bluuebunny/crossref_metadata_2025_split huggingface dataset:
From Tweets to Streets: Observational Study on the Association Between Twitter Sentiment and Anti-Asian Hate Crimes in New York City from 2019 to 2022
Authors: Wei Hanxue , Hswen Yulin , Merchant Junaid S , Drew Laura B , Nguyen Quynh C , Yue Xiaohe , Mane Heran , Nguyen Thu T 
Published: September 2024

Background
Anti-Asian hate crimes escalated during the COVID-19 pandemic; however, limited research has explored the association between social media sentiment and hate crimes toward Asian communities.

Objective
This study aims to investigate the relationship between Twitter (rebranded as X) sentiment data and the occurrence of anti-Asian hate crimes in New York City from 2019 to 2022, a period encompassing both before and during COVID-19 pandemic conditions.

Methods
We used a hate crime dataset from the New York City Police Department. This dataset included detailed information on the occurrence of anti-Asian hate crimes at the police precinct level from 2019 to 2022. We used Twitter’s application programming interface for Academic Research to collect a random 1% sample of publicly available Twitter data in New York State, including New York City, that included 1 or more of the selected Asian-related keywords and applied support vector machine to classify sentiment. We measured sentiment toward the Asian community using the rates of negative and positive sentiment expressed in tweets at the monthly level (N=48). We used negative binomial models to explore the associations between sentiment levels and the number of anti-Asian hate crimes in the same month. We further adjusted our models for confounders such as the unemployment rate and the emergence of the COVID-19 pandemic. As sensitivity analyses, we used distributed lag models to capture 1- to 2-month lag times.

Results
A point increase of 1% in negative sentiment rate toward the Asian community in the same month was associated with a 24% increase (incidence rate ratio [IRR] 1.24; 95% CI 1.07-1.44; P=.005) in the number of anti-Asian hate crimes. The association was slightly attenuated after adjusting for unemployment and COVID-19 emergence (ie, after March 2020; P=.008). The positive sentiment toward Asian tweets with a 0-month lag was associated with a 12% decrease (IRR 0.88; 95% CI 0.79-0.97; P=.002) in expected anti-Asian hate crimes in the same month, but the relationship was no longer significant after adjusting for the unemployment rate and the emergence of COVID-19 pandemic (P=.11).

Conclusions
A higher negative sentiment level was associated with more hate crimes specifically targeting the Asian community in the same month. The findings highlight the importance of monitoring public sentiment to predict and potentially mitigate hate crimes against Asian individuals.
United Voices Group-Singing Intervention to Address Loneliness and Social Isolation Among Older People With HIV During the COVID-19 Pandemic: Intervention Adaption Study
Authors: Hill Miranda , Greene Meredith , Johnson Julene K , Tan Judy Y 
Published: September 2024

Background
People living with HIV experience HIV stigma alongside a spectrum of aging-related health conditions that accelerate their vulnerability to the ill effects of loneliness and social isolation. Group-singing interventions are efficacious in improving psychosocial well-being among older people in the general population; however, the social curative effects of group singing have not been explored in relation to HIV stigma. By promoting group identification, bonding, and pride, group singing may reduce loneliness, social isolation, and other negative impacts of HIV stigma among older people living with HIV. Access to group-singing programs may be enhanced by technology.

Objective
While group singing has been extensively studied in older adults, group-singing interventions have not been adapted for older people living with HIV to target loneliness and social isolation in the context of HIV stigma. The objective of this study was to describe the systematic development of a group-singing intervention to reduce loneliness and social isolation among older people living with HIV.

Methods
In the San Francisco Bay Area between February 2019 and October 2019, we engaged older people living with HIV in a rigorous, 8-stage, community-engaged intervention adaptation process using the Assessment, Decision, Adaptation, Production, Topical Experts, Integration, Training, and Testing (ADAPT-ITT) framework. On the basis of a formative assessment of the needs and preferences of older people living with HIV, we selected an evidence-based group-singing intervention for older adults and systematically adapted the intervention components by administering them to a community advisory council (n=13).

