recognition via Deterministic Walk in a Graph". En 2016 5th Brazilian Conference on Intelligent Systems (BRACIS). IEEE, 2016. http://dx.doi.org/10.1109/bracis.2016.037.

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Informes sobre el tema "Musical intervals and scales"

Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, agosto de 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.

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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, octubre de 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.

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King, Fraser. PR-377-063528-R01 Development of Guidelines for Identification SCC and Re-inspection Intervals. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), agosto de 2010. http://dx.doi.org/10.55274/r0010631.

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This report describes the development of a series of guidelines for the identification of SCC sites and the estimation of re-inspection intervals. These SCC Guidelines are designed to complement and supplement existing SCC Direct Assessment protocols by drawing on information from past R and D studies. Guidelines are presented for the various mechanistic stages of both high-pH and near-neutral pH SCC, namely; susceptibility, initiation, early-stage crack growth and dormancy, and late-stage crack growth. The guidelines are designed to be broadly applicable, and include discussion of both high-pH and near-neutral pH SCC, gas and (hydrocarbon) liquid pipelines, existing and future pipelines, on local and regional scales in North America and internationally. The guidelines are designed to be of use to pipeline operators with prior experience of SCC and to those for whom this is a new or unknown integrity threat. The report also describes how these guidelines can be implemented by operating companies and provides a list of the analyses that need to be performed, the necessary input data, and how the resultant information can be used to identify SCC sites and estimate reinspection intervals. The main text is supported by four appendices where the interested reader can find much of the detailed background information.

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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai y 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, diciembre de 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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