bluuebunny/crossref_metadata_2025 huggingface dataset:
European Female Wind Band Composers and Their Works
Authors: Renata Silva Oliveira
Published: September 2024

Name: Renata Oliveira

Main Subject: Wind Band Conducting

Research Supervisors: Anna Scott, André Granjo

Title of Research: European Female Wind Band Composers and Their Works

Research Question: Can shedding new light on women composers’ contributions to the wind band and ensemble repertoire via the creation of a catalogue, the preparation of a critical edition, and the commission of a new work, help to encourage more Portuguese women to compose for this medium?

Summary of Results:
In Portugal, as far as it is possible to assess, only two established women composers have written works for wind band or large wind ensemble: Berta Alves de Sousa, who composed Porto Heróico in 1943, and Maria de Lourdes Martins, who composed Rapsódia de Natal, Rondó and Suite de Danças Tradicionais Portuguesas in 1978. In a country with an important tradition of wind band musical practice, it seems strange that so few women composers have used this medium to convey their musical ideas. In order to put the production of female composers for this medium in perspective, I researched relevant works from as many European female composers as possible. Ultimately, the hope was to better understand their outputs for wind band, to promote their works, and to make way for a new composition for wind band from a female Portuguese composer.
This project has three main outcomes: 1) an online and physical catalogue of virtually all European female composers who have written for wind ensemble, including biographical data, a list of their works, and statistical analyses of their personal data (by age, country, type of ensemble); 2) a critical edition of Berta Alves de Sousa's Porto Heróico manuscript; and 3) my commissioned work for wind band O Soldado da Misarela by Anne Victorino d’Almeida. At the end of this project I can answer yes to the question of whether shedding new light on this field can encourage more female Portuguese composers to write for wind band.

Biography:
Renata Oliveira is a Portuguese conductor. She began her orchestra conducting studies with Jean-Marc Burfin and later with Jean-Sebastien Béreau. In conducting masterclasses Renata has worked with: Jose Pascual-Vilaplana, Kenneth Kiesler, Jean-Sebastien Béreau, Ernst Schelle, Robert Houlihan, Felix Hauswirth, Jan Cober and Douglas Bostock. She holds a Masters in Psychology and a Masters in Orchestra Conducting. She is conductor of two Portuguese wind bands, and is responsible for their associated music schools. Renata simultaneously studies Wind Band Conducting with Alex Schillings at the Royal Conservatoire of The Hague and a Masters in Music Teaching (Wind Band Conducting specialisation) at the University of Aveiro.
Proposing Live Electronics as an Alternative to Larger Performance Set-Ups
Authors: Mario Garcia Cortizo
Published: September 2024

Name: Mario García Cortizo
Main Subject: Classical and Contemporary Percussion Research Coaches: Anna Scott and Richard Barrett
Title of Research: Proposing Live Electronics as an Alternative to Larger Performance Set-Ups
Research Question:
How can the inclusion of live electronics reduce required equipment while increasing performer efficiency?
Research Process:
After deciding on the topic of my research, I began reading and collecting all kinds of information related to the historical relationship between the arts and artists during major social and financial crises of the 20th Century. This included books, websites, journal and magazine articles, and museum exhibitions.
In a practical sense, during the first year of the research process I was mainly focused on trying out different things by experimenting with live electronics both in improvised and concert music. For my second year, I have commissioned a new piece involving percussion and live electronics to be performed by composition student Siamak Anvari. I will also be the second person ever to play Hugo Morales’ piece 150pF, “for body capacitance and amplification system.” This piece involves a new instrument that I built myself, consisting of four jack connectors that are split into a four-channel system. As a complement for the program, I am doing a reduction of Frederic Rzewski’s
Coming Together for one single player and an actress.
Summary of Results:
Throughout this text we have seen different proposals that have come out of limitations faced by artists during crisis periods: where creativity is forced to develop in very significant ways in order to keep creating pieces, performances - art that riches everybody, regardless of culture, politics, age, or other aspects. These limitations have provided artists with a lot of new instruments, technologies and techniques: tools that have helped composers and performers to develop new languages and frameworks within which to organize many different materials.
Is very important to point out that the use of non-conventional instruments and live electronics can be considered when there are limitations, but we do not have to use these resources just because of the presence of a limitation, but rather as a part of an on-going research process that leads us to these resources as part of a particular creative solution. After going through all the practical examples experimented with and contained in this research, we can conclude that live electronics and non-conventional instruments are indeed an alternative to larger performance set-ups, not only when the economic situation is unfavorable, but even as a matter of taste.
Concepts of Embodiment in Interdisciplinary Work Within a Musical Context
Authors: Sarah Albu
Published: September 2024

