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Statistical analysis of the time-to-event scenarios commonly involves the use of the exponential and Rayleigh distributions. However, the exponential distribution is constrained by its constant failure rate, while the Rayleigh distribution exhibits a growing (or increasing) failure rate. The linear failure rate distribution provides a broader perspective by encompassing both of these distributions, including the possibility of a non-increasing hazard function. In this paper, a new distribution is introduced, which could be considered as one of the major modifications to the linear failure rate distribution, known as the weighted linear failure rate distribution. The model proposed illustrates both monotonic and a known non-monotonic failure rate. This paper extensively explores the characteristics of the proposed distribution. It presents the maximum likelihood estimates for the unknown parameters and includes a simulation study. The analysis focuses on three real data sets obtained from the fields of musical education and engineering. By employing three decisive tools, it is observed that the current distribution provides a superior fit in comparison to several other widely recognized distributions. [ABSTRACT FROM AUTHOR]

Artistic research in music often relies on a combination of thinking and experimenting in music and reflecting on these experiences outside musical time. However, the way in which out-of-time reflection can build on in-time musical thinking is rarely problematised. In this text, I develop a vision that relates critical and reflective ability in musical artistic research to the ability of the researcher to change or alternate positions in relation to the stream of musical events. Thus, a perspective of artistic research as an interruptive practice emerges. [ABSTRACT FROM AUTHOR]

Music listening affects time perception, with previous studies suggesting that a variety of factors may influence this: musical, individual, and environmental. Two experiments investigated the effect of musical factors (tonality and musical tempo) and individual factors (a listener's level of musical sophistication) on subjective estimates of duration. Participants estimated the duration of different versions of newly composed instrumental music stimuli under retrospective and prospective conditions. Stimuli varied in tempo (90–120 bpm) and tonality (tonal-atonal), in a 2 × 2 factorial design, while other musical parameters remained constant. Estimates were made using written estimates of minutes and seconds in Experiment 1, and the reproduction method in Experiment 2. Two-way analyses of variance (ANOVAs) showed no main effect of tonality on estimates and no significant interactions between tempo and tonality, under any condition. Musical tempo significantly affected estimates, with the faster tempo leading to longer estimates, but only in the prospective condition, and with the use of the reproduction method. Correlation matrices using the Pearson correlation coefficient found no correlation between musical sophistication scores (measured using the Goldsmiths Musical Sophistication Index [Gold-MSI]) and verbal or reproduction estimates. In conclusion, together with the existing literature, findings suggest that (1) changes in tonality, without further changes in rhythm, metre, or melodic contour, do not significantly affect estimates; (2) small changes in musical tempo influence only prospective reproduction estimates, with larger tempo differences or longer stimuli being needed to cause changes in retrospective estimates; (3) participants' level of musical sophistication does not impact estimates of musical duration; and (4) empirical research on music listening and subjective time must consider potential method-dependent results. [ABSTRACT FROM AUTHOR]

This document is a review of two volumes of Béla Bartók's string quartets, edited by László Somfai with Zsombor Németh. The review praises the editors for their comprehensive and authoritative source on Bartók's quartets, which provide valuable insights into the composition and realization of the works. The volumes include scores with informative footnotes and a critical commentary section. The review highlights the importance of the string quartets in Bartók's oeuvre and the input of performers in the editorial process. Overall, the volumes are praised for their thoroughness and usability for performers and scholars. [Extracted from the article]

Film historians have long known that the version of Carl Theodor Dreyer's La Passion de Jeanne d'Arc (1928) shown at its French premiere was heavily censored by the state and the Catholic church. Exactly what was cut, however, has never been entirely clear, meaning that almost all of the critical literature about the subject has been forced to accept the testimony of those who claim to have seen it at the time. An overlooked source that would help resolve the debate is the score commissioned for its Paris premiere. It includes vital evidence in the form of intertitles and actions that correspond to a print acquired by the British Film Institute in 1947. A detailed comparison of screen and musical time convincingly demonstrates that the 1947 print is a copy of the censored version, and a broader analysis of empathetic musical gesture and specially written lyrics for choir and soloists supports that contention. This analysis underlines the valuable contribution that film-music studies can make to film history in helping reveal for the first time exactly what it was to which the authorities objected in Dreyer's famous film. [ABSTRACT FROM AUTHOR]

