Musical training intensity yields opposite effects on grey matter density in cognitive versus sensorimotor networks.

Using optimized voxel-based morphometry, we performed grey matter density analyses on 59 age-, sex- and intelligence-matched young adults with three distinct, progressive levels of musical training intensity or expertise. Structural brain adaptations in musicians have been repeatedly demonstrated in areas involved in auditory perception and motor skills. However, musical activities are not confined to auditory perception and motor performance, but are entangled with higher-order cognitive processes. In consequence, neuronal systems involved in such higher-order processing may also be shaped by experience-driven plasticity. We modelled expertise as a three-level regressor to study possible linear relationships of expertise with grey matter density. The key finding of this study resides in a functional dissimilarity between areas exhibiting increase versus decrease of grey matter as a function of musical expertise. Grey matter density increased with expertise in areas known for their involvement in higher-order cognitive processing: right fusiform gyrus (visual pattern recognition), right mid orbital gyrus (tonal sensitivity), left inferior frontal gyrus (syntactic processing, executive function, working memory), left intraparietal sulcus (visuo-motor coordination) and bilateral posterior cerebellar Crus II (executive function, working memory) and in auditory processing: left Heschl's gyrus. Conversely, grey matter density decreased with expertise in bilateral perirolandic and striatal areas that are related to sensorimotor function, possibly reflecting high automation of motor skills. Moreover, a multiple regression analysis evidenced that grey matter density in the right mid orbital area and the inferior frontal gyrus predicted accuracy in detecting fine-grained incongruities in tonal music.

Effect of the Scapulo-Humeral Rhythm on Anatomical and Reverse Shoulder Prostheses

Introduction: Several studies have reported significant alteration of the scapula-humeral rythm after total shoulder arthroplasty. However, the biomechanical and clinical effects, particularly on implants lifespan, are still unknown. The goal of this study was to evaluate the biomechanical consequences of an altered scapula-humeral rhythm. Methods: A numerical musculoskeletal model of the shoulder was used. The model included the scapula, the humerus and 6 scapulohumeral muscles: middle, anterior, and posterior deltoid, supraspinatus, subscapularis and infraspinatus combined with teres minor. Arm motion and joint stability were achieved by muscles. The reverse and anatomic Aequalis prostheses (Tornier Inc) were inserted. Two scapula-humeral rhythms were considered for each prosthesis: a normal 2:1 rhythm, and an altered 1:2 rhythm. For the 4 configurations, a movement of abduction in the scapular plane was simulated. The gleno-humeral force and contact pattern, but also the stress in the polyethylene and cement were evaluated. Results: With the anatomical prosthesis, the gleno-humeral force increased of 23% for the altered rhythm, with a more eccentric (posterior and superior) contact. The contact pressure, polyethylene stress, and cement stress increased respectively by 20%, 48% and 64%. With the reverse prosthesis, the gleno-humeral force increased of 11% for an altered rhythm. There was nearly no effect on the contact pattern on the polyethylene component surface. Conclusion: The present study showed that alteration oft the scapula-humeral rythm induced biomechanical consequences which could preclude the long term survival of the glenoid implant of anatomic prostheses. However,an altered scapula-humeral rhythm, even severe, should not be a contra indication for the use of a reverse prosthesis. 

Utilització d'algorismes genètics per a la composició musical

Aquest memòria presenta un estudi sobre l’aplicació dels algorismes genètics per a lacomposició musical. Es descriu un sistema generador d’un conjunt de melodies i les evoluciona, a través de la iteració de l’algorisme, per a obtenir la millor composició possible, segons unconjunt de normes harmòniques i rítmiques definides arbitràriament.Les regles emprades combinen la modelització de diferents aspectes que la teoria i anàlisimusical occidental contemporani defineix com a essencials per a composar melodies agradables a l’oïda humana. Els trets més importants són melodies amb una certa linealitat, harmonia en lespolifonies i un caràcter rítmic en aquestes composicions.S’ha utilitzat el model d’ Implicació – Realització per a afavorir la linealitat i agradabilitat melòdica, un estudi estadístic de ritme i melodia en peces musicals en format MIDI i la definició per part de l’usuari d’una seqüència d’acords o patró amb el qual les melodies generades hi harmonitzaran.L’algoritme sembla generar satisfactòriament melodies que compleixen amb els aspectesavaluats, i amb la possibilitat de definir diferents seqüències d’acords, el sistema esdevé una eina d’ajuda per a realitzar petites composicions o fragments harmònics d’una manera més automatitzada.