Integrated musical experiences have long existed, previous to and outside of the traditional concert music setting. Interdisciplinary approaches to performance creation are becoming more accepted and more common in academic music contexts. This research asks the question "How does the concept of embodiment serve the creation of interdisciplinary work within a musical context?", examined through the lens of definitions of embodiment, spinning, technology, community, and inter/multidisciplinary vs. intermediality and expanded through case studies of two of the author's recent performance works.
To bow, or not to bow
Authors: Alexandra Lopez Arca
Published: September 2024

Name: Alexandra López Arca

Main Subject: Classical Violin

Research supervisor: Liesbeth Ackermans

Title of Research: To bow, or not to bow. Modern bow vs. baroque bow: comparisons and inspirations

Research Questions: To what extent do the shape and construction of the bow affect the violinist’s sound and to what extent do her/his use of the bow and musical choices influence the sound? What can a modern violinist learn from experimenting with a baroque bow? What are aspects of the evolution of the violin bow, its use and the evolution of right hand technique from the 18th century until now that are essential to be aware of when playing with both modern and baroque bow?

Summary of Results:
The bow is the soul of the violin. Playing with different bows alters our sound. Their shape and construction affect the articulation that we naturally get with them. This fact tells us a lot about the music for which they were built, and we can learn from it in a natural way. But when a violinist is only familiarised with a modern bow, the learning process with an old bow can hardly take place. It is better to know what the characteristics of each bow are and experimenting with them in order to get used to them. After having this experience, different attacks, articulations and nuances will emerge and facilitate the music for which every bow was thought. It is interesting to see how the sources from those times show us the musical value of the different possibilities of the old bow. Nevertheless, if the musical idea the violinist has in mind does not match the old bow’s natural behavior and the indications made for its use, using it would not bring any advantage. After an overview of the evolution of the bow and its relation with the right hand technique, I will explore the possibility of combining a modern instrument with an old bow as well as the benefits of using it for playing, especially when used following the indications the sources of that period reveal.

Biography:
Born in Santiago de Compostela, she finished her bachelor’s degree at the Escola Superior de Música de Catalunya before moving to The Hague, where she studies with Vera Beths. Since her years in Barcelona, she has developed a special interest for early music performance practice, stimulated by her lessons with Alba Roca and Lorenzo Coppola, and with Walter Reiter in the Royal Conservatoire.
Situating Personal Values in Artistic Practice: Towards a Reflective and Reflexive Framework
Authors: Annick	Odom
Published: September 2024

In what ways can a musician use reflexivity and reflection to situate her personal values in her artistic practice? To answer this question and put the results into practice, the author combined archival and digital research, interviews, and fieldwork. By combining new and found materials inspired by Appalachian folk music and the state of West Virginia, the connected auto-ethnographic case study is a reflective attempt of the author to engage critically with her personal values of empathy, inclusion, and equity in her artistic practice. Using the reflective lenses of the author’s autobiography as an artist, the audience’s reactions, fellow artists comments, and literature review, she was better able to reflexively see her own assumptions and missteps, better allowing her to situate her personal values within her artistic practice. Besides creating a reflective framework by which other artists could consider their own artistic practice, she also found that by taking on new roles outside that of the traditional classically trained performer, she had a greater agency to influence and understand performance elements such as design and form, materials, context, audience, and production process.
Creating open form scores for improvising musicians
Authors: Cynthie van Eijden
Published: September 2024

Abstract

This research aims to explore and develop an updated approach to "open form" in music. "Open form" is traditionally referred to as "aleatoric music": a score is provided but the composer has left some choices open. The term "aleatoric" music implies that chance determines how to fill the open spaces. The renewed approach in this research however aims to provide a score in which a performer as an improviser or co-composer is invited to shape the music according to his own opinion. The score provides a plan and context for improvised content and, in doing so, invites the performer to co-create the piece.

The research developed in three phases. In the first phase, improvisation was used as a learning tool in music theory classes. Different approaches to improvisation were studied and practiced. In the second phase, one group of musicians evolved from an improvisation course and went on a tour of five concerts. For them an open form score was created in order to provide context to the improvisations of the musicians. This composition is called View from a high mountain, a composition in six parts that allows improvisation at several moments. In the third phase, findings from the outcome and performance of View from a high mountain caused a renewal of the approach in the classroom. Through this renewal the boundary between education and musical production became a thinner line that allowed several cross-overs. Instead of a handbook containing a method or exercises or a new open form score The Improvisation Tree was created. The Improvisation Tree is a model that can be used as a help for creating, analyzing, categorizing and comparing open form scores.
The Accompaniment for the Villancico in New Spain
Authors: Miguel Espinoza Chavez
Published: September 2024

The abstract for this exposition is unfortunately missing.
The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu – An arrangement for 2 pianos
Authors: Andrea Vasi
Published: September 2024

