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This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library with Bent Frequency and Jan Berry Baker.

I composed The Boat and the Sea as a celebration of my first love. This piece is inspired by a poem by Xuân Quỳnh (1942–88), one of the most well-known female poets in Vietnam since the twentieth century. Her poem, “Thuyền và Biển” [The Boat and the Sea], is a love letter that describes a woman’s heart through several stages of love. At first, she is a mysterious sea, so enticing yet far away. Then, as her heart grows fonder, she is like gentle ripples, but some other times, she becomes vehement waves that push the boat for no reason. And if she is ever separated from her love, all that remains in her are tumultuous storms.In the performers' score, I quote lines from the poem at the beginning of each musical section to suggest the desired characteristics of the music.* Several extended techniques for the alto saxophone and percussion imitate sounds from the ocean, such as winds, storms, moving sand, the seagulls' chirping, and whales' vocalization. For the electronic percussion, I use the recordings from A Collection of Sounds from the Sea on the website of NOAA (National Oceanic and Atmospheric Administration)** as the sound samples.This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library with Bent Frequency and Jan Berry Baker.

For 2-part children’s choir, SATB adult choir, flute/piccolo, double bass, two percussionists and piano. Text by Robert Browning.

ObjectiveThis study was undertaken to assess reproducibility of the epilepsy outcome and phenotype in a lateral fluid percussion model of posttraumatic epilepsy (PTE) across three study sites.MethodsA total of 525 adult male Sprague Dawley rats were randomized to lateral fluid percussion-induced brain injury (FPI) or sham operation. Of these, 264 were assigned to magnetic resonance imaging (MRI cohort, 43 sham, 221 traumatic brain injury [TBI]) and 261 to electrophysiological follow-up (EEG cohort, 41 sham, 220 TBI). A major effort was made to harmonize the rats, materials, equipment, procedures, and monitoring systems. On the 7th post-TBI month, rats were video-EEG monitored for epilepsy diagnosis.ResultsA total of 245 rats were video-EEG phenotyped for epilepsy on the 7th postinjury month (121 in MRI cohort, 124 in EEG cohort). In the whole cohort (n = 245), the prevalence of PTE in rats with TBI was 22%, being 27% in the MRI and 18% in the EEG cohort (p > .05). Prevalence of PTE did not differ between the three study sites (p > .05). The average seizure frequency was .317 ± .725 seizures/day at University of Eastern Finland (UEF; Finland), .085 ± .067 at Monash University (Monash; Australia), and .299 ± .266 at University of California, Los Angeles (UCLA; USA; p  .05). Of the 219 seizures, 53% occurred as part of a seizure cluster (≥3 seizures/24 h; p >.05 between the study sites). Of the 209 seizures, 56% occurred during lights-on period and 44% during lights-off period (p > .05 between the study sites).SignificanceThe PTE phenotype induced by lateral FPI is reproducible in a multicenter design. Our study supports the feasibility of performing preclinical multicenter trials in PTE to increase statistical power and experimental rigor to produce clinically translatable data to combat epileptogenesis after TBI.

his article considers representation, identity, perception, reception, and musical appropriation, within the so-called Bahian Percussive Universe in Salvador, Bahia, through the lens of Orkestra Rumpilezz. Rumpilezz is a relatively new big band from Salvador that specializes in the mixture of local rhythms (particularly from candomblé) with jazz. This orchestra portrays, constructs, and reinvents the local musical culture as centered in percussion and rhythm, engaging local and global discourses about the nature of African-derived musics. Based on ethnographic research, music analysis, and recent approaches to the study of music in society, here I discuss possible reasons for Rumpilezz's positive reception in Salvador.

Although remote music training has its limitations, the use of technology can lower barriers to its accessibility. This exploratory study compared the effects of remote and in-person percussion training on motor performance, performance quality, and students' enjoyment. The training involved the motor aspects of playing legato on percussion instruments. Twenty percussionists received the training either remotely from an instructor using videoconferencing technology or in person from the same instructor who was in the training room. Motor behavior, legato expressivity, performance quality, and participants' self-rated enjoyment were compared to determine potential advantages and disadvantages of training in the two formats. Furthermore, participants rated their interest in continuing to receive training in the same way they had experienced it, remote or in person. Regardless of whether the instructor was remote or in person, participants lifted their mallets to a greater height above the drums post-training, perhaps because there was more spatial and velocity variability in the movements of their elbows and wrists. Changes in their patterns of post-training movements were paralleled by higher ratings for expressivity of legato and performance quality. Critically, participants who received training from the remote instructor expressed greater interest in continuing training than those who received training from the instructor who was physically present, in both the short and long term. These findings may suggest that remote and in-person instruction yielded comparable changes on motor behavior, as demonstrated by the altered speed at which movements of the elbow and wrist were executed, which in turn may influence the perception of expressivity in legato playing. The results may support the use of remote training as an adjunct to physical practice to lower some barriers to music education. [ABSTRACT FROM AUTHOR]