DigitalJukebox: desarrollo de una aplicación musical interactiva

DigitalJukebox es un sistema interactivo de visualización de elementos musicales, diseñado para ser instalado en un contexto semipúblico, como por ejemplo un bar. El funcionamiento de este sistema está inspirado en las antiguas máquinas de discos, de modo que permite a losusuarios elegir la música que quieren escuchar durante su estancia en el local. A su vez, DigitalJukebox ofrece un valor añadido con respecto a la tradicional máquina de discos: además de la música, muestra el videoclip de la canción y una serie de imágenes del artista seleccionado.Así pues, este proyecto abarca las diferentes fases de creación del sistema: la definición del problema, el estudio del trabajo existente en este ámbito, el análisis de los requerimientos de losusuarios, el diseño del sistema, su implementación y la evaluación final con usuarios.

The circadian rhythm of the perinatal mortality rate in Switzerland.

The authors examine the relation between the perinatal mortality rate (PMR), birth weight in four categories, and hour of birth throughout the week in Switzerland, using data on 672,013 births and 5,764 perinatal deaths recorded between 1979 and 1987. From Monday to Friday, the PMR follows a circadian rhythm with a regular increase from early morning to evening, with a peak for babies born between 7 and 8 p.m. This pattern of variation has two main components: The circadian rhythms for the proportion of births in the four weight categories and the PMR circadian rhythm for babies weighing more than 2.5 kg. According to a cosinor model, which describes about 40% of the total variation in the PMR, the most important determinants are changes in the proportions of births: Low birth weight increases toward the afternoon and night. Mechanisms underlying the weight-specific timing of birth are discussed, including time selection of birth according to obstetric risks, the direct effect of neonatal and obstetric care, and chronobiologic behavior.

Campo Musical Cabo-verdiano da Area Metropolitana de Lisboa Protoganistas, Identidades e Musica Imigrante

Portugal é um país que acolhe, desde a década de 60 do século pretérito, uma das mais expressivas comunidades africanas – a cabo-verdiana –, cuja característica saliente é marcada, designadamente, pela presença de uma significativa e dinâmica cultura transnacional. A música, através dos seus mais variados géneros e formas, representa seguramente a dimensão mais importante desta diversificada população imigrante, juntamente com a língua cabo-verdiana. Daí o interesse no conhecimento, tanto quanto possível aprofundado, da realidade musical cabo-verdiana em contexto imigratório, a partir de um olhar atento sobre o chamado campo musical, ancorado particularmente na Área Metropolitana de Lisboa (AML). Interessada em caracterizar, nos seus aspectos essenciais, o campo da música migrante cabo-verdiana na Área Metropolitana de Lisboa, esta investigação propõe-se descrever e analisar o funcionamento do campo da música migrante cabo-verdiana, observando a sua configuração, tanto no plano estrutural das relações sociais no seu interior e com o seu exterior, das trajectórias, práticas e perfis sociográficos dos músicos, como no plano simbólico/cultural das representações, identidades, representações e culturas profissionais, com base numa amostra de 102 casos, à qual foi aplicado um inquérito por questionário, para além de métodos qualitativos, designadamente a entrevista em profundidade e o focus group, de forma combinada e de acordo com o princípio da triangulação metodológica.

A Expressão da Cabo-verdianidade na Obra musical de Beto Dias

Para a realização deste trabalho monográfico, propôs-se um tema na área da Cultura Caboverdiana, sob o título, A Expressão da Cabo-verdianidade na Obra Musical de Beto Dias. O que se almeja trabalhar neste estudo monográfico é a mensagem transmitida nas composições musicais de Beto Dias e a sua relevância para a compreensão da cabo-verdianidade e não a querela à volta dos contornos da música nacional, em toda a sua abrangência e pertinência, ou seja, não se discute no presente os ritmos, as melodias, as influências e os géneros musicais subjacentes à questão. Com efeito, o compositor e intérprete, Beto Dias produziu uma vasta obra musical através de inúmeras composições, por si próprio interpretadas em vários discos, onde trata temas do quotidiano cabo-verdiano. Entretanto, ninguém se debruçou ainda sobre a referida obra com o fim de identificar na mesma a expressão da alma crioula e da cabo verdianidade, elementos psicossociais importantes para a compreensão do sócio-cultural cabo-verdiano.

Cartelera musical : del Renacimiento al Barroco

El título del siguiente trabajo está inspirado en la revista Billboard (U.S.A.), lista de éxitos musicales (U.S.A.,1936), y la Cartella Musicale de Adriano Banchieri (Venecia, 1601), queriendo hacer homenaje a las músicas o melodías más escuchadas. Este fenómeno que aparentemente involucra sólo la recepción, fue muy común durante el s. XVI (período en el cual nos centraremos), pero también mucho antes y hasta nuestros días. El término técnico utilizado para el estudio del mismo, será el de “préstamo”, en música, desarrollado por varios musicólogos pero principalmente por Peter Burkholder. Este proceso ha involucrado no sólo la recepción, sino también la composición, interpretación, intercambio, etc. Mi idea es argumentar y documentar en la medida de lo posible este fenómeno mediante algunos ejemplos concretos.