Results
The result was United Voices, a 12-week hybrid (web-based and in-person) group-singing intervention for older people living with HIV. United Voices comprises 12 web-based (ie, via Zoom [Zoom Video Communications]) rehearsals, web-based and in-person drop-in helpdesk sessions, and a professionally produced final concert recording.

Conclusions
Through an iterative process and in consultation with stakeholders and topic experts, we refined and manualized United Voices and finalized the design of a pilot randomized controlled trial to evaluate the feasibility and acceptability of the intervention protocol and procedures. The findings provide insights into the barriers and facilitators involved in culturally tailoring interventions for older people living with HIV, implementing intervention adaptations within web-based environments, and the promise of developing hybrid music-based interventions for older adults with HIV.
principio de irrenunciabilidad en el código del trabajo chileno
Authors: Irureta Uriarte Pedro Pablo 
Published: September 2024

El principio de irrenunciabilidad ha sido consagrado en el Código del Trabajo chileno, como una garantía frente a actos de abandono unilateral de derechos legales. De esta manera, el legislador no circunscribe la irrenunciabilidad como una figura propia ni de intangibilidad ni de indisponibilidad. Por el contrario, el legislador la estructura como una prohibición de abdicar libremente del ejercicio de un derecho legal que ya ha sido adquirido por su titular, sin contraprestación, y dejando abierta la puerta a supuestos de transacción (aun cuando ello ocurra durante la vigencia del contrato). Más allá de la irrenunciabilidad, opera la inderogabilidad de la norma laboral, la cual permanece durante toda la vigencia del vínculo contractual y permite asegurar la adquisición del derecho.
Variability of VPU protein in HIV-1 sub-subtype A6 in patients with different stages of HIV infection
Authors: Antonova A. A. , Lebedev A. V. , Kazennova E. V. , Kim K. V. , Ozhmegova E. N. , Tumanov A. S. , Munchak Ya. M. , Orlova-Morozova E. A. , Pronin A. Yu. , Prilipov A. G. , Kuznetsova A. I. 
Published: September 2024

The aim of the study: to compare the genetic diversity of the Vpu protein in HIV-1 in the people living with HIV (PLWH) with different stages of the disease.Materials and methods. An analysis was carried out of 259 clinical samples of whole blood from HIV-infected patients with no experience of taking antiretroviral therapy, who were observed at the Center for the Prevention and Control of AIDS and Infectious Diseases, Moscow, Russia. The analysis included the following stages: extraction of proviral DNA, ampliﬁcation of the region of the virus genome containing the vpu gene, sequencing of ampliﬁcation products, genotyping, comparison of conservation and amino acid substitutions in the Vpu protein sequences in PLWH with different stages of the disease.Results and discussion. In 255 out of 259 (98.4%) clinical samples, a sub-subtype A6 virus variant was identiﬁed. The consensus sequence of the Vpu sub-subtype A6 protein was obtained, which contained 81 amino acids. No signiﬁcant differences in the conservation of Vpu protein sequences were found between HIV-1 variants obtained from patients with different stages of the disease. Amino acid substitution P3A was signiﬁcantly more common in PLWH with the second stage of HIV infection.Conclusion. The results obtained highlight the issue of the inﬂuence of non-structural proteins of HIV-1 on the course of the disease and indicate directions for possible research in the future.
Evaluation of TREC/KREC levels in HIV-infected individuals
Authors: Ostankova Yu. V. , Saitgalina M. A. , Arsentieva N. A. , Totolian A. A. 
Published: September 2024