Copyright of Education & Law Review / Revista de Educación y Derecho is the property of Revista de Educacion y Derecho 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.)

Percussive massage (PM) is an emerging recovery treatment despite the lack of research on its effects post-eccentric exercise (post-EE). This study investigated the effects of PM treatments (immediately, 24, 48, and 72 h post-EE) on the maximal isometric torque (MIT), range of motion (ROM), and an 11-point numerical rating scale (NRS) of soreness of the nondominant arm's biceps brachii from 24 - 72 h post-EE. Seventeen untrained, college-aged subjects performed 60 eccentric elbow flexion actions with their nondominant arms. Nine received 1 minute of PM, versus eight who rested quietly (control [CON]). In order, NRS, ROM, and MIT (relative to body mass) were collected pre-eccentric exercise (pre-EE) and after treatment (AT) at 24, 48, and 72 h post-EE. NRS was also collected before treatment (BT). Electromyographic (EMG) and mechanomyographic (MMG) amplitudes were collected during the MIT and normalized to pre-EE. There were no interactions for MIT, EMG, or MMG, but there were interactions for ROM and NRS. For ROM, the PM group had higher values than the CON 24-72 h by -6-8°, a faster return to pre-EE (PM: 48 h, CON: 72 h), and exceeded their pre-EE at 72 h by -4°. The groups' NRS values did not differ BT 24-72 h; however, the PM group lowered their NRS from BT to AT within every visit by -1 point per visit, which resulted in them having lower values than the CON from 24-72 h by -2-3 points. Additionally, the PM group returned their NRS to pre-EE faster than the CON (PM: BT 72 h, CON: never). In conclusion, PM treatments may improve ROM without affecting isometric strength or muscle activation 24 - 72 h post-EE. Although the PM treatments did not enhance the recovery from delayed onset muscle soreness until 72 h, they consistently provided immediate, temporary relief when used 24 - 72 h post-EE. [ABSTRACT FROM AUTHOR]

In the center of the author’s attention are the percussion instruments of jazz origin from the 1950s. The purpose of the paper consists in the analysis of the interpretative features developed within two main currents of jazz from this period, namely: West Coast Jazz and East Coast Jazz. The stylistic specificity of the cool style drummers stands out through the restrained way of expression – both in the accompanying and solo fragments. C. Hamilton was one of the first modern drummers who had the courage to abandon the jazz rhythms of the classical period. The performer created distinctive and memorable rhythmic patterns, later using them as accompaniment. Instead of using ride cymbals and high-hats in the accompaniment, C. Hamilton implemented the snare drum or tom-tom as the main voice. Therefore, each piece had individualized rhythmic patterns and its own coloring. The main style of East Coast jazz was hard bop, represented by great drummers such as Philly Joe Jones, Roy Brooks, Louis Hayes, Art Taylor, Roy Haynes, Roger Humphries, Elvin Jones, Lex Humphries, Max Roach, Art Blakey, Mickey Roker, Ben Riley, Jimmy Cobb, Frankie Dunlop, Billy Higgins.

This paper proposes a machine-learning-based methodology to automatically classify different types of steel weld defects, including lack of the fusion, porosity, slag inclusion, and the qualified (no defects) cases. This methodology solves the shortcomings of existing detection methods, such as expensive equipment, complicated operation and inability to detect internal defects. The study first collected percussed data from welded steel members with or without weld defects. Then, three methods, the Mel frequency cepstral coefficients, short-time Fourier transform (STFT), and continuous wavelet transform were implemented and compared to explore the most appropriate features for classification of weld statuses. Classic and convolutional neural network-enhanced algorithms were used to classify, the extracted features. Furthermore, experiments were designed and performed to validate the proposed method. Results showed that STFT achieved higher accuracies (up to 96.63% on average) in the weld status classification. The convolutional neural network-enhanced support vector machine (SVM) outperformed six other algorithms with an average accuracy of 95.8%. In addition, random forest and SVM were efficient approaches with a balanced trade-off between the accuracies and the computational efforts. [ABSTRACT FROM AUTHOR]