Alpha rhythm and hypofrontality in schizophrenia

OBJECTIVE: To reveal the EEG correlates of resting hypofrontality in schizophrenia (SZ). METHOD: We analyzed the whole-head EEG topography in 14 patients compared to 14 matched controls by applying a new parameterization of the multichannel EEG. We used a combination of power measures tuned for regional surface mapping with power measures that allow evaluation of global effects. RESULTS: The SZ-related EEG abnormalities include i) a global decrease in absolute EEG power robustly manifested in the alpha and beta frequency bands, and ii) a relative increase in the alpha power over the prefrontal brain regions against its reduction over the posterior regions. In the alpha band both effects are linked to the SZ symptoms measured with Positive and Negative Symptom Scales and to chronicity. CONCLUSION: As alpha activity is related to regional deactivation, our findings support the concept of hypofrontality in SZ and expose the alpha rhythm as a sensitive indicator of it.

Els baixonets a Catalunya : una aproximació organològica, funcional i del repertori : el fons musical de Canet de Mar

Aquest treball fa un estudi dels baixonets a Catalunya des de les perspectives organològica, funcional i del repertori. A partir de les informacions aportades pels instruments originals, pels tractats i per estudis especialitats, es defineixen una tipologia instrumental pròpiament hispànica, i unes funcions principalment relacionades amb la música vocal religiosa de mitjans del segle XVI a mitjans del segle XVIII. Posteriorment, es realitza un estudi de la música amb baixonet a la localitat de Canet de Mar. A partir del treball de camp al seu arxiu parroquial, es compilen vuit obres específiques per a baixonet, se'n transcriuen alguns manuscrits, i se'n defineixen els principals aspectes formals i funcionals. El cas de Canet de Mar es pot considerar com un exemple més o menys representatiu de la pràctica instrumental i del repertori específic del baixonet a Catalunya a finals del segle XVII i començaments del segle XVIII.

Are Americans' musical preferences more omnivores today?

Although we found a general trend favouring the omnivorousness thesis, as soon as we adjusted it to a set of structural factors and consumers tastes it was clear that this was caused by elitist inclusive omnivores who had increased the scope of their tastes. In general, younger cohorts were becoming less omnivorous, nevertheless, they were also becoming more educated and had greater to higher levels of inc ome, making the youth moreomnivorous. As expected, upscale consumers set limits on their popular taste: musicalgenres, whose audiences had educational levels below the mean profile were less preferredby upscale respondents. In spite of this, as time passed, some popular brows gained socialstatus.

Nyssomyia intermedia (Lutz & Neiva) and Nyssomyia neivai (Pinto) (Diptera, Psychodidae, Phlebotominae) in a sympatric area: seasonal and nocturnal hourly rhythm in black and white modified Shannon traps

Captures with black and white Shannon traps were undertaken to identify aspects of the behavior of the two cryptic and sympatric species implicated as vectors of cutaneous leishmaniasis, Nyssomyia intermedia (Lutz & Neiva, 1912) and Nyssomyia neivai (Pinto, 1926). The traps were installed side by side, monthly, from July 2001 to June 2002, from 18 to 07 hours, in a peridomicile of Iporanga municipality, state of São Paulo, Brazil. A total of 2,142 specimens were captured, Ny. intermedia (47.4%) and Ny. neivai (50.5%). The white trap was more attractive to both sexes of both species. Males of Ny. neivai predominated (70%) over those of Ny. intermedia on the two traps; on the black trap, the females of Ny. intermedia predominated (63.3%) over those of Ny. neivai (36.7%). Seventy percent of the specimens of both species were captured between 18 and 24 h. Females of Ny. intermedia presented the highest peak at 19-20 h, and those of Ny. neivai at 20-21 h. The highest hourly average for females of Ny. intermedia on the black trap occurred in the winter and that for males in the summer. For Ny. neivai, both sexes predominated in the summer. The two species probably transmit the cutaneous leishmaniasis in the area due to their great predominance.

L’alè del clarinet : la respiració en la interpretació musical amb el clarinet

El projecte és una proposta d’exploració i reflexió personal sobre la respiració en la interpretació musical amb el clarinet i els aspectes corporals i pedagògics relacionats que fan possible l’estat psicofísic necessari per a una interpretació fluïda, creativa i amb veu pròpia. Per al seu desenvolupament, s’ha aprofundit en el coneixement de l’anatomia i fisiologia de la respiració, així com en la consciència corporal per aplicar-ho a la interpretació amb el clarinet i desenvolupar unes eines per a la seva didàctica. El mètode de treball consta de tres fases: la documentació, les entrevistes i les sessions didàctiques. Tot plegat ha significat un profund aprenentatge a nivell personal.