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Purpose: Bilateral vocal fold paralysis (BVFP) is a severe disorder that can result in respiratory, swallowing, and voice-related problems. Most surgical treatments do not restore laryngeal function and often need to compromise voice quality to preserve respiratory function. Laryngeal reinnervation (LR) may offer a solution to this problem, but literature on longitudinal outcomes of this procedure is scarce. This study aims to report the longitudinal vocal outcomes of BVFP after LR and subsequent voice therapy. Method: The case of a 23-year-old man with BVFP after a traumatic dissection of both recurrent laryngeal nerves is described. Selective bilateral LR of both adductors and abductors was performed 5 months after the onset of BVFP. Voice therapy was provided after the LR procedure. Multidimensional voice assessments, including acoustic, perceptual, and patient-reported outcome measures (PROMs), were conducted 2, 5, 6.5, 8, and 31 months after LR. Results: An improvement of vocal capabilities and voice quality was noticed 6.5 months after LR, after 4.5 months of voice therapy, with normative values after 2.5 years. PROMs showed an improvement of voice-related quality of life, but some limitations to activities of daily living were still present. Inspiratory arytenoid abduction was not observed on laryngeal videostroboscopic findings in this patient, but tracheostomy was not required. Conclusions: Voice therapy after LR helps establish healthy and efficient voice use without increasing compensatory hyperfunctional behavior. More research is needed to examine potential merits of voice therapy in the rehabilitation of vocal and respiratory functions after LR. [ABSTRACT FROM AUTHOR]

Copyright of Usak University Journal of Social Sciences / Uşak Üniversitesi Sosyal Bilimler Dergisi is the property of Usak University Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Featured Application: Fast pitch detection algorithm for the real-time estimation of the fundamental frequency, optimized for hardware implementation. This paper presents a novel, high-speed, and low-complexity algorithm for pitch (F0) detection, along with a new dataset for testing and a comparison of some of the most effective existing techniques. The algorithm, called OneBitPitch (OBP), is based on a modified autocorrelation function applied to a single-bit signal for fast computation. The focus is explicitly on speed for real-time pitch detection applications in pitch detection. A testing procedure is proposed using a proprietary synthetic dataset (SYNTHPITCH) against three of the most widely used algorithms: YIN, SWIPE (Sawtooth Inspired Pitch Estimator) and NLS (Nonlinear-Least Squares-based). The results show how OBP is 9 times faster than the fastest of its alternatives, and 50 times faster than a gold standard like SWIPE, with a mean elapsed time of 4.6 ms, or 0.046 × realtime. OBP is slightly less accurate for high-precision landmarks and noisy signals, but its performance in terms of acceptable error (<2%) is comparable to YIN and SWIPE. NLS emerges as the most accurate, but it is not flexible, being dependent on the input and requiring prior setup. OBP shows to be robust to octave errors while providing acceptable accuracies at ultra-high speeds, with a building nature suited for FPGA (Field-Programmable Gate Array) implementations. [ABSTRACT FROM AUTHOR]

The article offers information on the 8th International Festival and Scientific Conference of Folk and Church Music which was organized by the Batumi municipality and Musical Department of Batumi Art University at Batumi, Georgia from October 29-31, 2013. It states that aim of the festival is to expose young people to church and folk music. The conference discussed Lunar Cult Service's Pagan Deity and showed documentary films.

How did military authorities deal with the Great Symphony Orchestra of Belgian Radio in occupied Belgium during WWII? Were listeners forced to endure tons of music by Wagner, or were only scores by Jewish and modernist composers blacklisted ? Was the orchestra still allowed to play French impressionistic music, formally forbidden in Nazi-Germany, present contemporary music, and premiere new compositions as it had before 1940? Did the Propaganda-Abteilung Belgien instrumentalise the orchestra to promote the German Kulturerbe and the National-Socialist Weltanschauung ? What about Flemish music, which some claimed was neglected before WWII? How did the Propaganda-Abteilung Belgien (PAB) deal with both of these artistic directions within the setting of a radio institution which had only one orchestra at its disposal and what was their degree of autonomy ? Using a detailed analysis of the repertoire played by the Great Symphony Orchestra of Belgian Radio during WWII, the present paper assesses how the Propaganda-Abteilung misused that orchestra for its own sake, while demonstrating a remarkable differentiation when approaching the Francophone and Flemish community [ABSTRACT FROM AUTHOR]