The article discusses two different topics. The first topic is a film called "An Affair to Forget" directed by Jens Neubert, which explores the relationship between Richard Wagner and Mathilde Wesendonck. The film takes some liberties with the truth and simplifies the complex dynamics of the relationship. The second topic is a production of Wagner's opera "Der fliegende Holländer" by the Sofia Opera, which takes place outdoors. The production has some promising elements, such as the lakeside setting, but ultimately falls short in terms of dramatic success and vocal performances. Overall, the article provides critical assessments of both the film and the opera production. [Extracted from the article]

The article explores Richard Wagner's time in Zurich, Switzerland, focusing on his various residences during his exile. It reveals that Wagner's descriptions of his living conditions were often exaggerated, and he lived in more comfort than he admitted. The article also discusses the discovery of new information about Wagner's lakeside home, the Abendstern, which was previously believed to have been destroyed but was actually renovated before being demolished in 1962. The author reflects on the changes in the surrounding area and briefly mentions a pet accessory shop nearby, directing readers to a website called "House of Dogs" for more information. [Extracted from the article]

The purpose of this study was to determine the effects of model recordings on undergraduate conductors' tempo decisions for selected wind band excerpts. Participants (N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants' tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants' preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use. [ABSTRACT FROM AUTHOR]

This paper aims to examine a brief study of Vada Nirnaya of Sangeet Samayasara by Acharya Parshvadeva. Indian music has a very ancient history. There is evidence of music in written form since the Vedic period. There are two types of aspects in music as follows- 1. Theoretical, 2. Practical. Although the practical part of music is very important, the importance of the theoretical part is not less than that. Both limbs have equal weight. The reason for this is that Pratyakshika was learned side by side in front of the Guru in the gurukula and the knowledge was propagated from one generation to the next; But with the idea of presenting this knowledge in a written or theoretical form to last forever, it is seen that many musical texts were created by many Rishis and Munis in different eras. This shows the invaluable contribution of theory as well as demonstration in music. Acharya Parshvadeva Krita Sangeet Samayasara Grantha was written in the 13th century. During this period Sharangdeva's Sangeet Ratnakara was established as a respected text in music. It is seen that most of the bibliographers of that time arranged their books on the basis of this book. Despite this Sangeet Samaysara appears to be very unique due to its unique musical principles. Religiously Parshvadeva is a Jain Acharya who played a very important role in the field of music and composed the book, Sangeet Samayasara; in which he has elaborated the new concept called 'Vada' along with all the three musical genres of the time i.e. singing, playing and dancing. In this present research paper, we will see a brief study of the vada nirnaya adhikarana in the Sangeet Samaysara grantha. [ABSTRACT FROM AUTHOR]

This paper focuses on the complex relationship between pace and place, offering a novel lens for understanding mobility within the context of canal boating. Drawing on fieldwork on the canals in north‐west England, the paper focuses on mobile placemaking practices. Canal boats act as physical and material but also ideological pacemakers, guiding the boaters towards subscribing to the idea of slow living, where certain canal‐based pace‐myths play an important role. Pacemaking on the canals is therefore a form of placemaking, realised through the mobility of the vessel, materialities of the infrastructure, tempos and temporalities, representations and stories about canal life as well as the bodies on board and on towpaths as canal boaters modulate and manage their experience and performance of pace. The investigation of the interplay between the slow pace, rhythms, embodied practices, canal infrastructure, and the prevalent pace‐myths offers valuable insights into the ways places are shaped by the pace of mobility, thus expanding the concept of placemaking. By foregrounding pace as a key concept in mobility studies, the paper demonstrates the need for a more nuanced understanding of the temporalities associated with different modes of movement. [ABSTRACT FROM AUTHOR]

Teaching music often focuses on developing musical concepts, through comparisons and discriminations. This paper contributes to the discussion on concept development in music through recognition of common elements in a situation and a shift from a local to a general level, considering theoretical approaches to mathematical generalisation. It sets to explore preschool children's understanding of tempo and its use in new musical situations. The research involved a musical intervention in six preschool classrooms. Critical incidences from focus group discussions and non-participant observation recorded children's understanding of tempo from their musical actions, drawings, responses and reflection to teacher questions. The findings highlight that children could go beyond the specific content of the activities and focus on the basic characteristics of tempo, integrating them into their song creations. A teaching approach oriented to generalisation through concept development can assist teachers to elaborate musical content and realise students' level of understanding. [ABSTRACT FROM AUTHOR]