Background/purpose: Clinical test results may have lower reliability due to the varying range of test stimulation or patient subjectiveness. This study aimed to verify a reliable clinical test method by comparing pain intensity levels of a tooth at rest, during function, and after the clinical tests of percussion and chewing. Materials and methods: A total of 36 asymptomatic necrotic teeth that required root canal treatment, one in each patient, were included. All treatment procedures were performed in a single visit by an experienced endodontist. Patients were asked to mark their pain levels on a vertical visual analog scale (VAS) while the relevant tooth was at rest and during function 24 h after the treatment. In addition, patients marked their pain levels after the clinical tests of percussion and chewing. Finally, the pain levels were compared using Pearson's correlation for the reliability of the test methods at a significance level of 95%. Results: The postoperative pain levels measured during the clinical tests and functions were significantly higher than the pain levels at rest (P

This paper presents reflections on two emblematic works by Iannis Xenakis: Rebonds (1987-1989) and Okho (1989). The perpetuation of the myth of the impossible as a poetic trait of this composer’s production is the main justification for the practices of simplification and self-indulgence of the percussive community around his pieces. Rebonds led us to a more direct reflection around technical solutions to challenges found in the musical text: the double appoggiatura (drag) and the rolls on the wooden instruments. In Okho, we demonstrate the dynamic process of searching for timbres on the djembé, observing the tension of what was called ‘transplanting’ compositional material from a piece written to be played with drumsticks (Rebonds) to one played with bare hands. Having Irlandini (2020), Solomos (1996), Soteriou (2011) and Stasi (2011) as bibliographical references, the main goal of this paper is to present possible performance solutions for excerpts of percussion music by Xenakis that might evoke the notion of ‘impossible’.

The lectio praecursoria reviews my doctoral thesis and its research topic. The topic of my artistic doctoral thesis was the introduction of new aspects and perspectives on Igor Stravinsky’s (1882–1971) xylophone writing through original solo xylophone compositions by the author. The history and background of the xylophone was also discussed.

Clinical test results may have lower reliability due to the varying range of test stimulation or patient subjectiveness. This study aimed to verify a reliable clinical test method by comparing pain intensity levels of a tooth at rest, during function, and after the clinical tests of percussion and chewing. A total of 36 asymptomatic necrotic teeth that required root canal treatment, one in each patient, were included. All treatment procedures were performed in a single visit by an experienced endodontist. Patients were asked to mark their pain levels on a vertical visual analog scale (VAS) while the relevant tooth was at rest and during function 24 h after the treatment. In addition, patients marked their pain levels after the clinical tests of percussion and chewing. Finally, the pain levels were compared using Pearson's correlation for the reliability of the test methods at a significance level of 95%. The postoperative pain levels measured during the clinical tests and functions were significantly higher than the pain levels at rest (P < 0.05). The pain levels after percussion tests were significantly higher than that during the function and chewing tests (P < 0.05). Pain intensity during the function was simulated with a higher correlation when using the chewing strip method rather than the percussion method. The bite test using the chewing strips as a pain intensity assessment can mimic the actual postoperative pain experience, whereas the percussion test fails to provide the accuracy of this pain experience. [ABSTRACT FROM AUTHOR]

Innovations in training programs impact the educational system and the level of students' professional abilities. Therefore, the purpose of this study is to investigate the use of innovative technologies in teaching music and aesthetics with the use of intelligent technology. Students from various music schools in Beijing participated in the study: elementary (112 respondents), middle (123 respondents), and high school (98 respondents) (areas: piano, violin, and percussion), a total of 343 participants. Assessment of the students' level of proficiency took place in several stages: comparing the students' level of proficiency with that they had before the experiment, for this purpose an average eight-point system was used. The next stage consisted of a comparison of grades for the final academic concert. The results showed that the greatest improvement was seen in the percussion class and the least in the violin class. Piano students showed an average result in the correlation comparison, but their level was the highest in the final academic concert, 48.55% of the students showed a level of skill above average. While 39.13% of the violin students scored "excellent" and "good". The same level among the students of "percussion instruments" was shown by 35.71% of the students. Thus, one can conclude that applying intelligent technologies positively impacts students' performance, but it is necessary to be careful in choosing applications and technologies for implementation in the educational process. Further research should be directed at the impact of other applications and programs on learning, as well as ways to improve other music education areas and how they can be changed by intelligent technology use. [ABSTRACT FROM AUTHOR]