The article explores the history of state Jewish theaters in Ukraine in the period 20-30s of the twentieth century. Important, previously unknown facts of organizational and creative processes of Kharkiv, Kyiv, and Odesa GOSETs are highlighted. This article describes the stages of the Soviet policy of indigenization and its influence on the development of Jewish theaters in Ukraine. The publication clearly describes the ways of each of the state Jewish theaters of Soviet Ukraine from their creation to the beginning of the Second World War, when all Jewish theaters were evacuated from Ukraine. Based on the analysis repertoire and changes in the administrative and creative management of theaters, the influence of the Soviet totalitarian regime on the theatrical art of one of the largest national minorities in Ukraine is highlighted. The first reference is made to archival documents that regulated the repertoire of Jewish theaters at the state level. The article examines the influence of the Soviet government on staff changes in the management of GOSETs in Kharkiv, Kyiv and Odesa. The author concludes the article by encouraging the study of national minority theaters for a more detailed understanding of domestic theatrical processes of the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

This paper focuses on the songs circulated in the first Christian woman's magazine in China, Nü duo (1912–1951). Its first editor, American missionary Laura M. White (1867–1937), played a crucial role in creating a wide range of music for Chinese girls through journalism. White used print media to circulate songs that were viewed as an integral part of the spiritual life of ideal womanhood. Unlike the hymnody confined to congregational worship, the music circulated through Nü duo aimed to promote a vocalised expression of Christian faith in everyday life. This spiritual life was interwoven with secular concerns about the nation, social issues and home life. An exploration of music literature published in Nü duo shows how Western music was translated into local language that aimed to reach female Christians in mission schools and at home. It provided an alternative to the dominant indigenous development of Protestant hymnody in the Republican era. It went beyond the foreign and local dichotomy with a concept of universal modern citizenship. Furthermore, it added a gendered perspective to Christian sacred music that was linked to the creation of a sense of a female fellowship. [ABSTRACT FROM AUTHOR]

Bongkel is the music of a farming community that developed in Gerduren Village, Purwajati, Banyumas, Central Java. This music only uses a fourtone slendro tuning. The current condition is that it is very difficult to find bongkel players; if there is no tracking of information about the history of bongkel, then in the future, it will be very difficult to find important information about bongkel. The purpose of this research is to trace and document the bongkel, from the side of its early history to its musicological review. The research method used is observation and interviews to explore oral sources. The use of oral sources is done because, until now have never received written data that specifically discusses bamboo music, especially in the Banyumas language. The interview focused on Kasmudi, Ibu Kunes, Maryadi Kresek and several other informants who were selected as sources, especially Kasmudi (a bongkel player) because he was the perpetrator the main witness. Kasmudi is the fourth generation of his entire family, which is a bongkel player on average. There are three types of data analyzed, including the history of the appearance of the bongkel, organology data, and musicological data. The grouping of data is done based on the three types of data, and the analysis is done by referring to the grouping of the three types of data. The results of this study found that the strongest characteristic of bongkel music is the imbal technique; besides that, bongkel is one of the musical instruments that became the forerunner to the development of angklung buncis, krumpyung, and calung music. The contribution of this research provides important information for the interest of Banyumas musical studies, especially for the development of bamboo music. T [ABSTRACT FROM AUTHOR]