Frédéric Chopin (1810-1849), one of the composers who reflected and created the spirit of the 'Romantic Period,' characterized by increased diversity in style, form, and expression, and the expansion of piano literature, crafted the musical texture in his pieces with a highly personal style, incorporating his unique harmony, flexible formal design, original use of expressive tools, and a free performance technique that didn't adhere to rigid patterns in rhythm and tempo. Chopin's distinctive style is particularly visible in the forms he chose for piano music. The flexible forms of his time allowed the composer to create a characteristic style by freely utilizing musical materials. Especially, forms like nocturnes, fantaisies-impromptus, and waltzes, which leave an impression of improvisation, small-scale, and rule-free structures, provided a clear space for the composer's expressive tools. Indeed, it is possible to identify Chopin's musical language, especially through his small-scale pieces. The purpose of this research is to analyze the melody construction, harmony, and rhythms of Frédéric Chopin (1810-1849), focusing on selected pieces to provide an interpretation of his musical language based on similarities found in these pieces. Samples from Chopin's literature, including Op. 27 No. 1, Op. 9 No. 2 and No. 20 Nocturnes, Op. 64 No. 2 Waltz, and Op. 66 Fantaisie-Impromptu, were taken for the study. The research employed a case study design within qualitative research methods, and the obtained data was described descriptively. In conclusion, it was found that Chopin's harmony encompasses a wide range from simple chord progressions to complex chords. He created simple yet bel canto melodies inspired by the 'Italian Opera' embellishments and used rhythms that prioritize the clarity of melody rather than a polyrhythmic approach. This study is believed to contribute to listening and playing practices due to its exploration of the musical materials in the Turkish literature related to Chopin. [ABSTRACT FROM AUTHOR]

This study analyses the early intersections between melody, rhythm and harmony, up to the recent emergence of new musical styles. Psychological studies of rhythm have shown that it has played an important role in social and relational experience. At the same time, it creates a sense of bonding between people and can alter the moods of several people at once and lead them in a unified direction. Melody, rhythm and tempo tell the listener that they are in a safe and good place, expressing a psychological need for a sense of security, providing a sense of life's pulse, similarly to the heartbeat. Unfortunately, modern human life lacks the life-like rhythm that God provided for us in creation. Ritual is our identity, our memory, a continuation of the old, an exit from the individual sphere and an entry into a communal one, into a new role, suggesting a transition, accompanied by sounds, rhythm, song, music and dance. [ABSTRACT FROM AUTHOR]

Time discrimination, a critical aspect of auditory perception, is influenced by numerous factors. Previous research has suggested that musical experience can restructure the brain, thereby enhancing time discrimination. However, this phenomenon remains underexplored. In this study, we seek to elucidate the enhancing effect of musical experience on time discrimination, utilizing both behavioral and electroencephalogram methodologies. Additionally, we aim to explore, through brain connectivity analysis, the role of increased connectivity in brain regions associated with auditory perception as a potential contributory factor to time discrimination induced by musical experience. The results show that the music‐experienced group demonstrated higher behavioral accuracy, shorter reaction time, and shorter P3 and mismatch response latencies as compared to the control group. Furthermore, the music‐experienced group had higher connectivity in the left temporal lobe. In summary, our research underscores the positive impact of musical experience on time discrimination and suggests that enhanced connectivity in brain regions linked to auditory perception may be responsible for this enhancement. [ABSTRACT FROM AUTHOR]

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The article focuses on the potential impact of generative Artificial intelligence (AI) on job cuts, highlighting grandiose claims made by companies and media outlets. It emphasizes the need to view generative AI as an amplifier of human capital rather than a wholesale replacement, considering the importance of fine-tuning models and the ongoing human involvement necessary for development, testing, and maintenance.

