Search

Theoretical background or Context Curiosity is an innate mechanism for children. It is the desire for knowledge, the first manifestation of what is intangible and moves the human being. Curiosity plays a fundamental role and is an important skill for a child to learn. Inspiring and developing curiosity allows children to be available and able to continually grow, learn and question what is around us. Although this construct has gained much attention in the last decade and the seemingly widespread agreement of its importance in the educational content, many strategies/practices and excessively rigid top-down structures existing in the educational and societal context, lead to a diminishing curiosity as children grow. Aims This research aims to (i) understand how early childhood educators manage curiosity in class, (ii) explore experiences of curiosity in the early childhood music classrooms and (iii) analyze the places and relationships of these experiences in music-making in childhood. Methodology This study was conducted using a qualitative, descriptive and interpretative approach. To investigate the research questions, we conducted semi-structured interviews with six early childhood educators to understand how they manage curiosity in classroom. The data were analyzed using thematic coding techniques. Framed by a participatory pedagogy, the second part of the study (ethnographic research strategy) was carried out in a multi-ethnic preschool in northern Portugal over a period of three months. Eighteen self-selected children participated in weekly sessions of experimentation and musical creation, 10 girls and 8 boys. Data collection techniques include (i) pedagogical documentation (the essence of action) of the children in the class context, and (ii) examination of participants' music-making products. The analysis procedures involve a hermeneutic phenomenological approach and implicate a continuous interplay between the action and the musical products of the children. Results/Findings Data analysis and triangulation show that: (i) the educators devote little time to fostering and stimulating children’s curiosity in class; (ii) brings out that the experiences of curiosity in class involve different behavioural characteristics and state aspects; (iii) what captivates and awakens curiosity and pleasure in discovery vary from child to child; (iv) creating music classrooms that opens the door to celebrate curiosity we nurture children's inner quest for musical knowledge, their delight in discovering new sounds and their emerging understanding of the world and music context around them. Conclusions/Final considerations As a complex and multidimensional construct, curiosity is widely beneficial and makes life worth living. Looking ahead is (i) important to define, measure and enlarge curiosity in early childhood and primary education, (ii) promote longitudinal studies to understand how childhood curiosity leads to holistic well-being and sustains its musical development throughout our lives, and (iii) create or take every opportunity to encourage curiosity in child to practice curiosity habits. Promoting curiosity in music classroom implies a predisposition and reconfiguration of the roles and functions of the various actors in the educational context.

Tangible Users’ Interfaces represent a recent field research in human-computer interfaces. Current studies demonstrated that physical interaction and tangible learning allow students to: (i) increase levels of interest and motivation; (ii) be a usefulness instrument in the process of teaching, learning, and play music; and (iii) boost their creative expression. All the methodological procedures were conducted considering the standards for systematic reviews of Preferred Reporting Items for Systematic Reviews and Meta-Analyses statement. Eligibility criteria are based on the PICO approach, study design, and date. For the topic we have chosen: (1) participant (young students from primary education); (2) intervention (research associated with tangible users’ interfaces in primary education); (3) outcome (music creation/composition); (4) study design (cohort, case-control and cross-sectional); and (5) language (English, Portuguese, or Spanish). In this paper we summarize pedagogy and research evidence and discuss practical applications of Tangible Users’ Interfaces in music composition for the primary education As Interfaces de Usuários Tangíveis representam um recente campo de pesquisa em interfaces homem-computador. Estudos atuais demonstraram que a interação física e a aprendizagem tangível permitem que os alunos: (i) aumentem os níveis de interesse e motivação; (ii) ser um instrumento de utilidade no processo de ensinar, aprender e tocar música; e (iii) impulsionar sua expressão criativa. Todos os procedimentos metodológicos foram conduzidos considerando as normas para revisões sistemáticas de Preferred Reporting Items for Systematic Reviews e declaração de Meta-Análises. Os critérios de elegibilidade são baseados na abordagem PICO, desenho do estudo e data. Para o tema escolhemos: (1) participante (jovens alunos do ensino primário); (2) intervenção (pesquisa associada a interfaces tangíveis de usuários no ensino primário); (3) resultado (criação/composição musical); (4) desenho do estudo (coorte, caso-controle e transversal); e (5) idioma (inglês, português ou espanhol). Neste artigo, resumimos a pedagogia e as evidências de pesquisa e discutimos aplicações práticas de Interfaces de Usuários Tangíveis na composição musical para o ensino primário. info:eu-repo/semantics/publishedVersion