The aim of this study was to evaluate TREC and KREC levels in HIV-infected individuals.Materials and methods. The study material was whole blood samples obtained from HIV-infected individuals with less than one year of infection (n=50) and long-term patients with high viral load and virological failure of ART (n=50). The obtained data were analyzed in comparison with the norm values established earlier for adults of different age groups. Multicolour ﬂow cytometry was used to phenotype peripheral blood cells of HIV-infected individuals. To assess the levels of TREC and KREC molecules with all total DNA samples, quantitative multiplex Real-time PCR was performed using the reagent kit«TREC/KREC-AMP PS» (Saint-Petersburg Pasteur Institute, St. Petersburg), according to the manufacturer’s instructions. Results and discussion. A reliable direct correlation TREC levels in peripheral blood with the number of CD45+CD3+CD19– T-cells (r=0.77, p<0.0001), KREC levels with the number of CD45+CD3–CD19+ B-cells (r=0.79, p<0.0001) was determined. A signiﬁcant decrease in the levels of TREC and KREC molecules in HIV-infected individuals with high viral load and virological failure of antiretroviral therapy was shown (AUC=0.99, Se=0.99, Sp=0.99 for TREC and for KREC).Conclusion. Assessment TREC and KREC molecule levels in peripheral blood can be used to detect abnormalities in the functioning Tand B-cell immunity to monitor the ART effectiveness in HIV-infected individuals.
Music as an artificial language - an annotated collection of early music sources mentioning the relationship between instrumental music, singing, and speaking, questioning their relevance for today’s performers
Authors: Isabella Mercuri  
Published: September 2024

Name
Isabella Mercuri

Main Subject
Recorder

Research supervisors
Inês de Avena Braga and Frédérique Thouvenot

Title of Research
Music as an artificial language - an annotated collection of early music sources mentioning the relationship between instrumental music, singing, and speaking, questioning their relevance for today’s performers

Research Question
What do treatises of the Renaissance and Baroque period mention about the relationship between instrumental music, singing, and speaking and how can I use those indications in my playing?

Summary of Results
The collection of sources from the beginning of the sixteenth century until the middle of the eighteenth century showed that the indications given by the authors are often very similar to each other, although being written in a completely different time and environment. The following three main ideas appear in several treatises and were therefore examined more in detail:

-	Imitation of the human voice or of a specific instrument
-	Following a speech and using the means of rhetoric
-	Underlying instrumental music with text

The practical application of those three ideas led to an enrichment of my palette of sound colours, to an improvement in making clear phrasings and gave me some inspiration to find the appropriate affections to communicate to the listeners.

This research paper and the included collection of sources might also be a starting point for further research exploring for instance more in detail one of the three main ideas mentioned above.

Biography
Isabella Mercuri was born in Switzerland, where she started studying the recorder with Kees Boeke and Matthias Weilenmann and completed her Bachelor of Arts in Music at the Zürcher Hochschule der Künste in 2013. She then moved to the Netherlands to continue her studies with Daniël Brüggen at the Royal Conservatoire in The Hague, where she also studies the baroque oboe with Frank de Bruine.
Isabella Mercuri is active as a recorder teacher for children and adults and regularly performs in different chamber music settings in the Netherlands, Belgium, Switzerland, Serbia and Spain.
Out of the "Engine Rooms"
Authors: Michelle Pritchard  
Published: September 2024

The late Nineteenth Century saw the emergence of the viola from the ‘engine room’ of the orchestra to a solo instrument in its own right, due to champions such as English violist Lionel Tertis. The viola’s rising status paved the way for collaborations between violists and composers, resulting in an expansion of a relatively limited repertoire and placing higher demands on the performer. Through theoretical and practical based research, I identify the roles and responsibilities of the classical violist when collaborating with living composers. At the centre of my practical investigations were collaborations with four composers in the realisation of new works and exploration of pre-existing works by three composers, as part of a cross-departmental/cross-cultural collaboration. These collaborations highlight the importance of a high level of musicianship and an ability to communicate with and without the instrument. Artistic and intellectual exchange through open communication results in mutually beneficial outcomes and a deeper connection with the music. Additionally, these collaborations reveal that the viola is still emerging as a solo instrument, needing further experimentation and exploration.
The final aspect of my research is the curation of a lecture-recital series showcasing these new compositions, anchored with works from the standard and lesser-known repertoire. The future aim is to perform and record these new works in order to reach a wider audience. Successful collaborations contribute to the generation, promotion, and contribution to the classical viola repertoire and the status of the instrument itself now and into the future.