Name: Andrea Vasi
Main Subject: Piano
Research Coach: Theo Verbey
Title of Research: The influence of some characteristics of Romanian folk music on the Romanian Rhapsody no. 1 opus 11 by George Enescu – An arrangement for 2 pianos
Research Question:
What is the nicest way to make an arrangement for 2 pianos of the first Romanian Rhapsody opus 11 no. 1 by George Enescu, and how has this piece been influenced by Romanian folk music?
Research Process:
My (Romanian) father, who is also a professional musician, helped me in the sense that he told me his views on what Romanian folk music was, which I took as a starting point. Throughout my childhood, I listened to Romanian folk music a lot (every week, we went to a café in The Hague where Romanians would play their music), so I have quite much personal experience with it as well (I sometimes played along, and had my own ‘gypsy’ ensemble). Only one valuable book on Enescu has been published in the west, in 1990, namely ‘George Enescu: His Life and Music’ by N. Malcolm. A lot of biographical and musicological information on Enescu I could find in here, but I really needed my father to translate the Romanian sources I had collected. I had the chance to quote Enescu himself, because he did some extensive interviews with B. Gavoty. As for the arrangement, I am a pianist myself, and played and studied a lot two piano-pieces in the past. With the help of my coach, composer Theo Verbey, I made my own arrangement for two pianos of Enescu’s Romanian Rhapsody no. 1 opus 11.
Summary of Results:
First of all, one can find the arrangement I made of the Romanian Rhapsody no. 1 opus 11 by George Enescu in the Appendix. I make clear how I made this arrangement for two pianos, and why I made it like this. The main goals were to keep the material as much intact as possible, but while doing this, I wanted to make sure both piano parts were very ‘playable’, very ‘pianistic’. Secondly, I wanted to know how this piece has been influenced by Romanian folk music. In order to be able to do this, I had to determine what ‘Romanian folk music’ actually is. So I tried to narrow it down to the most distinct and prominent characteristics. I did this in chapter three, in which I started by quoting Enescu himself on the subject. According to him, the music of his country is full of ‘dor’ (‘Sehnsucht’), and there is ‘sadness even in the midst of happiness’. Shifting between major and minor also occurs frequently, I noticed. When I started analyzing songs I knew from my childhood, and started looking for characteristics on the internet, in chapter four, I deminstrated that there are some elements which appear in most of Romania’s folk music, concerning instruments, scales and modes, meter and rhythm, ornamentation, ‘doina’ and gypsies.
Playing Harmonium Art Music on the Concert Accordion
Authors: Robbrecht Van Cauwenberghe
Published: September 2024

The harmonium and the accordion are two similar instruments working via the same core principles: free-reeds and bellows. Despite this commonality, the harmonium was popular in the late romanticism & early 20th century whilst the accordion, as a concert instrument, started to emerge only from the 1950s on; both instruments thus having a totally different repertoire. Nowadays however, it is not so easy to find a decent harmonium, let alone to come across somebody who masters its specific technique and for that reason, harmonium pieces are these days often performed on an accordion. This research will therefore try to be a guide for the accordion player who is asked to play a piece that was originally written for the harmonium, by providing him with some necessary tools and background information concerning the specifics of the harmonium. First of all, a brief history, focussing on the historical and constructional similarities and differences between both instruments, is included and besides that, the most common harmonium-types (compression system, suction system, art harmonium) aswel as the rise of the free-bass accordions are being described. The second chapter deals with the specific repertoire for the harmonium by offering a list containing the majority of the romantic literature for the instrument, written by established composers of that era. Hereby, some of the key compositions, e.g. l’Organiste by César Franck, are highlighted. A comparison between the way of playing, sound and registration of both instruments will conclude this thesis.
Singing and Well-being - The Experiences of Professional Choir Singers
Authors: Laura Ginström
Published: September 2024

Name: Laura Ginström
Main subject: Ensemble Singing
Supervisor: Gerda van Zelm

Title of research: Singing and Well-being - The Experiences of Professional Choir Singers

Research question: How do professional choir singers describe the effects of singing and the professional life on their well-being, and what is the importance and effect of singing-related well-being for my own artistic development?

Summary of results:
Singing in choirs has been an integral part of my life, and I have personally experienced enjoyable physical sensations, positive emotions and social bonding associated with choir singing. Researching this topic further, I learned that these experiences can be described as singing-related well-being. According to a growing number of studies amateur choir singing produces various beneficial effects on health and well-being. Research on professional singers about their experiences and occupational well-being has been much scarcer. Based on the limited studies, they might not enjoy all of the same benefits of singing as amateurs do. The goal of this research was to start closing this research gap and to learn what professional choir singers have to say about singing-related well-being. I created an online questionnaire to gather experiences from professional singers, and also kept a diary of my own well-being experiences during professional choir projects. Analysing these two sources of data revealed that professional singers did recognise many of the well-being experiences associated with singing. However, professional choir singing was not perceived as something especially relaxing or therapeutic, which are common themes emerged from research on amateurs. The social aspects of choir work were deemed important in experiencing singing-related well-being, as well as the conductor’s artistic approach. For me personally, these well-being experiences have been the motivation for my career choice and for this research, and they also serve as an indicator of my development as a musician.

