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

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

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

"Maduswara" is a new musical work whose creation is based on memoirs, or the journey of Peni Candra Rini's in interpreting the sounds she has encountered. The memoir in question is the composer's memory from childhood when he first knew the tembang macapat, which was later termed as wiji tembang. The song continues to develop into a sound journey when the artist grows up, enters a formal karawitan school, and becomes a tembang lecturer in the musical department at the Indonesian Institute of the Arts Surakarta. The method of creation used is through several stages inspired by the composer's personal process, namely (1) reflection, (2) dialectics, (3) giving the tone of expression, (4) determining the form, (5) determining the medium, (6) compiling compositional musical notation, (7) transmedium, (8) practice, (9) improvisation. These steps of creation finally found a concept of nyarira lagu which was built on 5 indicators, namely; (1) language, (2) voice, (3) expression, (4) spirituality, and (5) improvisation

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

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

Ewha women's institution as technical college established in 1925 started with first music department in Korea. This department was the only college institution in modern Korea offering western music training. The aim of this paper is to investigate the actual condition of this department and to give consideration to the role of this focusing on historical material 'Ewha college catalogue (1937)'. Education in the musical department contains both basic theory and practical skill of music. More than half of students were from north part of Korean peninsula and many of them were Christian. Graduates of this department could get qualifications to be a teacher at private high school. So this department opened the doors for Korean to play an important role at musical education. Especially graduates from music department become teachers twice as many as the graduates from other departments such as literature and home economics. I guess this was because there were no other music departments in Korea at that time. At the beginning, most of teachers of Ewha college were American missionaries and graduates from Ewha college who had studied in US. But after the late of 1930, graduates who had studied in Japan were employed. This meant that route to accept western music was changed. Ewha college's music department gave a good environment for Korean students to study musical expertise and played important role as pioneer. [ABSTRACT FROM AUTHOR]

The article presents the account of the author regarding the early life and activities of her son Henry Dixon Cowell until age nineteen. It notes that Cowell was born on March 11, 1897, and spoke three words when he was 20 months old. It narrates the development of Cowell from childhood including his activities and interests as a child. It mentions about Cowell's farm life in Kansas, his early education, and his increasing involvement with music. It also presents the author's insights regarding public school education and the factors that influence Cowell to excel in music. It also provides information regarding Cowell's education in the musical department of the University of California.

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

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

The present article researches the relationship of musical preferences of adolescence (pop, rock and rap) and modernity (classical, pop, rock, music lovers) with the display of personal features, such as empathy, emotional exhaustion, state and trait anxiety, pedagogical style and coping strategies. The musical genres and trends are considered as musical preferences and precedential musical phenomenon revealed empirically during the self-analysis by the subjects. The experimental study was carried out on the basis of Moscow Pedagogical State University and consisted of 4-5th-year students of Music Department. The connections between personal features and preferred musical styles of modernity were detected. The students considering classical music to be their favorite musical direction having a high level of personal resources. These results display the positive influence of classical music to the personal resources of future music teachers. This phenomenon demands further investigations and using in the field of musical education psychology. These results highlight necessity of detailed consideration on classical music relationship and personal features of bachelor students musical department during the educational process.

The article discusses the Iowa State Normal Academy of Music at Iowa City, Iowa. The author discusses the performance of choral music at the school and free music instruction offered by the school to Iowa citizens. Conflicts between academy personnel resulted in the academy's trustees voting against the incorporation of the academy into a university as a musical department. The service of professor H.S. Perkins as musical director of the academy is praised by the academy's board of directors. A list of works of classical music performed at the academy, attendance statistics and resolutions by the academy's students and board of directors are presented.

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