Zaps, crashes, boinks, and bangs flooded TV's airwaves with the rise of Hanna-Barbera Productions at the end of the 1950s, and these sound effects have been heard ever since. Hanna-Barbera Productions created and proliferated one of the most recognizable collections of sounds in television and animation history. This article traces the formation of Hanna-Barbera's library of sound effects and how these sound effects operate within the studio's cartoons. Motored by television's demanding production schedule and restrictive budgets, Hanna-Barbera persistently recycled its sound effects across episodes, seasons, and series. These sound effects, heard over and over again, were paired to the studio's brand of limited animation – a form of animation that is often seen as kinetically wanting – to enliven images through sonically invoking movement, what this article calls trajectory mimesis. This logic of trajectory mimesis facilitates the repetition of the studio's sound effects. These conditions – television's economic restraints and the studio's limited animation aesthetics –provided the ideal conditions for the creation of Hanna-Barbera's iconic library of sound effects. [ABSTRACT FROM AUTHOR]

The Franco regime (1939–75) used Spanish musical traditions as a form of propaganda and cultural diplomacy during the first two decades of the dictatorship––a period that saw Spain transform itself from a supporter of Nazi Germany to a staunch ally of the Western Bloc. Based on archival work conducted in eight archives throughout Andalusia and Madrid, the rather monolithic view of how the Franco regime portrayed Spanish identity within the nation, the Protectorates in Morocco, and the United Kingdom is challenged. The Sección Femenina, the women's section of the fascist Falange party, represented an official view of folk music and women's role in society. Thus far unexplored musical transcriptions, correspondence, and newspaper reviews give us a better understanding of how the 30,000-plus members of the Sección Femenina collected, taught, and performed musical folklore while promoting the regime's differing concepts of history, gender roles, and the 'Spanish race' according to different geopolitical circumstances. [ABSTRACT FROM AUTHOR]

Adorno's intensive criticism of phenomenology is well known, his entire early period during the 1920s and 1930s being marked by various polemical engagements with Husserl. This engagement finds its peak during his work at his second dissertation project in Oxford, a dissertation that was supposed to systematicaly expose the antinomies of phenomenological thinking while particularly focusing on Husserl's concept of "eidetic intuition" or "intuition of essences" (Wesensschau). The present paper will take this criticism as its starting point in focusing on two highly specific aspects of Adorno's interpretation: the opposition between eidetic intuition and the traditional theories of abstraction and its relationship to genetic phenomenology. In light of this criticism I subsequently show: 1. that, in his later work, Adorno's understanding of eidetic intuition undergoes a significant revaluation; 2. that he reappropriates key elements of the eidetic method in his own procedure of physiognomic analysis, and 3. that his account of physiognomics is relevant for addressing the aforementioned incongruities of phenomenological eidetics itself. [ABSTRACT FROM AUTHOR]

This article is devoted to justification of a periodization in music history education in Kazan and TACCP from revolutionary events of 1917 to foundation of high special music school at the Kazan State Conservatory in 1960. The research implements historical & genetic and historical & comparative methods. Justification of specifics of historical and cultural processes in the region during the declared period and about applicability of a three-part periodization, the bases for which will be cultures of the decision of the political and party management, external for the sphere, is presented. Characteristic of Kazan was the fact that till 1960 the musical school was the only educational institution in TASSR providing secondary vocational music education. Conclusions are drawn that formation of new system of musical education began at the beginning of the 20th century, and local features were considered fully. The policy for the non-Russian population pursued by the Soviet power promoted further development of music education. The conducted research also showed that in Kazan synthesis of capital cultural tradition and regional features was carried out. Materials of article can be of interest to researchers of the USSR during the specified period, experts in history and culture of the Volga region people and history of music education in Eastern Europe. [ABSTRACT FROM AUTHOR]

Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recognizing the broad potential of singing as a facilitator of moral instruction, academic learning, and societal participation, New Hampshire native Asa Fitz (1810-1878) was committed to advancing music and music education. A prolific publisher, editor, and author, he was involved in the production of dozens of works filled with songs and music, designed to further everything from reform movements to congregational singing, spiritualism to family life. As a singing master and music teacher, he instructed both children and other teachers, promoting his song books, his instructional techniques, his personal principles, and his overriding belief that everyone could, and should, learn to sing. Yet, for all that he was well known during his lifetime, little scholarly attention has been paid to the man, his philosophical underpinnings, or his disparate publications. This article focuses on the development of his "new system of figured music," culminating with the publication of School Songs for the Million! in 1850. It briefly reviews the concept and expressions of alternate systems of musical notation in early to mid-nineteenth-century America and then places Fitz within that context, as he created, developed, and promoted his system to children and teachers. Though School Songs for the Million! was not as commercially successful as some of his other titles, it serves to demonstrate Fitz's willingness to experiment with unconventional and controversial ideas in an effort to advance participation in music. [ABSTRACT FROM AUTHOR]

Between May 26th and June 16th, 1933 the second International Music Competition for Singing and Piano took place in Vienna. Lipatti's participation at the competition and the subsequent second prize he won there stirred my interest towards the exact circumstances of this event in particular (participants, jury, historical backdrop) and, in general, towards a whole generation of pianists: the famous of the day and the hopeful talents. The ongoing comparisons among them were both usual and effective: Lipatti himself was announced in 1943 as a second Horowitz, who had an established status at the time. How did Lipatti become the legendary musician we are celebrating today? In retrospect, one can notice a fortunate combination of talent, extraordinarily disciplined work and opportunity. In Lipatti's case, his talent and striving efforts towards musical perfection have always been acknowledged. To illustrate the complex ensemble of events which shaped the course of what would become the Lipatti legend as a while, I set in the following study to explore two episodes of his biography: his participation at the 1933 Vienna International Piano Competition and his Berlin concerts, ten years later. [ABSTRACT FROM AUTHOR]

An intriguing 19th-century sketch of a rare Georgian-era orchestra arrangement for London's Drury Lane Theatre is held in a scrapbook in the Folger Shakespeare Library in Washington, DC. The unusual drawing by theatre historian James Winston places the theatre orchestra on an annexe projecting out from the front of the stage and over the pit, seemingly causing some of the benches to be removed. The extension raises the orchestra to the height of the stage in order to showcase a large number of musicians in what was clearly an extraordinary musical event. Despite the scarcity of orchestral seating plans in Britain during this period, the sketch has been ignored by scholars--probably because the event it depicts has remained a mystery. Why would Winston have sketched this orchestral arrangement? And if it was for a special performance, what was the occasion? Seating plans for English orchestras are exceedingly rare, and so Winston's drawing is particularly valuable for those who seek iconographical evidence of how an orchestra of this period might have been arranged. We can learn much about orchestral performances in London's theatres, specifically which instruments were present in the playhouse, prevailing ideas about seating and layout, how the stage might have accommodated the orchestra, and other related matters. Winston's detailed drawing contains some excellent clues, giving us a substantive start at understanding how orchestral music in the late Georgian era theatre might have worked 'on the stage'. [ABSTRACT FROM AUTHOR]

The purpose of this study was to document the history of music education at the New York Institution for the Blind (NYIB) from the opening of the school in 1832 through the tenure of the facility’s first music director, Anthony Reiff. Research questions pertained to the school’s origin and operation and to its music curriculum, pedagogy, faculty, ensembles, and resources. The NYIB provided a home and education for students ages eight to twenty-five. The music program served as recreation and vocational training and as a means of promoting the school. Reiff joined the faculty in 1835 and established a band and choir that performed throughout the city and surrounding states. In 1847, the board of managers hired George F. Root as head of vocal music and named Reiff director of the instrumental division. Sigismund Laser replaced Root in 1855 and remained at the NYIB until 1863, when both he and Reiff left the school. The faculty at the NYIB developed and promoted effective methods for teaching music to people with blindness and prepared graduates to serve as church musicians, piano tuners, and music educators. Findings from this study might serve to remind music educators of past pedagogical methods and principles applicable in teaching students who are blind today. [ABSTRACT FROM AUTHOR]