The format of this research is a thesis.

Biography:
Laura Ginström (1992) is a Finnish mezzo-soprano who has studied vocal pedagogy and clinical psychology in Helsinki. Her love for choir singing brought her to The Hague, where she started in the new Master Specialisation Ensemble singing at The Royal Conservatoire in 2018. She currently studies with Noa Frenkel and sings projects with The Netherlands Chamber Choir as a part of the master’s course. She is passionate about combining her two careers in singing and psychology, being particularly interested in the beneficial effects of singing on the body and the mind.
Rethinking ornamentation : a rhetorical approach to da capo arias of Georg Friedrich Händel
Authors: Francisca Prestes Branco Gouveia
Published: September 2024

Ornamenting baroque da capo arias is crucial for the historically informed singer. However, the choice of ornaments should do more than fit the affects portrayed in a given piece: it should emphasize their expression and move the affections of the audience. In Mattheson’s Der vollkommene Capellmeister it is suggested that rhetorical figures can be of good use as ornaments. Out of the abundant number of figures listed by theorists associated with the movement of the German Musica Poetica, only a few have simultaneously an affective meaning and can be applied to a pre-existing melody. This research explores some of the existing ornamented melodies by G. F. Händel and singers from the time of the composer to understand how these ornaments can be linked with figures from rhetoric, and how they assist in the expression of the text. This research associates rhetorical figures and manieren with general affects and demonstrates its practical use in selected operatic repertoire by G. F. Händel. This study aims to enhance the author’s aesthetic choices while performing, and furthermore encourage other singers to use ornamentation effectively in similar repertoire.
George Lloyd - Music for Brass, from symphony to test-piece
Authors: Pieter Koster
Published: September 2024

Name: Pieter Koster
Main Subject: Wind band Conducting

Research Supervisor: Paul Scheepers

Title of Research: George Lloyd – Music for brass, from symphony to test-piece

Research Questions:
1. Did George Lloyd change his way of composing from Symphony no. 10 via Royal
Parks to Diversions on a Bass Theme?

a. In what way does George Lloyd treat the following compositional elements in
each piece?

i. Structure
ii.Harmony
iii.Thematic material
iv. Musical Tension

b. In what way does the treatment of these elements differ in each piece?

2. Did George Lloyd succeed in combining his own views with the demands of the test-piece commissions, to write an appropriate test-piece? Summary of Results: Cornish symphonic and opera composer George Lloyd has written several compositions for brass, starting with a symphony for brass ensemble (Symphony no. 10) and then several test-pieces for brass band. The commission of test-pieces for brass band contests appears to be guided only by implicit criteria for these sort of compositions. Lloyd’s first test-piece, Royal Parks, apparently did not meet the criteria and his second test-piece, Diversions on a Bass Theme, did. This thesis investigates if George Lloyd changed his way of composing to write an appropriate test-piece, by a detailed analysis of Symphony no. 10, Royal Parks and Diversions on a Bass Theme. Besides that the thesis will try to answer the question if Lloyd was able to combine his own musical views with the demands of the test-piece commissions. The main findings are that Lloyd remained within his own musical language when writing the test-pieces, however he made some decisive choices regarding structure, form and thematic material that influenced the compositions significantly. He did partially succeed in combining his own views with the demands of the test-piece commissions. Biography: Pieter Koster (1985) completed his Bachelor’s Degrees at the Royal Conservatory in The Hague as a student of Ad van Zon on the trumpet, and Alex Schillings for conducting. In September 2016 he successfully completed his Master-exam concert with the Bundes Polizeiochester München. Pieter has participated in multiple conducting courses with renowned (professional) orchestras and teachers. Today he is professional conductor of the fanfare orchestras ‘Ons Genoegen’ Hattem, ‘Wilhelmina’ Volendam and the Koninklijke Brassband Utrecht. He is also a brass teacher for numerous students. Since 2014 he is secretary and member of the board of the Dutch Association of Wind band Conductors (Bond van Orkestdirigenten en Instructeurs).
Comparisons of Perspective in the Empfindsamer Stil: How the music of Carl Philipp Emmanuel Bach represents a microcosm of an emerging cultural initiative
Authors: Kristen Huebner
Published: September 2024

Name: Kristen Huebner

Main Subject: Traverso

Research Coaches: Inês de Avena Braga and Jacques Ogg
Title of Research: Comparisons of Perspective in the Empfindsamer Stil: How the music of Carl Philipp Emmanuel Bach represents a microcosm of an emerging cultural initiative

Research Question:
What are the musical tools available to musicians which can be used to unlock the complex understanding of the Empfindsamer Stil?