Introduction: The voluntary termination of pregnancy (VTP), is a public health problem that reveals absence, discontinuity or incorrect use of the contraceptive. Scientific evidence suggests that the ideal time to adhere to a contraceptive is during VTP, since women do not wish to live the same experience. Objective: To know the impact of contraceptive counseling (CC) on the choice of a method by women to experience VTP. Methods: Literature review according to the guidelines of the Joanna Briggs Institute, carried out from January 1st to 31st, repeated from October 2nd to 5th, 2020, with the research question “What is the impact of contraceptive counseling given to women in the process of VTP, in choosing the method?”. The EBSCO platform and the CINAHL, MedicLatina and Cochrane Central Register of Controlled Trials databases were used. Results: Eleven were eligible, published in English between 2014 and 2020 in different clinical contexts. Evidence shows that: it is after VTP that most women choose a contraceptive and adherence is related to the quality of the information transmitted; the CC must respond to the needs of women undergoing VTP; to provide quality CC it is essential to train professionals. Conclusion: Quality CC as an integral part of the VTP process, combined with the accessibility and free use of contraceptives, favors the choice and adherence to contraceptives., Resumen: La interrupción voluntaria del embarazo (IVE) es un problema de salud pública que revela la ausencia, discontinuidad o uso incorrecto de anticonceptivos. La evidencia científica sugiere que el momento ideal para adherirse a un anticonceptivo es durante la IVE, ya que las mujeres no quieren tener la misma experiencia. Objetivo: Conocer el impacto de la consejería anticonceptiva (CA) en la elección de un método por parte de mujeres que experimentan una IVE. Métodos: Revisión de la literatura según los lineamientos del Joanna Briggs Institute, realizada del 1 al 31 de enero, repetida del 2 al 5 de octubre de 2020, con la pregunta de investigación “¿Cuál es el impacto de la consejería anticonceptiva brindada a las mujeres en el proceso de IVE, ¿en la elección del método? ”. Se utilizaron la plataforma EBSCO y las bases de datos CINAHL, MedicLatina y Cochrane Central Register of Controlled Trials. Resultados: Once fueron elegibles, publicados en inglés entre 2014 y 2020 en diferentes contextos clínicos. La evidencia muestra que: es después de la IVE cuando la mayoría de las mujeres eligen un anticonceptivo; la adherencia está relacionada con la calidad de la información transmitida; el CA debe responder a las necesidades de las mujeres sometidas a IVE e para proporcionar una CA de calidad es fundamental la formación de profesionales. Conclusión: La AC de calidad como parte integral del proceso de IVE, combinada con la accesibilidad y el uso gratuito de anticonceptivos, favorece la elección y adherencia a los anticonceptivos., Introdução: A interrupção voluntária de gravidez (IVG), é um problema de saúde publica que revela ausência, descontinuidade ou uso incorreto do contracetivo. A evidência científica sugere que a altura ideal para aderir a um contracetivo é durante a IVG, uma vez que as mulheres não desejam viver a mesma experiência. Objetivo: Conhecer o impacto do aconselhamento contracetivo (AC) na escolha de um método pelas mulheres a experienciarem uma IVG. Métodos: Revisão da literatura segundo as orientações do Joanna Briggs Institute, realizada de 1 a 31 de janeiro, repetida de 2 a 5 de outubro de 2020, com a questão de investigação “Qual o impacto do aconselhamento contracetivo, realizado às mulheres em processo de IVG, na escolha do método?”. Recorreu-se à plataforma EBSCO e às bases de dados CINAHL, MedicLatina e Cochrane Central Register of Controlled Trials. Resultados: Foram elegíveis onze, publicados em inglês entre 2014 e 2020 em diferentes contextos clínicos. As evidências mostram que: é após a IVG que a maioria das mulheres escolhe um contracetivo; a adesão está relacionada com a qualidade das informações transmitidas; o AC deve responder às necessidades das mulheres submetidas à IVG e para fornecer AC de qualidade é essencial treinar os profissionais. Conclusão: O AC de qualidade como parte integrante do processo de IVG, aliado à acessibilidade e gratuitidade de contracetivos favorece a escolha e a adesão aos contracetivos.