When sight-reading a score, a timpanist needs to decide in real-time which stick to use to play a specific note while interpreting the musical material. Our main point of inquiry seeks to understand which sticking patterns performers employ and how they are affected by rhythmic stability. This paper analyzes the bi-manual sequencing (i.e., sticking) patterns of 31 timpanists in a sight-reading task. We analyze their results compared to model sticking patterns common in percussion pedagogical literature. Results show that while hand dominance plays an essential role in an individual's sticking pattern, the stability of a rhythmic pattern may also dramatically influence the observed particular sticking strategies. In areas of rhythmic stability, performers largely adhered to one of two conventional sticking patterns in the literature (dominant hand lead & alternating). Where rhythmic patterns became more unstable, the performers separated into diverse sticking groups. Moreover, several performers demonstrated sticking patterns which were hybrids or an inverse of the model sticking patterns, without any impact on the success of their sight-reading abilities. Overall, no two individual performers demonstrated the same sticking pattern. In terms of percussion pedagogy, our findings suggest that performersmay benefit froman awareness of the adaptability ofmodel sticking strategies. Lastly, wemake the case for further study of rhythmic stability and bi-manual sequencing by locating the difference between notational and aural complexity. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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.)

his article considers representation, identity, perception, reception, and musical appropriation, within the so-called Bahian Percussive Universe in Salvador, Bahia, through the lens of Orkestra Rumpilezz. Rumpilezz is a relatively new big band from Salvador that specializes in the mixture of local rhythms (particularly from candomblé) with jazz. This orchestra portrays, constructs, and reinvents the local musical culture as centered in percussion and rhythm, engaging local and global discourses about the nature of African-derived musics. Based on ethnographic research, music analysis, and recent approaches to the study of music in society, here I discuss possible reasons for Rumpilezz's positive reception in Salvador.

Lateral fluid percussion injury (LFPI) in rats is used to model post-traumatic epilepsy (PTE), with spontaneous seizures occurring in up to ½ of the subjects. Using the kindling paradigm, we examined whether animals without detectable seizures had an altered seizure susceptibility. Male Sprague Dawley rats were subjected to LFPI. Seven-nine months later, spontaneous seizures were monitored for two weeks. Afterward, the animals underwent kindling of basolateral amygdala. For kindling outcomes, the animals were categorized based on the 95% confidence intervals of mean number trials to kindling (ie 3 consecutive stage 4-5 seizures). Spontaneous seizures were detected in 7 out of 24 rats. There was no correlation between the severity of LFPI and either baseline afterdischarge properties, or kindling rates. Six LFPI rats kindled at a rate comparable to those in sham-LFPI (n = 10) and in naïve (n = 7) subjects. Ten LFPI rats kindled faster and 8-slower than controls. None of slow-kindling rats had spontaneous seizures during the prekindling monitoring. During the same period, six fast-kindling and three normal-kindling rats had been seizure-free. Thus, kindling reveals a diversity to seizure susceptibility after LFPI beyond an overt seizure symptomatology, ranging from the increased susceptibility to the increased resistance.

Background Percussion is an important part of the neurological examination and reflex hammers are necessary to obtain it properly. Objective We aimed to review the historical aspects of the main reflex hammers and to define the favorite one of Brazilian neurologists. Methods We searched original and review articles about historical aspects of the reflex hammers in Scielo and Pubmed and conducted an online survey to investigate the favorite reflex hammer of Brazilian neurologists. Results In the first part, we describe the major milestones in the creation of the reflex hammers. Following, we exhibit the results of the online survey: Babinski-Rabiner was the most voted. Conclusions The origins of the reflex hammers goes back long before their creation, from a basic clinical examination method: percussion. Since the description of deep tendon reflexes and the creation of percussion hammers, much has been improved in this technique. Among all the hammers surveyed, the Babinski-Rabiner was the chosen one by a significant portion of Brazilian neurologists.