Research Process:
My research process has been the result of years working and performing the 1788 Quartets for Keyboard, Flute and Viola by Carl Philipp Emmanuel Bach. Besides a deep musical analysis of these three works, the main body of my research has dealt with the developing style which is commonly associated with this music, that of Empfindsamkeit or Empfindsamer Stil. The English translation equating to “sensitive style” is often associated with the Sturm und Drang, a highly influential literary movement of the 1770s. After reading much of the actual literature of the Sturm und Drang, including Johann Wolfgang Goethe’s Die Leiden des jungen Werthers, I set out to draw a distinction between the terms Empfindsamkeit and Sturm und Drang. Carl Philipp Emmanuel Bach’s ersuch ber die ahre rt das lavier u spielen provided the springboard for my musical analysis of the Quartets and a subsequent categorization of three distinct musical characteristics used to describe the music of the Empfindsamkeit.
Summary of Results:
Having its origins in literature, the Sturm und Drang aimed to represent an artistic struggle showing the depths and extremes of the human experience, working most often in contradiction with the mainstream Enlightenment ideology of the time, which was founded and based on man’s ability to reason. Breaking away from this restrictive model, the Sturm und Drang influence crept further into cross-disciplines of poetry, theater and painting, yet striking deepest in the most ambiguous and indefinable of arenas, music. The Quartets of Carl Philipp Emmanuel Bach surprised and demanded a more explicit and contemplative attitude in order to perform with any real consciousness or effect. In addition to shifting roles in instrumentation with the keyboard asserting dominance over the supporting flute and viola, I have explored rhythmic manipulation and surprise, in addition to dynamic juxtaposition. Perhaps most taxing for the performer of these Quartets is the abruptness with which one must make changes in mood and character; drastic intervallic leaps, modulation to strange keys and an intentional disruption of the rhythmic pulse all contribute to a sense of impulsiveness, the suggestion of something that cannot be predicted and should be performed with an equal amount of surprise. The presentation will take the form of an informative demonstration combining live musical examples with visual representations of paintings and portraits of key figures in a PowerPoint presentation.
Mastering trumpet excerpts for wind band orchestra: practicing, making exercises and testing their pedagogical usefulness
Authors: David Perez Sanchez
Published: September 2024

This document presents a research, focused on case studies that aim to explore the repertoire for Wind Band and best preparation strategies for performers. It has two well-defined objectives: the first is to make a good catalogue of trumpet excerpts on original works for wind band, and the second one is to find an easy and simple way to help anyone who wants to prepare these excerpts for an audition.

The process began with a broad search for wind band jobs and repertoiry. I was mentored by many principal trumpets from different countries, mainly because it was not easy to find books about it. This was also one of the biggest motivations, but also a problem. The second step was to choose 9 of these excerpts, in which we were able to find different styles, some of them virtuosic, others with slow movements, and identify the main technical difficulties. The subsequent focus was on these difficulties and I made technical, rhythmic and also mental exercises to help improve the interpretation in a simple way.

Once all the data has been collected, I drew conclusions in order to contribute to the musical educational community and create new ways of preparing the wind band repertoire. I made these exercises with help of knowledge from performing science and the outcome was positive as this achieved almost instantaneous results, improving the student’s playing in just 3 workshops of 30 minutes each. This process was documented through recording workshops and subsequent interviews.

Key words: Music Education, Practicing skills, Wind Band repertoire, Case Studies.
Losing time
Authors: Daniil Pilchen
Published: September 2024

We usually perceive time as an integral part of our everyday life. We try to wake up at the same time every day, we schedule our affairs and get upset if a train is five minutes late. However, we often face situations that challenge our usual experience of time when we notice an uncrossable gap between this experience and what can be measured by clocks. I believe that music is infinitely capable of providing us with such experiences, and creating that kind of confusing time with music is the main focus of my research.

At the heart of this research is the idea of three ways of representing time in music: measured, unmeasured, and immeasurable. Theoretical conceptualization is mainly built upon the works of Henri Bergson and Alexander Vvedensky. However, their works focus mostly on individual experiences of time, but my main question is how one can communicate such an experience to other people through music, and how to make this experience social. I analyze different musical strategies that deal with unmeasured time or challenge the idea of measurement itself.

