Thinking Time in Music Practice

We asked school- and college-aged instrumentalists ( N = 32) to imagine an ideal performance of a brief passage of music, record a performance of the passage, and describe discrepancies they noticed between their imagined and actual performances. The more experienced participants took at least as much time to imagine their idealized performances as it took to perform them; less experienced participants took less time to imagine what they were about to play. There were no differences among experience levels in the numbers or types of discrepancies identified. The differences between more and less experienced participants were also evident in a subsequent practice period. More experienced musicians’ practice included more frequent moments of pause, whereas school-aged participants seldom paused and tended to address performance issues other than those identified in their commentaries.

Components of the Pedagogical Practice of Bachelors Based on the Competence Approach

The chapter discusses the competence-based approach to the implementation of training during the practice period. The author presents in the form of a table the main types of tasks aimed at developing the professional competencies of future teachers. The conditions of pedagogical practice for students and their impact on the development of professional competencies were also studied. The author is of the opinion that practice-oriented training and individualization are the main conditions for the organization and development of the internship program by heads of educational institutions and methodologists of higher education. The author also considers the basic requirements for the organizers of the practice and analyses the current state of the problem of organizing the practice of students based on documents in the field of education and regulatory documents of a particular educational institution.

Phonetic contouring of polished surface of denture base for speech enhancement

The three main factors in complete denture construction are mechanics, esthetics, and phonetics. Out of which phonetics is generally given least importance as the tongue tends to adapt and patients tend to return to normal speech after a post insertion practice period of several weeks to several months. This may not be acceptable to certain group of people in accordance with their needs to speak socially or vocationally. An accurate approximation of palatal contours of a maxillary complete denture to patient’s tongue can improve intelligibility and decrease the post- insertion practice period. This article outlines a technique to replicate the patient’s palatal anatomy onto the polished palatal surface of a complete denture.

A Profile of Novice and Senior Nurses’ Communication Patterns during the Transition to Practice Period: An Application of the Roter Interaction Analysis System

Novice nurses’ successful transition to practice is impacted by their interactions with senior nurses. Ensuring that novice nurses are adequately supported during their transition to practice has wide-ranging and significant implications. The aim of this study is to explore the communication patterns between novice and senior nurses by applying an interaction analysis technique. Trimonthly onboarding evaluations between novice and senior nurses were recorded. The Roter Interaction Analysis System was adapted and deployed to identify communication patterns. In total, twenty-two interactions were analyzed. Senior nurses spoke more (64.5%). Task-focused exchange was predominant amongst senior (79.7%) and novice (59.5%) nurses. Senior nurses’ talk was concentrated in clusters of information-giving (45%) and advice or instructions (17.2%), while emotional expression (1.4%) and social talk (0.4%) were rare. Novice nurses’ talk was concentrated in clusters-information giving (57%) and positive talk (39.5%). The communication patterns between senior and novice nurses during the onboarding period indicate aspects of novice nurse transition that could be addressed, such as encouraging novice nurses to use these interactions to communicate more, or emphasizing the importance of social talk. These insights can be used to inform mentorship and preceptorship training to ensure that senior nurses are able to adequately support novice nurses through all parts of the transition to practice period.

The Tuned Berimbaus of OBADX

Chapter 7 discusses a second berimbau orchestra: the Dainho Xequerê Orchestra of Tuned Berimbaus (OBADX), led by the capoeira Contramestre Dainho Xequerê. With a more eclectic and inclusive approach than the Nzinga orchestra, OBADX keeps a greater distance from capoeira aesthetics, fuses various genres, including pieces of the so-called common practice period (e.g., Ravel’s Bolero), and, crucially, tunes its berimbaus to create melodies in hocket, much in the same way as British and US American handbell choirs, the Central African Republic’s banda linda horn ensembles, or Indonesian angklung groups function. In doing so, OBADX challenges the themes of African rhythmicity and percussiveness, asserting the importance of African melody and harmony in diasporic creation.