A song is composed of a series of tones that form a melody and support musical elements. It uses the tones of a human voice to beautifully and meaningfully express thoughts or feelings The combination of a song with a lively poem (text) can stir up a lot of emotions in the audience and have a major effect on their soul. This study aims to explore the emotions evoked by Kemas Anwar Beck's lyrics for his song Nasib Kulo and how his experiences show up in using language and wordplay to give his lyrics a unique and appealing quality. The study focuses on analyzing the content of the song lyrics and interpreting their meaning in a qualitative descriptive manner. A semiotic theory is used to decipher the meaning of the lyrics that were penned in polite Palembang Alus language. Moreover, a musicology approach is also used to analyze the musical form. The results show that the song Nasib Kulo uses two types of symbols, namely, verbal meaning in the form of poetry or lyrics and non-verbal meaning in the form of song elements, that is, chord progression, melody, tempo, and dynamics. As a result of the creativity of the artist, the mindset of life conception and lifestyle are reflected in his artwork. In conclusion, the song Nasib Kulo that is written in Palembang Alus language is very influential for individuals and communities. [ABSTRACT FROM AUTHOR]

• Music has an immediate positive effect on objective measurements of driving fatigue. • The effect of music is transient (15–25 min duration) • The effect is more pronounced and long-lasting on subjective measurements of fatigue. • Listening to music can serve as a viable short-term countermeasure to driving fatigue. Listening to music while driving is a commonly adopted fatigue-coping strategy, yet its effectiveness has been explored in only a limited number of studies. Here, we aim to evaluate its impact on passive task-related driving fatigue, as measured by a set of both objective and subjective indicators. A driving simulator experiment was conducted involving 60 participants, who completed a 50-minute driving task on a monotonous highway scenario. The participants were divided into a control group, which did not listen to any music, and an experimental group, which drove for 20 min without music and then listened to a self-selected music playlist played at the preferred intensity for the remaining 30 min. Results show that music had a positive acute effect on objective measurements of driving fatigue. However, this effect was transient (15–25 min duration), and more prominently observed in subjective measures of fatigue. An exploratory analysis of song features suggests that higher intensity, higher tempo, more danceable, and less instrumental music tend to be more effective. These findings indicate that listening to music can serve as a viable short-term countermeasure to driving fatigue. [ABSTRACT FROM AUTHOR]

Travel and tourism advertising is critical in developing positive associations to attract visitor patronage and build sustainable post-pandemic tourism. An important part of an advertising message is delivered through voice and other aspects of audio, for example, music. However, how audio features impact viewers of travel and tourism advertisements remains unexplored in the research. This study implements advanced audio analytics to test how various features impact upon viewers. The results show that voice quality is important in developing positive affect; advertisement viewers prefer speakers with quieter voices (less mean intensity) that have a higher level of clarity (higher harmonics-to-noise ratio). This can be explained via the heuristic route of the heuristic-systematic model. Music tempo was found to be important in stimulating reactions from advertisements, with faster music being associated with a higher level of positive affect. The paper concludes with practical and theoretical implications, limitations, and suggestions for future research. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the main G. Grisey's concepts regarding spectral composition in the 20th century. The research methodology consists in the use of methods of analysis and synthesis of the works by G. Grisey on the spectral method in the music of the 20th century. Source science and system approaches were used to study interrelated elements in the characteristics of the spectral method in the works by G. Grisey. The scientific novelty of the work consists in the generalisation of the results of studying the spectral method in author's music with the effects of specific sound spectra: attack and decay of sound; beats as prototypes of the rhythmic component; filtering and phase distortion as prototypes of the melodic component; intensity when adjusting the volume. It is noted that the results of the synthesis become the sound of an artificially produced musical space with different conditions for the existence of a natural sound structure in it. In such music, the concepts of time and space are inseparable. Time organises events in acoustic space. The space-time paradigm is multidimensional. It is based on the principle of organisational unity from the level of micro to macro space. Conclusions. The conceptual approaches of space-time in the works of the composer of the French spectral school G. Grisey are analysed. The composer noted that the appeal to the liminal - threshold concept of time and space of spectralism is based on natural and physiological processes. In the treatise of G. Grisey "Tempus ex machina" and his composition of the same name, the philosophical significance of the coordinate axis of the system is substantiated. For this, it was necessary to draw a parallel with Moll's theory of information, the natural-scientific law of Weber-Fechner. The technologies of mastering the intra-sound space in spectralism lead to a new sound concept - sound as a phenomenon of life. Switching plans from the internal composition of sound to external factors, the transition from microphonic to macrophonic space allows us to assert that sound is capable of life and death, when the starting point of understanding time in music is its relativisation as a rejection of absolute meaning. This is actually the conceptual basis in the work of G. Grisey, as one of the concepts of musical time in the compositions of the second half of the 20th century. They are characterised by a high degree of subjectivity of temporary sensations. [ABSTRACT FROM AUTHOR]