I conclude by presenting my own strategies of creating confusing temporal experiences, mainly through building failing hierarchies of temporal authorities and challenging the possibility of simultaneity. These strategies are presented through the series of pieces called “Songs” on which I have been working while writing this paper.
Between building foundational skills and instilling self-guided learning: Solfège pedagogy in higher music education
Authors: Ida Vujović
Published: September 2024

While in some educational systems solfège is taught systematically from a young age (whether in specialized music schools or in classroom music), in other countries it is a compulsory discipline only in professional education. In the latter case, students start learning solfège as teenagers or young adults but by that time they have already developed some of the solfège skills through years of playing an instrument. What these skills exactly are, and what overall musical knowledge students already have, differs from one student to another. Some are already familiar with certain chord progressions, some have general knowledge about keys and intervals, some have never sung before, and some can already play by ear on their instrument. Students themselves are not always aware of the level of their skills or may have the wrong impression about them. Teachers need time to obtain an objective picture of each student’s abilities. If the teacher wants to build on the students’ pre-knowledge, it can be difficult to decide exactly where to start and which route to take towards the goal. Starting at the level of basic skills makes this much longer and might demotivate students; starting at too high a level will unavoidably leave gaps in knowledge. Many music theory pedagogues choose to start “half way,” after first having systematized all the knowledge and skills that should already have been developed—which might turn out to be both too low and too high at the same time.
While there is much research in the domain of solfège issues in music psychology and there are many publications concerning classroom music, almost the only sources of information about solfège methodology for college-level students are solfège method books and textbooks. Conservatory students without previous solfège training are not problematized as a specific group of solfège-learners. In this article I am proposing that conservatory beginners are seen as a specific group of learners who are experienced and novice at the same time. I will point out and discuss several issues that are relevant to the design of the solfège method for this group, especially concerning the first months of learning where the foundation is being built. I will argue that learning solfège in general is a process with its own particularities, and that the awareness of these should be the starting point for the planning of the learning sequence. A solid foundation is seen as the requirement for any further learning, and the role of the teacher is crucial in developing or strengthening it in students. In this context the concepts such as preparation, readiness for learning, repetition, routine, challenge and independent learning are discussed.
Through a comparison of methods for children and adult beginners, I aim to explain some of the problems that are encountered in the solfège pedagogy.
(RE)SOUNDING ALEXANDER J. ELLIS: A SPECULATIVE BIOGRAPHY THROUGH TUNING, SONG WRITING AND COMPOSITION. (exam version)
Authors: Seamus Cater
Published: September 2024

Abstract:

An attempt to explore a method of speculative biography through composition, taking Alexander J. Ellis as an object of research, and creating opportunities for exploring elements of his work, with the very tools he used at that time.

Combining research, correspondence, composition and instrument tuning, a (re)sounding of some key ideas of Ellis are presented. In a manner I postulate he may have experienced or imagined himself.

Aside from tuning two instruments common to Ellis, firstly, a London made concertina, and secondly, a set of 74 tuning forks, I will attempt a musical representation of parts of his archive and nineteenth century scientific research, using his means, objects and measurements as starting points for composition.

Tuning a concertina from 1924, in Skhismic tuning, an extended Pythagorean chain of 24 fifths, affords a system of ‘practically just intonation’, described by Ellis in the Appendix of Helmholtz’ ‘On the Sensations of Tone’ (first English translation 1875). Concertinas with 24 reeds within one of the octaves had not been not available in the time of Ellis.

Historically, reference pitches had often been tuned onto tuning forks for sharing locally and internationally. Using the data from ‘On the History of Musical Pitch’ (1880), where Ellis gathered 223 historical instances of the note A from European instrument makers and musicians, I produced a just intonation system with the 74 unique Hz frequencies. Extremely minor adjustments were made, allowing the possibility that each Hz frequency could be expressed as a small number or Pythagorean ratio. These were then tuned onto a set of new forks ranging from F# to C#, by current A440 standards.
Developing Madrasah Tourism Experience Model: Examining Tourist Psychological Variables through Systematic Literature Review
Authors: Johari Mohd Hasrul Yushairi , Abd. Gani Arni
Published: September 2024