Objective: to understand how students perceive their involvement in investigation activities and how they contribute for the development of evidence-based practices. Method: qualitative, cross-sectional, descriptive, and exploratory study, carried out in Portugal, in August 2019. A focus group of eight participants was formed to answer the question: “What are the advantages of the participation of nursing students in investigations for the development of knowledge, attitudes, and performance in the use of evidence?” The software NVivo was used for a content analysis. Results: five categories and subcategories emerged from the qualitative analysis of findings: selflearning, integration of theory and practice, interdisciplinary work, evidence-based decision making, and scientific literacy. Conclusion: creating an effective learning experience helps building knowledge and can contribute for the health of the community, for improved educational results during the internship, and for the development of the abilities necessary for Evidence Based Practice. info:eu-repo/semantics/publishedVersion

Despite the conditions of complexity and (in)certainty, this new temporality marked by the dynamism of contemporary society and by globality that is transformed directly into a universal elixir in solving the problems of the educational system, represents a place of opportunity, challenge and, especially, of reflection and reconfiguration of the music teacher education, specifically around the professionalism of teachers and their educational dimensions. It is unmistakable that the contexts (social, cultural and educational) have changed in the last decades. However, how (curricular and pedagogical) practices and music teachers' training deal with the daily challenges in educational contexts? What teachers we are training (profile, knowledge and skills)? We are training music teacher for what kind of school: for yesterday, today or tomorrow? What is the role of music teacher trainers? How should training courses be organized? What should be the main components of training? Based on all these issues, it is essential to discuss the dimensions and formative configurations that contribute to constructing a bold and transformative vision of the contemporary music teacher's professional development and pedagogical practice. info:eu-repo/semantics/publishedVersion

In this project we study the use of neural networks as a tool for particle track pattern recognition with the possibility of its implementation in the Trigger system at the ATLAS experiment [1]. By using a method named Hough transform we created a Convolutional Neural Network (CNN) that is able to train on the transformed images of muons merged with minimum bias. We give an overview of how the CNN works and compare the results from the CNN with the old cut based method. We believe to have managed to find an alternative to the previously used algorithm, that is faster and more efficient.

This study investigates the impact of a multidisciplinary and multidimensional teaching model on the development of aural awareness of music students. This model articulates three dimensions: (1) elements of the musical syntax (rhythm, melody and harmony); (2) elements intrinsically transversal in the music learning process (expressive, stylistic and instrumental); (3) cognitive skills/processes present in the development of musical syntax. info:eu-repo/semantics/publishedVersion

We study the possibility of applying deep learning algorithms, suchas Variational Autoencoders, on simulated particle collider data to detectBeyond the Standard Model events. In this report, we apply three dif-ferent processes of training the data for better eciency and the resultsof said training on detecting anomalies. Links to the training and testingdata can be found here: https://www.phenomldata.org/

Submitted by Mario Cardoso (cardoso@ipb.pt) on 2020-03-26T23:43:47Z No. of bitstreams: 1 MC_Artigo_2018.pdf: 1521957 bytes, checksum: d9df5e43ab30dfbab83920dac9059abf (MD5) Made available in DSpace on 2020-03-27T10:23:53Z (GMT). No. of bitstreams: 1 MC_Artigo_2018.pdf: 1521957 bytes, checksum: d9df5e43ab30dfbab83920dac9059abf (MD5) Previous issue date: 2018 info:eu-repo/semantics/publishedVersion