When sight-reading a score, a timpanist needs to decide in real-time which stick to use to play a specific note while interpreting the musical material. Our main point of inquiry seeks to understand which sticking patterns performers employ and how they are affected by rhythmic stability. This paper analyzes the bi-manual sequencing (i.e., sticking) patterns of 31 timpanists in a sight-reading task. We analyze their results compared to model sticking patterns common in percussion pedagogical literature. Results show that while hand dominance plays an essential role in an individual's sticking pattern, the stability of a rhythmic pattern may also dramatically influence the observed particular sticking strategies. In areas of rhythmic stability, performers largely adhered to one of two conventional sticking patterns in the literature (dominant hand lead & alternating). Where rhythmic patterns became more unstable, the performers separated into diverse sticking groups. Moreover, several performers demonstrated sticking patterns which were hybrids or an inverse of the model sticking patterns, without any impact on the success of their sight-reading abilities. Overall, no two individual performers demonstrated the same sticking pattern. In terms of percussion pedagogy, our findings suggest that performers may benefit from an awareness of the adaptability of model sticking strategies. Lastly, we make the case for further study of rhythmic stability and bi-manual sequencing by locating the difference between notational and aural complexity.

Μusicians are reported to have enhanced auditory processing. This study aimed to assess auditory perception in Greek musicians with respect to their musical specialization and to compare their auditory processing with that of non-musicians. Auditory processing elements evaluated were speech recognition in babble, rhythmic advantage in speech recognition, short-term working memory, temporal resolution, and frequency discrimination threshold detection. All groups were of 12 participants. Three distinct experimental groups tested included western classical musicians, Byzantine chanters, and percussionists. The control group consisted of 12 non-musicians. The results revealed: (i) a rhythmic advantage for word recognition in noise for classical musicians (M = 12.42) compared to Byzantine musicians (M = 9.83), as well as for musicians compared to non-musicians (U = 120.50, p = 0.019), (ii) better frequency discrimination threshold of Byzantine musicians (M = 3.17, p = 0.002) compared to the other two musicians' group for the 2000 Hz region, (iii) statistically significant better working memory for musicians (U = 123.00, p = 0.025) compared to non-musicians. Musical training enhances elements of auditory processing and may be used as an additional rehabilitation approach during auditory training, focusing on specific types of music for specific auditory processing deficits. [ABSTRACT FROM AUTHOR]

Ochre has been found at many Middle Stone Age sites throughout southern Africa. Much work has been done to document these iron-rich raw materials, their modifications and their implications for past communities’ behaviours, skills and cognition. However, until recently few works focused on the Middle Stone Age Waterberg ochre assemblages. The paper presents the ochre assemblage recovered at Red Balloon rock shelter, a new Middle Stone Age site on the Waterberg Plateau. The site preserves Middle Stone Age occupations dated around 95,000 years ago. Scanning electron microscopy observations, portable X-ray fluorescence spectroscopy and infrared spectroscopy characterization document the presence of four ochre types. The MSA ochre assemblage recovered is mainly composed of specularite and specular hematite similar to the ones of Olieboomspoort and North Brabant. Microscopic observations and infrared analyses of soil sediment and of post-depositional deposits found on the ochre pieces show that this raw material specificity is of anthropic origin and not the result of post-depositional processes. Optical and digital observations of the archaeological assemblage and its comparison with a preliminary exploratory experimental one highlight the use of abrasion and bipolar percussion to process the ochre pieces at the site. The results point to the know-how and skills of the Middle Stone Age populations who inhabited the Waterberg region around 95,000 years ago. This raises the question of whether the specificities of the Waterberg ochre assemblages correspond to populations’ adaptation to the local mountainous mineral resources and the existence of a regional ochre processing tradition. [ABSTRACT FROM AUTHOR]

Copyright of Spor Hekimligi Dergisi/Turkish Journal of Sports Medicine is the property of Turkish Journal of Sports Medicine / Spor Hekimleri Dernegi 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.)

Study aim: The practical application of vibration stimuli is increasingly observed in physiotherapy and sports. The aim of the study was to investigate the effects of local vibration on knee-joint range of motion (ROM) improvement among male American football players.