This study investigates the Madrasah Tourism Experience Model (MTEM), focusing on its role in understanding the complex interplay between cultural, psychological, and environmental factors in Madrasah tourism. Despite increasing interest in religious and cultural tourism, there is a significant research gap regarding the specific experiences and psychological impacts of visiting Madrasahs. This research addresses this gap by examining key psychological variables influencing tourists’ experiences in these settings.  Using a systematic literature review (SLR) methodology, the study analyses 16 carefully selected articles from 327,715 papers to construct a comprehensive model. It highlights how social interaction, cultural engagement, novelty, pleasantness, and relaxation contribute to the tourist experience. The findings extend existing theoretical frameworks by exploring how cultural exchange and hospitality within Madrasah tourism can enhance psychological well-being and satisfaction.  Key findings indicate that Madrasah tourism can be significantly improved through tailored experiences, such as guided tours and interactive exhibits, and by creating serene, immersive environments. This approach reaffirms established theories and introduces new insights specific to Madrasah tourism.  The implications are significant for both academic researchers and tourism practitioners. The MTEM offers practical guidelines for enhancing visitor experiences and promoting sustainable tourism practices. By integrating cultural exchange and environmental stewardship, Madrasahs can provide more engaging and satisfying experiences, fostering long-term visitor loyalty and contributing to cultural and religious tourism.
The Challenges in Adopting Electric Buses: A Case from Melaka, Malaysia
Authors: A Rahman Husnul Laili , Cheong Chew Boon , Saptari Adi , Azmi Fadhlur Rahim , Roni Mastura
Published: September 2024

The Malaysian government has initiated a collaboration with private agencies to expand the green transport ecosystem by introducing electric buses. Despite these efforts, the adoption of electric buses in urban areas remains minimal. This paper addresses two research objectives: (a) to identify the challenges in adopting electric buses, and (b) to recommend improvements for adopting electric buses in Malaysia. Utilizing a qualitative methodology, this study aims to capture the experiences and reflections of interviewees through targeted population or place studies. This approach allows for the collection of detailed information and the development of new concepts and theories. The interviews revealed three main barriers to adopting electric buses in Melaka: battery reliability and durability, a lack of charging infrastructure, and insufficient operational knowledge. The paper suggests that the government and policymakers should take proactive measures to promote green technology and increase the acceptance of electric buses in urban areas through awareness campaigns.
Pediatric obstructive sleep apnea-related risk factors: A cross-sectional study
Authors: Machado Saporiti Júlia , Castagno Deborah , Delpizzo Castagno Clarissa , Perpétua Mota Freitas Maria , Leão Goettems Marília , Boscato Noéli
Published: September 2024

Objectives: This study investigated obstructive sleep apnea (OSA)-related risk factors in children and adolescents.
Materials and methods: Records of 187 subjects from a private medical clinic were reviewed. Overnight polysomnography recordings and self/parent reports were gathered. Descriptive analysis of sociodemographic, anthropometric, sleep quality and sleep architecture variables and OSA diagnosis were performed. Associations between independent variables and OSA diagnosis were assessed through multivariable logistic regression with robust variance, with a significance level of 5%. 
Results: 132 participants were diagnosed with OSA, and 55 were classified as “no OSA” (29.41%). Those overweight or obese were 4.97 times more likely to have OSA than those with normal weight (P =  0.005). Those who reported loud snoring were 2.78 times more likely to have OSA than those who reported mild or moderate snoring intensity. A one-unit increase in arousal index leads to 1.39 increase in the odds ratio (OR) of individuals diagnosed with OSA (P < 0.001), and each one-unit increase in sleep efficiency leads to 1.09 higher odds of not having OSA (P =  0.002).
Conclusions: Significantly increased OSA-related risk factors among overweight/obese children and adolescents and among those who had a parental/self-report of loud snoring were found.
Anesthetic Management of a Pediatric Patient With Pfeiffer Syndrome
Authors: Inoue Emiko , Owada Chikako , Kiyohara Ayumi , Miyata Tomoyuki , Wajima Hina , Iwahori Yasuko , Tsujimoto Gentaro , Yasuda Asako , Shionoya Yoshiki
Published: September 2024

Pfeiffer syndrome (PS) is a rare inherited disorder that affects the craniofacial and extremity bones but can also include anomalies of the upper and lower airways. Among the 3 subtypes, PS types 2 and 3 are the most severe. We describe the anesthetic management of a 10-year-old boy with PS type 2 scheduled for dental treatment under general anesthesia. Because of his history of Chiari malformation, avoiding neck hyperextension was recommended to prevent worsening of his neurologic function. Preoperative computed tomography revealed significant nasal stenosis but no tracheal anomalies. Considering the difficulty of nasotracheal intubation, we planned for an oral intubation. General anesthesia was induced using sevoflurane, nitrous oxide, and oxygen along with an oropharyngeal airway. After lidocaine was topically applied to the oropharynx, fiber-optic orotracheal intubation was performed under spontaneous ventilation to minimize head and neck movement. Anesthesia was maintained using desflurane and remifentanil, and no postoperative complications were observed. General anesthesia for patients with PS requires careful planning, which should include preoperative assessment of the airway to determine the feasibility of nasotracheal intubation and identify airway irregularities.
Stability of Epinephrine in a Normal Saline Solution
Authors: Sawicki Caroline M. , McKim Daniel B. , Wang Hongrui , Vasas Morgan , Blakeslee Joshua J. , Jatana Courtney A. , Dib Patrick , Cornelius Bryant W. , Wade Spencer D.
Published: September 2024

Objective

Dilution of concentrated epinephrine prior to intravenous use during clinical emergencies can delay urgent interventions. The objective of this study was to determine whether diluted epinephrine remains stable and sterile over time in common hospital settings.