The relationship between music and religion has always guided by proximity and prevalent influence. When we look through the history of music, there are many moments, composers and works where this connection takes a fundamental role. For Adorno (1982), it is critical to emphasize that the musical language constitutes by characteristics that give it a particular religiosity. Many composers treated this dialogue with great mastery and used religious themes as references for musical composition. Music is a vehicle of reproduction, symbolization and an attempt to divinity. info:eu-repo/semantics/publishedVersion

The intense performance and repetitive movements for a long period of time contribute to the developing of musculoskeletal disorders in instrumental musicians. This study aims to identify the major musculoskeletal disorders in the practice of the musical instrument and reflect on strategies to be used in the music teaching and learning process to reduce the risk factors for future musculoskeletal disorders. A systematic review of English and non-English articles using PubMed, Web of Science, and Scopus from 2015-2019. Additional studies were identified by searching abstracts presented at Medical Problems of Performing Artists (2015-2019) and Psychology of Music (2015-2019). Search terms included a combination of the keyword's musculoskeletal disorders, instrumental musicians, and music (n=187). From the systematic analysis pain, disabilities of the arm, shoulder, hand, neck, back and shoulders and temporomandibular, cervical muscle disorders and postural asymmetries are the major musculoskeletal disorders in the practice of the musical instrument. It is important to define preventive strategies to prevent and reduce the development of PRMDs in practitioners and performers., Motricidade, Vol. 15 Núm. 4 (2019): Vida saudável e bem-estar: contributos para a Saúde Coletiva no Séc. XXI

The pedagogical supervision has always deserved the attention and interest of many researchers. The analytical and reflective approach that is presented aims to discuss, in addition to the different places of supervision, what readings of the supervisory function are dominant in the teacher training in music education. Faced with the lack of systematized knowledge in this context, this study was developed with a socio-constructivist and ecological matrix with the general purpose of reflecting on the supervision and the specificities of its practices in the particular context of music teacher education. Based on a convenience sample, the study is part of a qualitative, descriptive and interpretive approach, in which one seeks to know the professional learning achieved during supervised teaching practice. Considering the general aim of this research, the reflexive reports of the practicum, constructed based on the experience and meaning of the daily practices in musical education rooms are described, analysed and interpreted. The data of the reports are interspersed with the information provided by the monitoring carried out by the supervisors, reflective portfolios and with the theoretical framework. Discursive textual analysis of the reports was guided by the identification of: (1) the challenges and achievements of trainees in the learning of practical professional skills; (2) the recognition of portfolio as an instrument for reflection of the individual learning journey during supervised teaching practice; (3) supervision strategies in the processes of involvement and transformation of trainees during their supervised teaching practice. The analysis of the data reveals: (1) the challenge is on the processes and performance of everyday work experience (learning to know, learning to do, learning to be); (2) incentive to self-questioning, self-evaluation, self-training and experimentation; (3) an effort is made to overcome instrumental and technical perspectives; (4) reflection becomes a potential factor in the development of fundamental attitudes and necessary to the profession, self-understanding, the construction of pedagogical knowledges and the understandings manifested in the course of this trajectory; (5) the relation and dialogue with the literature during the process of teacher construction is fundamental and necessary to overcome the challenges that the educational context places on a daily basis and to consolidate the different conceptual lines studied throughout the training; (6) supervisory relation relationship is marked by a predominantly collaborative style; and (7) the reflective portfolios is an effective possibility of making visible the invisible (the teacher thinking in his (de)construction process). info:eu-repo/semantics/publishedVersion