This article examines the use of strict imitation in musical performance pedagogy, with a focus on the recordings of composer Béla Bartók. The author conducted a project in which they imitated Bartók's recordings and worked with undergraduate piano students to imitate his performance style. The study aimed to assess the value of strict imitation as a teaching technique. The article also discusses Bartók's notation and his desire for variability in performance, highlighting the challenges of reconciling his specific notation with his own recorded performances. The text emphasizes the importance of understanding Bartók's unique style and the need for performers to balance authenticity with their own interpretations. [Extracted from the article]

Silesia in the early modern era is an area with a historically unprecedented role, not only in relation to the tradition of Protestant churches, but also Catholic one. A particularly important cultural player there was the Society of Jesus, which used a variety of cultural strategies in its mission. The present article is a systematic review of these forms of activity, organized according to the chronological units. These time categories correspond to the music–theoretical narratives, to the method of meditation codified in Spiritual Exercises, and also to Ludwik Bielawski's zonal theory of musical time. It seems that Silesian Jesuits consciously and consistently used the music performances in the religious culture they animated at all levels of these 'time zones'. Recurrence and periodicity supported the established social habitus and regulated rhythms of the community's cycles of various religious activities. A natural pretext for this regulation was the liturgical cycle, including new elements to the inherited tradition. Elements of this cyclicity may be found in all forms the of Jesuit repertoire and music genres. The community's sacred time was measured out with recurrent performances of music repertoire and stage performances, creating together the rhythm of human life. [ABSTRACT FROM AUTHOR]

This research aims to address the need of preservation of the "Gurung-gong Beat," the Thanksgiving practice that lingers within the island of Panglao, Bohol. The prevalence of this beat was observed during the town's festival, songs, and customs; however, this practice lacked documentation. Hence, this primary goal of this study is to produce a rhythmic notation of the Gurung-gong beat based on the gathered data through a recorded video and dialogue between the researcher and the focal person. The produced notation aims to safeguard the cultural practices in Panglao through music. Moreover, this descriptive qualitative study underwent the following procedures: (1) transcription - which involves the notation of the recorded beat; (2) data coding - to apply tags and labels of a particular note or beat; (3) thematic analysis - the analysis of the note patterns to determine the rhythm; (4) data interpretation; and (5) data validation. The validation was done by a credible historian from Bohol, a music professor from a distinguished university, and a chorale conductor. This was also presented to the community to check if the notated rhythm is identical to their existing beat. Furthermore, the results show notated elements including note patterns with consistency of eight and sixteenth notes, the 4/4-time signature, the brisk tempo, and the "1-and, 2-ah-and-ah, 3-and, 4-and" rhythmic count. With these results, the researcher of this study implied and emphasized the importance of documenting the local traditions, raising cultural awareness, and encouraging officials to gain a deeper understanding of cultural heritage and preservation. Consequently, the notated rhythmic beats will be utilized for a musical composition for the community's thanksgiving dance. [ABSTRACT FROM AUTHOR]

This article examines the relationship between music and pedagogy, emphasizing the impact of cultural and demographic variables. It discusses how music is a universal language that affects emotions and memory, and is used in various educational settings. The study conducted surveys and cognitive assessments to explore the influence of socio-cultural variables on memory and cognitive tasks, finding that variables such as gender, race/ethnicity, and nativity can impact performance. The article also presents findings from a survey on the impact of audio interventions on performance and attitudes towards the Preamble of the U.S. Constitution, highlighting variations based on race/ethnicity and the influence of liking the audio on assessment performance. The study suggests that presenting information in ways that are well-received can enhance learning, but acknowledges the need to address the gap between the principles expressed in the Preamble and the experiences of underrepresented groups. Further research is needed to understand the specific elements of audio delivery that impact memory tasks. [Extracted from the article]

Spectral music, specifically that of Gérard Grisey, reveals sound universe that interweaves the small variations of its internal morphologies, the control of musical time, and the emergence of unique acoustic and psychoacoustic phenomena. In this article, we ask if spectralism is a movement that breaks with the past or it reorganizes previous compositional processes and techniques, specifically related to the Studio for Electronic Music (WDR), in Cologne. To this aim, we analyze Grisey's notion of instrumental synthesis, degrees of change, and degree of preaudibility, and investigate if they relate to similar procedures previously developed by other composers. We also study how these notions are applied in the works Périodes (1974), Partiels (1975) and Modulations (1976-77). We conclude articulating the compositional epistemologies of the integral serialism of the 1950s and 60s and the spectralist proposal in which, despite the differences, there would be convergence on musical time, conceived as an emerging phenomenon resulting from the interaction between other musical parameters. [ABSTRACT FROM AUTHOR]