Bio
Michelle Pritchard is an Australian violist, violinist and pedagogue, studying her Master in Classical Music (Viola) with Ásdís Valdímarsdottír at The Royal Conservatoire, The Hague. In Australia, Michelle studied with Alex Todicescu, Sydney Conservatorium. Later with Jeremy Williams, obtaining an Associate of Music Diploma with Distinction, and a Graduate Diploma of Professional Music Performance Practice through the University of Tasmania. Specialising in chamber music, Michelle established a concert series in Sydney. She has toured Europe as recitalist and as a member of the Hourglass Ensemble. Additionally, she founded ‘Eisteddfod on the Mountain’ in the regional area north of Sydney
Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette
Authors: Noa Meshulam  
Published: September 2024

Name: Noa Meshulam

Main Subject: Historical Clarinet

Research Supervisor: Wouter Verschuren

Research Title: Clarinet Pedagogy in Times of Change and Advancement: The Evolution of Amand Vanderhagen’s Méthode Nouvelle et Raisonnée pour La Clarinette

Research Questions:

•	How are the changes in the clarinet’s design and playing techniques, musical aesthetics, and taste being manifested in Amand Vanderhagen’s method from the first to last edition (1785-1819)?

•	Has Vanderhagen changed his pedagogical model in the 34 years that passed between his first book and his last? If any changes occurred, what were the factors that contributed to that?

Summary:

During the last decades of the eighteenth century, the field of clarinet pedagogy started to blossom and rapidly developed alongside the publishing of the first comprehensive methods for the instrument. The earliest amongst these important treatises, Méthode Nouvelle et Raisonnée pour La Clarinette, by Belgian-French clarinetist Amand Vanderhagen, was published in 1785.
Throughout his lifetime, Vanderhagen edited and republished his method twice after the initial edition; In 1799, the Nouvelle Méthode de Clarinette, and in 1819, the Nouvelle Méthode de Clarinette Moderne à Douze Clés.

In this research, I demonstrate the ways in which the development of the clarinet and the changes in the musical culture in Paris affected, contributed to, and inspired Vanderhagen to modify his pedagogical model. In addition, I examine the ways changing musical aesthetics and styles are manifested throughout the three methods. During the process, I got the impression that Vanderhagen was extremely sensitive and attentive to the changes in the musical scene, as well as the advancements in the clarinet culture in Paris. Hence, between his three methods, I could spot several interesting changes in his approach, particularly in topics like embouchure, exercises, embellishments, etc.

With this comparison, I aimed to draw attention to a different thread that focuses on Vanderhagen’s approach to clarinet pedagogy in the late-eighteenth and early-nineteenth centuries, and appreciate the ways in which the instrument’s evolution contributed to the development of the method and practice of teaching.

Biography:

Noa Meshulam is an Israeli-Portuguese clarinetist specializing in historically informed performance. She earned her bachelor’s degree from the Jerusalem Academy of Music and Dance. During her bachelor studies, she participated in the Nazarian Excellence in Chamber Music Program and played with The Jerusalem Symphony Orchestra on several occasions. After graduating she moved to the USA to pursue her master’s degree at Indiana University and was awarded scholarship and fellowship grants. There, she also started studying historical clarinet with Eric Hoeprich, with whom she continued her second master’s studies at the Royal Conservatory in The Hague.
The art of auditioning
Authors: Janet Krause  
Published: September 2024