The aim of the study is to analyse the implications of digital technologies of sound as generator element of sound art and transforming tool of teaching and learning music. The participants (n=42) development three musical creation experiences with use of different software’s. The study employed a qualitative and interpretative approach. Participant observation, field notes, photographic/audio records as well the written and musical production participants were used. The results indicate that the incorporation of digital technologies of sound in the processes of musical creation leads to the discovery and expansion of new languages and codes, construction new imaginary territories and new challenges in the processes of collaborative musical composition that undoubtedly enrich all the artistic experience and the entire teaching- learning process. O objetivo do estudo é analisar as implicações das tecnologias digitais do som enquanto elemento gerador de arte sonora e ferramenta transformadora de ensino e aprendizagem musical. Os participantes (n = 42) desenvolveram três experiências de criação musical através do uso de diferentes softwares. O estudo utilizou uma abordagem qualitativa e interpretativa. Foram utilizadas a observação participante, notas de campo, registros de fotografia/áudio, bem como a produção escrita e musical dos participantes. Os resultados indicam que a incorporação de tecnologias digitais de som nos processos de criação musical leva à descoberta e ampliação de novas linguagens e códigos, construção de novos territórios imaginários e novos desafios nos processos de composição musical colaborativa que, sem dúvida, enriquece toda a experiência artística e todo o processo de ensino-aprendizagem info:eu-repo/semantics/publishedVersion

In this article, we address the scientific and artistic connections between music and mathematics, considering the areas of knowledge with specific and universal languages. In order to identify threads that intertwine and produce interdisciplinary points, the strategies used in the research are of qualitative character searching in the literature conceptual links, and later systematization of the relation. The focus of the study was the interweaving between the musical field and the mathematical field in the connections with Set Theory, Abstract Algebra, Fractal Geometry, Number Theory, Golden Proportion and Fibonacci Number. info:eu-repo/semantics/publishedVersion

The simultaneity and confluence of territories promote a constant and malleable interplay between the cultures, experiences (performative and creative) and traditional and contemporary processes of the Arts and Art System. The dialectical and dialogic relationship through its multiple crosses presents itself as one of the significant challenges to research in the Arts fields. The mobilization of a diversity of knowledge, experiences, procedures and data of the artist/researcher, sometimes converting perspectives, or introducing new possibilities of interpretation allow to understand the contemporary senses of creation and artistic performance but also give to the artistic research a singular character, guided by the coexistence with gaps in the construction and definition of the structuring procedures of the research project that can lead to the verification of the causal/correlational relation or to the formulation conclusions/theses marked by the refutability and replicability. All these elements make visible the difficulties of an epistemological and methodological order existing in the uniqueness of artistic research. This communication intends to discuss the methodological challenges and dilemmas of artistic research with an incidence on artistic differences and in what way and with what qualities experiences and especially the experienceness of artists and artistic research differs from social scientists. In this context, artistic research must define its field more precisely, cultivate it and adjusting its methods and processes. Looking at artistic research from a societal perspective can contribute not only to the adjustment of epistemological and methodology definition of artistic research but also to the construction of a new social aesthetic. info:eu-repo/semantics/publishedVersion

The neuroscience is a vast and fertile field for studies of musical performance because it established the understanding of musicality and nervous system to understand the process of functioning of the human mind in its most diverse potentialities. Since Music is a human manifestation and construction, its cognitive function makes it possible to capture the modulations of the feelings and the creative act and has been an excellent pivot for neuro scientific study in the understanding of how the brain processes the sound stimuli and organizes the musical functions. As the success in musical performance requires an exceptional excellent motor control, in addition to an in-depth knowledge of the musical structure demands a high demand of corporal work. info:eu-repo/semantics/publishedVersion