The cognitive preparation of an operation without overt motor execution is referred to as imagery (of any kind). Over the last two decades of progress in brain timing studies, the timing of imagery has received little focus. This study compared the time perception of ten professional violinists' actual and imagery performances to see if such an analysis could offer a different model of timing in musicians' imagery skills. When comparing the timing profiles of the musicians between the two situations (actual and imagery), we found a significant correlation in overestimation of time in the imagery. In our fMRI analysis, we found high activation in the left cerebellum. This finding seems consistent with dedicated models of timing such as the cerebellar timing hypothesis, which assigns a "specialized clock" for tasks. In addition, the present findings might provide empirical data concerning imagery, creativity, and time. Maintaining imagery over time is one of the foundations of creativity, and understanding the underlying temporal neuronal mechanism might help us to apprehend the machinery of creativity per se. [ABSTRACT FROM AUTHOR]

Research Summary: An initial public offering (IPO) expands a firm's access to funding and enables future‐oriented strategic investments. Though aggressive investments can open new opportunities and speed the construction of relative advantage, this aggression risks time compression diseconomies and maladaptive learning from rushed experiences. We propose a firm's investment tempo and industry velocity combine to affect the trajectory of a firm's post‐IPO performance. Agent‐based simulation modeling suggested that aggressive, up‐tempo investment sped the construction of relative advantage in low‐velocity industries. Empirical analyses of multiyear post‐IPO windows in real firms supported this. In contrast, simulations and analyses of real firms suggested up‐tempo investment was maladaptive in high‐velocity industries as the combination of fast investment and fast industry change was often more than boundedly rational agents could cognitively handle. Managerial Summary: Congratulations! By taking your firm public, you can now finance strategic investments in R&D and CAPX that would have been impossible when your company was private. Rapid investment can open new opportunities, sharpen your firm's skills, and build competitive advantage. However, rapid investment is risky because you can waste time recovering from hastily made mistakes and learn bad habits when new experiences arrive too quickly for managers to assimilate. We found the relationship between investment speed and firm profitability depended on industry velocity. Counterintuitively, rapid investment was ill advised in high‐velocity industries because the combination of fast investment and fast industry change was often more than managers could cognitively handle. In contrast, rapid investment worked well in low‐velocity industries, which placed fewer strains on decision makers. [ABSTRACT FROM AUTHOR]

"The Heroic in Music" is a book that explores the pervasive influence of the heroic figure in Western music and its impact on composers. The editors, Beate Kutschke and Katherine Butler, identify four common heroic topics in musicology: the heroic style, operatic heroes, the heroic in instrumental music, and performance. The book examines how music has been used to express and shape ethical and political concerns throughout history, from medieval chants to contemporary vocal music. The contributors analyze various genres and themes, challenging traditional perceptions of heroism and highlighting the complexities of hero figures in different times and places. [Extracted from the article]

One of the most accomplished musicals of all time, "My Fair Lady" remains a landmark in the history of the musical genre: this musical was a successful multicultural alliance: it was based on a play by the Anglo-Irish playwright George Bernard Shaw, a musical score by the Austrian Frederick Loewe and a libretto by the American Alan Jay Learner, the velocity of the melodies and choreography, as well as the jazz rhythms, being genuinely American. The topic of the current research is based on the ways in which George Bernard Shaw contributed through his play "Pygmalion" and also as a music critic to of a landmark musical, which is "My Fair Lady". [ABSTRACT FROM AUTHOR]

This aspect of verse speaking needs careful practice in class, as an actor's habitual sense of rhythm and flow may be quite different from that specified in the script, either apparent or more subtle. My career as a voice teacher and coach spanned over three decades, and during those years, I worked with actors-in-training, new voice teachers and professional actors at all levels of their development, while on faculty at the University of Alberta in Edmonton, Alberta, Canada. After initial release work early in classroom training, I ensured the actors were moving while doing warm-ups, keeping away from the notion of standing and producing sound or repetition of exercises that became too routine to provide new insights. I believe currently there is much less practice with verse in the years leading up to actor training, so the ability to use rhythm and rhyme to enhance and underscore meaning is underdeveloped. [Extracted from the article]