Plantar Pressure Evaluation during the Season in Five Basketball Movements

Sports activity is extremely important in the health context, with a clear motivation for its practice. One of the sports that involve more athletes is basketball, where the human body undergoes rapid reactions, emphasizing the contact of the foot with the ground. The main goal of the present study is to evaluate the distribution of plantar pressure in five different basketball movements. Supported by a group of nine volunteer female athletes from a senior basketball team, a data acquisition protocol was defined to identify the changes that occur throughout the sports season. In this study, the maximum values of plantar pressure were evaluated for both feet. The five movements that were defined and studied are all movements that might be performed during the basketball practice period. To guarantee the necessary conditions of data reliability and repeatability, at least seven repetitions were performed for each movement, which occurred at two different moments of the sports season: at the beginning of the competition in November, and at season peak, four months later, in March. Overall, the results obtained did not present statistically significant changes between the two seasons in this study. However, a slight decrease was observed throughout the sporting season for all movements, except for the rebound, where there was a contrary evaluation. Additionally, athletes with a higher level of experience show higher values of plantar pressure than less experienced athletes.

Compounds

The major part of this chapter surveys how music expresses the ten complex emotions of wonder, the sublime, nostalgia, hope, pride, shame, jealousy, envy, disgust, and boredom. Building on the categorical theory of Chapter 2, it explores the extent that complex emotions compound basic ones, or whether they constitute essential emotions in themselves. The chapter considers issues such as display rules, the reality of basic emotions, and the relationship of emotions to topic theory. The survey of ten complex emotions includes a rehabilitation of wonder, and negative emotions that are normally considered nonaesthetic, such as jealousy and disgust. As in Chapter 2, each of the ten complex emotions is considered in relation to an analysis of music from the common practice period.

Categories

This chapter explores five musical emotions, describing their behavioral properties in analytical detail across Baroque, Classical, and Romantic styles. It begins by reconsidering the popular circumplex model of musical emotion. It then develops the attitudinal theory by bringing into play the notion of cognitive processing styles (after Galen Bodenhausen): the idea that emotions are also ways of thinking and hearing—indeed, that thinking and hearing are types of behavior. The major part of the chapter then uses these tools to analyze five musical emotions. Each section constitutes a “very short history of emotion” focusing on a basic emotional category (happiness, anger, sadness, tenderness, and fear) and ranging across analytical examples from the entire common practice period, in broadly chronological order.

Histories

This chapter proposes that the history of musical emotion pivots on a core period of “affective realism,” coterminous with the common practice period and the writings of Descartes, Spinoza, Hume, Smith, Darwin, and William James. In this period of “affective realism,” emotion is objectified, individuated, mimetic of human behavior, and subjective. Prior to 1600, emotion, by contrast, is fluid, relational, transcendent, divine, and the province of theology. The main body of the chapter reviews the seminal work of three historians of emotions: Norbert Elias, Barbara Rosenwein, and William Reddy, together with their concepts of “civilizing,” “emotional community,” and “emotives.” The chapter concludes with a critique of performance theory, focusing on a performance analysis of a Bach violin sonata.

A dissonância métrica como elemento de análise da música do período da prática comum: resenha de Hearing rhythm and meter

Hearing rhythm and meter: analyzing metrical consonance and dissonance in commom-practice period music é um livro recentemente escrito e publicado pelo professor e pesquisador norte-americano Matthew Santa. Seguindo alto rigor científico na exposição dos conceitos, esta produção tem um forte propósito didático na explicação de conceitos teóricos sobre ritmo e métrica, centrando o discurso na análise de dissonâncias métricas. Importante para especialistas em teoria e análise musical e fundamental para estudantes de Graduação em Música, Hearing rhythm and meter deve alterar a forma com que o leitor ouve repertórios do período da prática comum. O texto que segue abaixo procura resumir os principais tópicos abordados nesta produção bibliográfica.