In the theoretical framework of developmental pedagogy, the arts represent an essential tool in the study and growth of the child. In this context, music, drawings, and paintings a relevant role in this development that enters in the child's life from many different experiences. Starting from the principle that the drawings and paintings are related to varying levels of intelligence and musical cognition and the selective attention to musical features depending on the context, this exploratory study sought to understand: (i) what representations also, graphics (iconic, figural and metric) used by children appear linked to musical elements (form, timbre and pitch) after the hearing of different musical works; (ii) the impact of the application of interdisciplinary practices in the development of musical notation in the context in Preschool education. Considering the objectives that guide this research, it has been set a qualitative, descriptive, and interpretive research paradigm developed in the context of Preschool education with children from 3 to 5 years of age (n=12) search through continuous (de)construction processes between all the theoretical information and elements that emerge from empirical research. The collection and analysis of data integrated mixed methods. From the analysis and interpretation of the data appear indicators that the crossing of diverse art forms not only benefits the formation and development of the musical and artistic literacy of the child, as the production of graphics constitutes an essential epistemic instrument in the development and construction of musical knowledge. The representation and the elaborated graphics present an iconographic and figurative character. info:eu-repo/semantics/publishedVersion

This study aims to measure the impact of a multidisciplinary and multidimensional proposal on the auditory recognition of the rhythmic/metrical structure, melodic/harmonic organization, expressive elements and stylistic/instrumental diversity. Given the characteristics and the aims of the study was developed an experimental design of a control group with pre-test and post-test. Forty-two students of a higher education institution were involved in the study (n=21 experimental group and n=21 control group), their ages ranging from 18 to 49 years. The data were collected in the beginning and at the end of the implementation period (40 sessions of 30 minutes duration) through the application of the Individual Knowledge Test and the Auditory Recognition Test. The results reveal the existence of significant differences between the performance results of the experimental group and the control group regarding the auditory recognition of the rhythmic/metric structure and the melodic/harmonic organization. In the case of the remaining variables, there were no significant differences between the performance results of the experimental and control groups. Este estudo pretende aferir o impacto de uma proposta pluridisciplinar e multidimensional no reconhecimento auditivo da estrutura rítmica/métrica, organização melódica/harmónica, elementos expressivos e diversidade estilística/instrumental. Face às características e objetivos do estudo, foi desenvolvido um design experimental de grupo de controlo com pré-teste e pósteste. Participaram quarenta e dois alunos de uma instituição de ensino superior (n=21 grupo experimental e n=21 grupo de controlo), com idades compreendidas entre os 18 e 49 anos. Os dados foram recolhidos no princípio e no final do período de implementação (40 sessões de 30 minutos de duração) através da aplicação do Teste de Conhecimento Individual e do Teste de Reconhecimento Auditivo. Os resultados revelam a existência de diferenças significativas entre os resultados de desempenho do grupo experimental e grupo de controlo relativamente ao reconhecimento auditivo da estrutura rítmica/métrica e organização melódica/harmónica. No caso das restantes variáveis, não existem diferenças significativas entre os resultados de desempenho dos grupos experimental e de controlo. info:eu-repo/semantics/publishedVersion

The study presented here results from the development and application of a musi- cal project (Magnum Opus) in the context of Music Education in the 2nd cycle of Basic Education held in the academic year 2016/2017. Considering that the insertion of aesthe- tic-artistic experiences allows the introduction and reinforcement of knowledge, skills and attitudes, this work sought to understand the impact of the application of a set of interdisciplinary strategies in the acoustic-sensorial development of the child, starting from the di erent artistic domains (music, painting and dance) in the context of the classroom. In view of the stated purposes, we have opted for a methodological para- digm that is inscribed in an approach of a qualitative and interpretative nature. In this context, the questionnaire survey, addressed to the participants of this study (n = 24), was used as a data collection instrument. From the collection, analysis and interpreta- tion of the data emerge indicators that the crossing of diverse artistic forms is a bene t to the child, at the creative, cognitive, sensorial and cultural level. The promotion of creative and interdisciplinary dynamics in the context of the classroom presents itself as an asset for the formation and development of the musical/artistic literacy from for- ming. info:eu-repo/semantics/publishedVersion