In January 1961, the National Council of Culture (CNC), dominated by members of the pre-revolutionary Communist Party, was established as the central cultural organ of the Cuban Revolution. Three months later, the Bay of Pigs invasion prompted Cuba to declare its processes to be motivated by socialism and enter the Soviet ambit. These events combined to raise concerns among members of the Cuban cultural community about the nature of aesthetic practice that would be expected thenceforward. This article sheds light upon the key discussions around aesthetics that raged in Cuba, during the first half of the 1960s, between the dogmatic Marxists of the CNC and those creative practitioners who sought an alternative form of socialism to that which had developed in the Soviet Union. This account covers territory ranging from realism to abstraction and idealism to materialism. In the process, it seeks to add nuance to discussions of Cuban cultural policy and demonstrate that socialist realism is far from the only aesthetic response to socialism. [ABSTRACT FROM AUTHOR]

Abstract: In den Jahren 1936 bis 1938 förderte die sowjetische Regierung den Aufbau des Birobidshaner Staatlichen Jüdischen Theaters (BirGOSET) im kurz zuvor gegründeten Jüdischen Autonomen Gebiet (Evrejskaja Avtonomičeskaja Oblast'). Die sowjetischen Funktionäre erwarteten von diesem Theater die Übernahme einer Führungsrolle innerhalb der sowjetisch-jiddischen Kultur, und insbesondere im Aufbau Birobidshans. Vor diesem Hintergrund konnte Moyshe Goldblat (1896-1974), der zu jener Zeit neu ernannte Intendant des BirGOSET, seine persönlichen Vorstellung von einer modernen jiddischen Theaterkunst im Rahmen der herrschenden ideologischen Doktrin und mit staatlicher Förderung verwirklichen. Der vorliegende Artikel rekonstruiert die Geschichte der außergewöhnlich erfolgreichen Aufführung des (nach seinem Protagonisten benannten) Dramas » Boytre« des sowjetisch-jiddischen Schriftstellers Moyshe Kulbak (1896-1937) durch das Birobidshaner Ensemble. Goldblats Inszenierung feierte das neue Bild eines gesunden, starken jüdischen Volkshelden, das nach dem Vorbild der vom Geist der Rebellion erfüllten Gesetzlosen aus Friedrich Schillers » Die Räuber« gestaltet wurde. Zudem wird die von Goldblat geschaffene Ästhetik einer positivistischen Romantik analysiert, die bei den Aufführungen zum Einsatz kam. [ABSTRACT FROM AUTHOR]

In "The Songs of Holy Mass - in G major" the composer shows a particular interest to emphasize the polyphonic and modality expressiveness. Typically to these works is the shaping of the text adapted to the melodic structure of the author and the lack of the inflections or passages, which remind us the psaltic musical themes The connection music-text is specific to sacred creations, the text having a great importance because the prayer itself is a conversation between man and God. Religious music is a prayer which is sung, and its structure should highlight even formal the divine awesomeness. [ABSTRACT FROM AUTHOR]

Zoe Dumitrescu-Buşulenga and Priest Dumitru Stăniloae were representative personalities of the most difficult period of the modern Romania (the communism) - conditioning the cultural and especially the spiritual development of our country, imposing coercive methods, well-known for their cruelty. They managed to sustain, to confess the values of the Orthodoxy, the cultural and artistic values of Romania, being great professors of the Bucharest University, forming specialists and also special spiritual personalities. [ABSTRACT FROM AUTHOR]

Israeli art music penned from the late 1930s to the early 1960s unfolds early serial practices in Mandatory (British) Palestine that had come to the fore during the early post-statehood years, when growing disillusionment with romanticist nationalism loomed large. Abandoning peripheral native masks, composers responded to the post-statehood shift by either adapting the linear properties of non-Western Jewish music, which they aligned with local readings of serial devices, or through the destabilization of folk-like dances and exotic musical markers. Shifts in Israeli poetry parallel the emerging attitudes of the first cohort of native Israeli composers and the gradual fading of the nation’s unisonality from their music. [ABSTRACT FROM PUBLISHER]