Background. Atypical compression of the neck may be classified as asphyxia in which the external compression on the cervical anatomical structures occurs in a peculiar manner. In such cases, death occurs due to the combination of several pathophysiological phenomena, such as respiratory, vascular, and nervous. When the mechanical action on the neck is violent and rapid, it is more correct to use the word percussion rather than compression. Usually there are no skin lesions of special significance in this type of neck percussion, unlike the cases of choking, strangulation, and hanging, and the diagnosis is challenging. It is important to carefully evaluate the body during the autopsy to identify which pathophysiological mechanism caused the death. Case report. A young woman died immediately after being struck by a concrete beam at the level of her neck. The woman was on vacation with her boyfriend and decided to hang from a concrete beam suspended between two columns to take a souvenir photo when the beam suddenly broke and fell on her. The autopsy revealed multiple abrasions, swelling, and lacerations to the face, neck, and chest. Internal examination revealed primarily the presence of hemorrhagic infiltration in the anterior cervical compartments and lacerations of various organs, including the trachea. Conclusion. Based on all the obtained data, including toxicological and histological, the cause of death was atypical ab extrinsic percussion of the neck, directed particularly at the right cervical neurovascular bundle. [ABSTRACT FROM AUTHOR]

As the looseness of underwater bolted connections may cause catastrophic consequences, their regular inspection is vital. This paper proposes an exploratory approach to detecting the looseness condition of underwater bolted connections by percussion. The sound produced by tapping a bolted connection will alter when the preload on the connection reduces. Using the power spectrum density for feature selection, the proposed approach employs the frequency feature change of impact-induced sounds and implements the KNN (K-nearest neighbors) algorithm, a shallow machine learning method, to identify the corresponding looseness status. Experiments demonstrate effective performances of the proposed method. [ABSTRACT FROM AUTHOR]

Currently music is considered a very important means for the development of skills in children, especially in early childhood, it is worth considering the context in which during a substantial confinement the educational sector agglutinated the student population in their homes for a period of two years, this causes that preschool children feel the need to strengthen and channel the development process of skills corresponding to corporal expression. The objective of this research was to design a musical strategy based on percussion for the development of corporal expression in four-year-old children of the "Augusta Ugalde Alcívar" institution in the Portoviejo canton. Consequently, activities based on percussion highlight the novelty and necessity in the application of this strategy when considering the contribution that generates learning in children. [ABSTRACT FROM AUTHOR]

Background Percussion is an important part of the neurological examination and reflex hammers are necessary to obtain it properly. Objective We aimed to review the historical aspects of the main reflex hammers and to define the favorite one of Brazilian neurologists. Methods We searched original and review articles about historical aspects of the reflex hammers in Scielo and Pubmed and conducted an online survey to investigate the favorite reflex hammer of Brazilian neurologists. Results In the first part, we describe the major milestones in the creation of the reflex hammers. Following, we exhibit the results of the online survey: Babinski-Rabiner was the most voted. Conclusions The origins of the reflex hammers goes back long before their creation, from a basic clinical examination method: percussion. Since the description of deep tendon reflexes and the creation of percussion hammers, much has been improved in this technique. Among all the hammers surveyed, the Babinski-Rabiner was the chosen one by a significant portion of Brazilian neurologists. [ABSTRACT FROM AUTHOR]

We introduce a new perspective for musical interaction tailored to a specific class of sonic resources: impact sounds. Our work is informed by the field of ubiquitous music (ubimus) and engages with the demands of artistic practices. Through a series of deployments of a low-cost and highly flexible network-based prototype, the Dynamic Drum Collective, we exemplify the limitations and specific contributions of banging interaction. Three components of this new design strategy—adaptive interaction, mid-air techniques and timbre-led design—target the development of creative-action metaphors that make use of resources available in everyday settings. The techniques involving the use of sonic gridworks yielded positive outcomes. The subjects tended to choose sonic materials that—when combined with their actions on the prototype—approached a full rendition of the proposed soundtrack. The results of the study highlighted the subjects' reliance on visual feedback as a non-exclusive strategy to handle both temporal organization and collaboration. The results show a methodological shift from device-centric and instrumental-centric methods to designs that target the dynamic relational properties of ubimus ecosystems. [ABSTRACT FROM AUTHOR]