ABSTRACT
Main subject: Violin
Research Supervisors:	Kathryn Cok
Martine van der Loo
Title of Research:	The Art of Auditioning
Research Question:	What aspects should be considered in preparation for a successful violin audition?
Summary of Results:
An orchestral audition, and specifically to this paper, a violin audition, is possibly the least musically satisfying experience of one’s life. However, it is a necessary part of the path leading to a fulfilling life as an orchestral musician. The preparation for an audition certainly has specific aspects which need to be considered. This paper discusses these aspects, based in large part on my experiences as a Principal in The Hague Philharmonic and as a committee member at auditions for many years. As a violin and chamber music teacher as well as the teacher of the orchestral classes at the conservatoires in The Hague and Amsterdam, I have collected a wealth of experience training students to be successful at auditions. Besides the aspects of how to apply for an orchestral audition, which repertoire needs to be prepared, (including many orchestral excerpts which I have bowed and provided with fingerings myself), how to prepare effectively and what to expect on the actual audition day, there is a large section devoted to the research I have performed concerning mental and physical preparation. Developing mental skills to withstand the stress associated with auditions is an important part of audition preparation. Finally, I have researched, by means of a series of questions online and live and Skype interviews, how experts and candidates experience auditions. This has put me in contact with leaders of orchestras from around the world. How the two groups have responded to similar questions has put me in the position to draw some conclusions as to what committees expect at auditions and how this differs from the candidates’ viewpoints. In analyzing this research, and recognizing similarities in what I written from my own research and personal experience, I am able to draw some conclusions and make recommendations about how candidates could prepare better and be more successful at auditions.
Biography:
Janet Krause is Principal Second Violinist in The Hague Philharmonic and also a violin, chamber music and orchestral studies teacher at The Royal Conservatoire in The Hague. She is also teaching orchestral studies at the Conservatoire in Amsterdam. Born in Canada, she completed her Bachelor of Music in Performance at the University of Toronto, having studied with Lorand Fenyves. Moving to the Netherlands, she completed her solo-diploma at the Conservatory in Amsterdam, studying with Davina van Wely. She was a member of the Salzburger Solisten for many years and. primarius of the Dufy Quartet. Presently she is also Principal of the Solistes Européens in Luxembourg.
Intentional Listening
Authors: Rachel	Mills  
Published: September 2024

Name: Rachel Mills  Main

Subject: Classical Cello  Research

Supervisor: Stefan Petrovic

Title of Research: Intentional Listening

Research Question:
How does listening to recordings while learning a piece affect one’s artistic interpretation?  Summary of

Results:
Since beginning my masters, I have been intrigued with the concept of finding personal interpretations for the pieces I play. However, I found that when confronted with a standard take on a piece, I would doubt the legitimacy and usefulness of my own ideas. As a result, my research aimed to discover ways for myself and other studying musicians to find individuality in their music. Because the ease of access to recordings is such an important influence for musicians, this research focuses on how students can refer to recordings without allowing them to override personal creativity. The resulting research emphasizes the importance of intention, both in consulting recordings and in creating takes that one believes in. I have identified five ways to use recordings to help one determine a reason for consulting them. In addition, I have discovered a process of recording myself and intentionally listening to these recordings with a focus on my interpretation’s effectiveness. It is my hope that these processes will also work as a suggestion for other advance music students working towards discovering their artistic identity.

Biography:
Rachel Mills is pursuing a master degree at the Royal Conservatoire of The Hague where she studies with Jan Ype Nota and Michel Strauss. A native of New York State, she received her bachelors from Oberlin Conservatory in Ohio under Amir Eldan. While at Oberlin, Mills performed both as a soloist and with her quartet on multiple honors recitals and collaborated on recording projects with the Contemporary Music Ensemble, Oberlin Orchestra, and Sinfoniette. She has frequently sat principle cellist in student ensembles, including the New York State All-State Orchestra and on the Oberlin Orchestra’s most recent tour to Chicago’s Symphony Center. Mills has also participated in advanced and fellowship chamber music programs across the United States. In addition to her studies, Mills is passionate about finding ways to inspire young people to engage with classical music. In doing so, she thrice traveled to Panama to teach and perform in connection with the National Music Association there.