Humans tend to synchronize spontaneously to rhythmic stimuli or with other humans, but they can also desynchronize intentionally in certain situations. In this study, we investigate the dynamics of intentional sensorimotor desynchronization using phasing performance in music as an experimental paradigm. Phasing is a compositional technique in modern music that requires musicians to desynchronize from each other in a controlled manner. A previous case study found systematic nonlinear trajectories in the phasing performance between two expert musicians, which were explained by coordination dynamics arising from the interaction between the intrinsic tendency of synchronization and the intention of desynchronization. A recent exploratory study further examined the dynamics of phasing performance using a simplified task of phasing against a metronome. Here we present a further analysis and modeling of the data from the exploratory study, focusing on the various types of phasing behavior found in non-expert participants. Participants were instructed to perform one phasing lap, and individual trials were classified as successful (1 lap), unsuccessful (> 1 laps), or incomplete (0 lap) based on the number of lapsmade. It was found that successful phasing required a gradual increment of relative phase and that different types of failure (unsuccessful vs. incomplete) were prevalent at slow vs. fast metronome tempi. The results are explained from a dynamical systems perspective, and a dynamical model of phasing performance is proposed which captures the interaction of intrinsic dynamics and intentional control in an adaptive-frequency oscillator coupled to a periodic external stimulus. It is shown that the model can replicate the multiple types of phasing behavior as well as the effect of tempo observed in the human experiment. This study provides further evidence that phasing performance is governed by the nonlinear dynamics of rhythmic coordination. It also demonstrates that the musical technique of phasing provides a unique experimental paradigm for investigating human rhythmic behavior. [ABSTRACT FROM AUTHOR]

In dance, music, or sports, reproducibility and consistency as well as bilateral dexterity/coordination of movement are crucial for motor control. Research into the biomechanics of movement consistency and variability is important for motor learning to achieve proficiency and maximize outcome reproduction and stability as well as to reduce the risk of injury. Thirty-six participants were instructed to perform a repetitive circular, ipsilateral motion of arms and legs at three different tempi, while being recorded with optical motion capture. Two velocity-based consistency measures were developed an overall measure of consistency and a laterality difference measure. Maintaining velocity consistency was more challenging at slower than at faster tempi, suggesting that slow movement could require more attentional focus and thus become more variable. Music experience resulted in higher consistency, especially on the subdominant body side, possibly due to extensive bilateral training. Outcomes could have potential implications for music instrument, dance, and sports practice and training. [ABSTRACT FROM AUTHOR]

B Chair: b Clara Nemas de Urman B Presenters b : Heinz Weiss, Susan Finkelstein, Francis Grier The panel explored causes and understanding of war by focusing on Roger Money-Kyrle's historical writings foreboding World War II and the fear of encirclement (H. Weiss); being swallowed, buried alive, encased within the object, persecuted, and annihilated (S. Finkelstein); and the creative, reparative use of music by two wartime composers (F. Grier). This transformation of reality, called by Mr Grier an "idealized denial on the border of a psychosis", can be seen as a defence in a time of war. Mr Grier notes that in the context of war, Messiaen portrayed a vision of Bion's "ultimate godhead", a perspective of eternity. [Extracted from the article]

Diversified purchases of consumers can help companies balance sales and inventories, which is of great significance to company profits. While existing research has explored the internal factors and external factors that influence consumers' variety-seeking behavior, little is known about the impact of background music, an important environmental cue in retail establishments, on consumer varietyseeking behavior. The present research investigates the influence of background music tempo on consumer variety-seeking behavior, along with its underlying mechanism and boundary condition. Five experiments revealed that background music tempo affects consumers' variety-seeking behavior (Study 1a, 1b & 4). Specifically, fast-tempo background music increases consumers' variety-seeking behavior (Study 1b). Arousal mediates the main effect (Study 2), as fast-tempo background music increases consumers' variety-seeking behavior by enhancing consumers' arousal. Moreover, participants' familiarity with the background music moderates the impact of background music tempo on consumer variety-seeking behavior (Study 3). Only when consumers have a high degree of familiarity with the background music they listen to, the tempo of the background music will have a significant impact on their variety-seeking behavior. These findings provide important theoretical contributions and management implications. [ABSTRACT FROM AUTHOR]