Methods

Epinephrine samples were prepared by clinically relevant double dilution techniques. Samples were stored in 10-mL syringes and incubated under 1 of 4 simulated hospital environments with a mixture of lighting and temperature settings: 4°C/20°C, with or without fluorescent lighting. Samples were incubated for 0, 15, 30, 60, or 90 days. Capillary zonal electrophoresis was used to quantify the concentration of epinephrine and/or presence of any degradation products. All samples were tested for the presence of bacterial growth using blood agar cultures.

Results

Diluted epinephrine samples remained stable for up to 90 days in all 4 simulated clinical storage conditions. No bacterial colony-forming units were detected in any of the environmental samples regardless of incubation duration, light, or temperature conditions.

Conclusion

Diluted epinephrine for anticipated clinical emergencies may remain clinically useful for up to 90 days, thus improving patient safety, access to medications, and overhead costs by reducing waste.
Media Pembelajaran Audiovisual Interaktif pada Topik Seni Tari Siswa Kelas IV Sekolah Dasar
Authors: Komang Trisna Wikantari  , Kadek Suranata
Published: September 2024

Kurangnya partisipasi serta keaktifan siswa dalam belajar SBDP Seni tari, atau pasif dalam memahami konsep pembelajaran SBDP Seni tari, dilatarbelakangi oleh proses pembelajarn masih berpusat pada guru atau teacher center. Selain itu guru jarang menggunakan media pembelajaran yang mendukung proses pembelajaran SBDP. Sehingga penelitian ini bertujuan untuk mengembangkan media pembelajaran audiovisual interaktif pada mata pelajaran SBDP topik seni tari materi gerak dasar tari Bali untuk pemula siswa kelas IV SD. Subjek dalam penelitian ini menggunakan 2 orang ahli media, 2 orang ahli tari, 2 orang praktisi, dan 22 siswa uji coba lapangan. Media audiovisual pembelajaran dinyatakan valid dengan kualifikasi sangat baik dari para ahli dengan persentase hasil validitas ahli media diperoleh skor 93% kategori sangat baik, hasil validitas ahli tari diperoleh skor 89,5% kategori baik, hasil validitas praktisi diperoleh skor 88,5% kategori baik. Sedangkan uji coba lapangan untuk mengetahui efektivitas media pembelajaran audiovisual interaktif mendapatkan rata-rata nilai minat belajar sebelum dan sesudah diberikan perlakuan. Rata-rata nilai sebelum diberikan perlakuan yaitu 66 sedangkan rata-rata nilai 93 setelah diberikan   perlakuan dan mendapatkan nilai signifikansi lebih kecil. Berdasarkan hasil validitas dan efektivitas media pembelajaran audiovisual interaktif pada mata pelajaran SBDP topik seni tari mampu meningkatkan minat belajar siswa dalam seni tari Bali.
Analysis of statistical relationships between the levels of suicides and deaths due to injuries with undefined intent as evidence of the potential latentity of the suicides rate in Ukraine
Authors: Zadorozhny Nazar
Published: September 2024

The article analyzes the available statistical data on the levels and coefficients of the causes of death in Ukraine according to the information of the State Statistics Service of Ukraine in the period from 2005 to 2021, among which special attention that is paid to intentional self-harm (suicide) and cases of injuries with undetermined intent. Statistical categories and signs are described, according to which data are collected on cases of death from intentional self-harm in Ukraine. A partial comparison of these indicators with the indicators of other countries, in particular, the USA and the countries of the European Union, was carried out. An analysis of the dynamics of changes in the levels of registered suicides and deaths due to injuries with an undetermined intent was carried out. The unreasonableness of the excessive fluctuation of the indicator of the coefficient of deaths due to cases of injury with an uncertain intention is emphasized. For the first time, superimposition of data patterns in the categories of percentage distribution of age groups was applied, after which an analysis of the obtained results was carried out to determine the correlation using the Pearson coefficient. A comparison of death rates from deliberate self-harm was made with other categories of causes of death, including accidental drowning and submersion and accidental poisoning by other toxic substances. Additional statistical anomalies related to indicators of suicide rates and cases of injuries with undetermined intent are mentioned, in particular, regionally in Ukraine. The position that the revealed results allow us to assert the unreliability of open statistical data on the levels of suicides in Ukraine, as well as the position that cases of death due to intentional self-harm in Ukraine may be characterized by a high level of latency because of their qualification as deaths due to cases of injuries with an undetermined intent., is substantiated.