This paper models a new approach to theorizing topics via music informatics. Our case study for topic is winter as it appears in video game music. Like opera or oratorio, video game music leaves little ambiguity as to what the music ought to signify. Video games commonly have an icy or snowy area, complete with cold-weather creatures and landscapes as well as new game mechanics and music for the player to encounter. Our dataset has over 160 examples of such music, representing games on all mainstream platforms (Nintendo, PlayStation, computer, etc.) and spanning the years 1987-2020. Each example is tagged with its musical features. We define five core characteristics of the winter topic: heavy reverb, arpeggiated textures, metallic percussion instruments, plucked string instruments, and omission of membranophones. We also situate winter as a topic related to Christmas, '80s music, and the waltz. Finally, we explore Nintendo's idiosyncratic approach to winter music. Our study finds that instrumentation--particularly percussion--and audio technology are key considerations in establishing the winter topic in video game music. More broadly, we demonstrate the potential of computational musicology to augment and complement traditional approaches to topic theory, whether in relation to video game music or any other repertoire. [ABSTRACT FROM AUTHOR]

This paper develops the idea of ‘instrumentality’ to explore how the use of diverse tools or instruments involved in new music have the potential to (re)frame our engagement with the world. It will be argued that the choice of instrumental tools and how they are used in performance can not only enrich creative processes and outcomes for the artist but can also alter the audience’s relationship to the world by encouraging a conceptual engagement with one or more of its aspects. We are specifically interested in exploring this potential when interdisciplinary or intermedial approaches are taken to develop and realise new musical works. Drawing on Martin Heidegger’s concepts of ‘revealing’ and ‘unconcealment’, and using contemporary work entitled Alluvial Gold as a case study, this paper interrogates the way in which new instrumental practices offer a renewed engagement with the world.

Studies of chronic epilepsy show pathological high frequency oscillations (HFOs) are associated with brain areas capable of generating epileptic seizures. Only a few of these studies have focused on HFOs during the development of epilepsy, but results suggest pathological HFOs could be a biomarker of epileptogenesis. The Epilepsy Bioinformatics Study for Antiepileptogenic Therapy" (EpiBioS4Rx) is a multi-center project designed to identify biomarkers of epileptogenesis after a traumatic brain injury (TBI) and evaluate treatments that could modify or prevent the development of post-traumatic epilepsy. One goal of the EpiBioS4Rx project is to assess whether HFOs could be a biomarker of post-traumatic epileptogenesis. The current study describes the work towards this goal, including the development of common surgical procedures and EEG protocols, an interim analysis of the EEG for HFOs, and identifying issues that need to be addressed for a robust biomarker analysis. At three participating sites - University of Eastern Finland (UEF), Monash University in Melbourne (Melbourne) and University of California, Los Angeles (UCLA) - TBI was induced in adult male Sprague-Dawley rats by lateral fluid-percussion injury. After injury and in sham-operated controls, rats were implanted with screw and microwire electrodes positioned in neocortex and hippocampus to record EEG. A separate group of rats had serial magnetic resonance imaging after injury and then implanted with electrodes at 6 months. Recordings 28 days post-injury were available from UEF and UCLA, but not Melbourne due to technical issues with their EEG files. Analysis of recordings from 4 rats - UEF and UCLA each had one TBI and one sham-operated control - showed EEG contained evidence of HFOs. Computer-automated algorithms detected a total of 1,819 putative HFOs and of these only 40 events (2%) were detected by all three sites. Manual review of all events verified 130 events as HFO and the remainder as false positives. Review of the 40 events detected by all three sites was associated with 88% agreement. This initial report from the EpiBioS4Rx Consortium demonstrates the standardization of EEG electrode placements, recording protocol and long-term EEG monitoring, and differences in detection algorithm HFO results between sites. Additional work on detection strategy, detection algorithm performance, and training in HFO review will be performed to establish a robust, preclinical evaluation of HFOs as a biomarker of post-traumatic epileptogenesis.