The technological revolutions of the last decades have changed the way we create, interact, share and sell music. Today, cyberspace is an integral part of everyday life of the people, where people taken on specific behaviors have specific characteristics, as much as it assumes a transformative effect on the agents and products. In this new field, music has acquired new forms of representation, meaning and practice, leading to the building of on-line communities/networks or other models of artistic sharing understood as a fundamental tool in the self-promotion of independent artists or as a vehicle interaction and sharing with colleagues, fellow and fans. The sociological, ideological and identity metamorphisms resulting from all these transformations lead to change the characteristics of the traditional ethnomusicological paradigm. Faced with all these challenges it is important to think and propose new lines, procedures, techniques and proper ethnomusicological research postures to the specific characteristics of this new field of work. The challenge of the current research in music is to re- imagine the fieldwork and to find how we work there. Considering the marked objectives and based in epistemological contributions of Lysloff (2003), Cooley, Meizel and Syed (2008), this paper aims to contribute to the discussion and reflection of musicological research process by offering suggestions and basic guidelines for its development and applicability in underground scenes and DIYcultural practices in virtual space. info:eu-repo/semantics/publishedVersion

The musical development does not present itself as a one-way process, but as a process strongly marked by a spiral approach as convergence center of different sizes, where the interrelationships and linkages contributed to the establishment of a great cohesion texture. The expression that man composes the music and the music makes up the man is the maieutic featuring and of course reflecting the influence and interrelationship between the music and the man, in fact, of all human activities, music, characterized whether by its ubiquity both for its antiquity. The changes made to the musical universe resulting from the technological development in terms of the structures that guide the World Wide Web have led to a change of the canons associated to the way of thinking, feeling and create the contemporary musician. All systems and technological structures, developed academic and industrial level, allowed the natural appearance of independence and freedom of expression of local musicians, which are associated with connectivity and global visibility of their art. All these facts, place these days that the research object of musicology can know and include, beyond the guidelines that are already in its genesis, a wide range of sociological and ideological issues. Thus, building on the existing musician profile, which relate all these elements, this communication is to discuss and contribute, through the analysis of different narratives that mark the universe of different musical scenes, to the establishment of key guiding lines for the development of the whole musicological research in these DIY communities. info:eu-repo/semantics/publishedVersion

Objective: To identify the contributions that the nursing profession can make to the architecture of the health spaces in order to make them the most appropriate and sustainable as possible. Methods: Systematic review of the literature. Used the Nursing & Allied Health Collection databases: Comprehensive, CINAHL Complete, Library, Information Science & Technology Abstracts; & MedicLatina. The articles were selected with the following criteria: 1. Full-text articles; 2. Peer-reviewed articles. 3. Articles published between 1994 to 2014. We selected 10 of the 117 articles presented. Results: Nurses can provide valuable contributions in accordance with its practice and holistic view of the patient that may lead to health outcomes, not only for patients and their families but also for multidisciplinary teams working in the various contexts of care such as acute care, primary care and long-term care, improving the work satisfaction and reducing the turnover. Healthy healthcare environments are associated not only with better health outcomes but also with better management of human and financial resources. Conclusions: it should be promoted a partnership and coordination between architecture and nursing, to promote healthy environments for patients and professionals, working together to eliminate architectural barriers and investing in financial and ecological sustainability of spaces. Further studies are needed to support this evidence. info:eu-repo/semantics/publishedVersion

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Finance from the NOVA – School of Business and Economics Budgets have traditionally played a central key role in most companies in activities such as: planning, coordinating, communicating, motivating, controlling and evaluating operations (Drury, 2000). However they become a topic of critics and debate among academics and practitioners, leading to the development of the idea of beyond budgeting i.e. the implementation by managers of alternative approaches. This study aim to present the results of a survey conducted to the 500 largest companies operating in Portugal to: 1) collect empirical evidence on how their managers see the budget as a tool to accomplish its purposes; 2) study if companies abandoned or plan to abandon the budget; 3) study, if not abandoning the budget, whether alternative approaches are being use to complement it; and 4) understand whether the beyond budgeting practices have recently changed in Portugal. Overall, we find that the majority of surveyed companies still use the budget and it is perceived to be very important. Whilst some problems are appointed to budgets, surveyed companies are complementing them with alternative approaches rather than abandoning budgets.