This article outlines analytical methods for preparing and interpreting Karlheinz Stockhausen's sextet Mikrophonie I (1964) for tam-tam and electronics. Would-be performers of this work face significant accessibility issues: Stockhausen's recommended equipment—especially the electronic filter used to process the tam-tam's sound—is extremely rare. These issues often necessitate performers finding alternative solutions for equipment. Mikrophonie I is one of several works for live electronics that have become increasingly difficult to program, due to the obsolescence of the technology required to perform them. Performers often reconstruct the necessary electronics digitally, using software such as Max/MSP. Wetzel [(2006). "A Model for the Conservation of Interactive Electroacoustic Repertoire: Analysis, Reconstruction, and Performance in the Face of Technological Obsolescence." Organised Sound 11 (3): 273–284. https://doi.org/10.1017/S1355771806001555] describes a three-stage model for this reconstructive process that foregrounds the need for performer-led analysis. Using Mikrophonie I as a case study, I expand on Wetzel's model to navigate the reconstruction through two main analytical perspectives: the prioritisation of sound or process. These methods are then applied to my realisation process of Mikrophonie I. I describe the process of constructing a digital filter in Max/MSP based on a patch created by Christopher Burns [(2002). "Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music." Journal of New Music Research 31 (1): 59–68. https://doi.org/10.1076/jnmr.31.1.59.8104] and compare different interface options for using the filter in performance. Referring to previous recordings by the Stockhausen Ensemble (1965) and the percussion ensemble red fish blue fish (2014), I show how creative interpretations can help ensembles overcome the perceived shortcomings of their available tam-tam. Beyond the specifics of reconstructing the technology required for performing Mikrophonie I, this article underlines the indispensability of analysis for performers who specialise in works with obsolescent technology. [ABSTRACT FROM AUTHOR]

As the first woman to win the Prix d' Europe in composition, in the avant-garde of writing and research in electroacoustic music, and a fighter for the arts and the role of the composer in society, Micheline Coulombe Saint-Marcoux was undeniably a pioneer. She was also the first Quebecer to compose a work for solo percussion. In the tradition of Karlheinz Stockhausen's Zyklus (1959) and Helmut Lachenmann's Intérieur i (1966), Trakadie (1970), for percussion and fixed sounds, represents the beginning of this discipline in Quebec. In addition to offering an analysis of Trakadie, this article places the work in context by discussing two other pieces written by Coulombe Saint-Marcoux in the same time period: Séquences (1968, rev. 1973) and Épisodie ii (1972). [ABSTRACT FROM AUTHOR]

Refractory materials are basic materials widely used in industrial furnaces and thermal equipment. Their microstructure is similar to that of many heterogeneous high-performance materials used in micro/nanodevices. The presence of damage can reduce the mechanical properties and service life of refractory materials and even cause serious safety accidents. In this paper, a novel percussion and particle swarm optimization-support vector machine (PSO-SVM)-based method is proposed to detect damage in refractory materials. An impact is applied to the material and the generated sound is recorded. The percussion-induced sound signals are fed into a mel filter bank to generate time–frequency representations in the form of mel spectrograms. Then, two image descriptors—the local binary pattern (LBP) and histogram of oriented gradient (HOG)—are used to extract the texture information of the mel spectrogram. Finally, combining both HOG and LBP features, the fused features are input to the PSO-SVM algorithm to realize damage detection in refractory materials. The results demonstrated that the proposed method could identify five different degrees of damage of refractory materials, with an accuracy rate greater than 97%. Therefore, the percussion and PSO-SVM-based method proposed in this paper has high potential for field applications in damage detection in refractory material, and also has the potential to be extended to research on damage detection methods for other materials used in micro/nanodevices. [ABSTRACT FROM AUTHOR]

1-Purpose: The aim of this study is evaluate the effect of chest physiotherapy on hospitalized patients with IPF . 2-Method and Materials: Chest physiotherapy management was applied for 3 sessions. 1Session\day included. 1Session\day. The lesson lasts 45 minutes in total. the RP treatments that are advised for seriously unwell patients receiving hospital care in the ICU. Activating and releasing of respiratory muscles, positioning, percussion on chest to improve air way clearance, passive ROM of all limbs to prevent muscle atrophy, Mobilization to elbow and knee and ankle. 3-Results : Physiotherapy management lead to improved airway clearance and improve O2 saturation, improved mobility of elbow joint and knee Joint, activation of intercostal muscle, release of hyperactive neck muscles. 4-Conclusion: Early physiotherapy intervention for ICU patients with IPF lead to improvement in chest expansion, lung volume, activation of intercostal muscle, increasing of ribs mobility and prevent muscle weakness and increase joint mobility and prevent DVT, the program was applied included : Activating and releasing of respiratory muscles, positioning, percussion on chest to improve air way clearance, passive ROM of all limbs to prevent muscle atrophy, Mobilization to elbow and knee and ankle. [ABSTRACT FROM AUTHOR]