The effect of acoustic screens on orchestra musicians

La Directiva 2003/10/CE del Parlamento Europeo y del Consejo, del 6 de febrero de 2003, específica con arreglo al apartado 1 del artículo 16 de la Directiva 89/391/CEE las disposiciones mínimas de seguridad y de salud relativas a la exposición de los trabajadores a los riesgos derivados de los agentes físicos (ruido). En la industria musical, y en concreto en los músicos de orquesta, una exposición de más de ocho horas al día a un nivel de presión sonora de 80dB(A) o más es algo muy común. Esta situación puede causar a los trabajadores daños auditivos como la hiperacusia, hipoacusia, tinitus o ruptura de la membrana basilar entre otros. Esto significa que deben tomarse medidas para implementar las regulaciones de la forma más razonable posible para que la interpretación del músico, la dinámica y el concepto musical que se quiere transmitir al público se vea lo menos afectada posible. Para reducir la carga auditiva de los músicos de orquesta frente a fuertes impactos sonoros provenientes de los instrumentos vecinos, se está investigando sobre el uso de unos paneles acústicos que colocados en puntos estratégicos de la orquesta pueden llegar a reducir el impacto sonoro sobre el oído hasta 20dB. Los instrumentos de viento metal y de percusión son los responsables de la mayor emisión de presión sonora. Para proteger el oído de los músicos frente a estos impactos, se colocan los paneles en forma de barrera entre dichos instrumentos y los músicos colocados frente a ellos. De esta forma se protege el oído de los músicos más afectados. Para ver el efecto práctico que producen estos paneles en un conjunto orquestal, se realizan varias grabaciones en los ensayos y conciertos de varias orquestas. Los micrófonos se sitúan a la altura del oído y a una distancia de no más de 10cm de la oreja de varios de los músicos más afectados y de los músicos responsables de la fuerte emisión sonora. De este modo se puede hacer una comparación de los niveles de presión sonora que percibe cada músico y evaluar las diferencias de nivel existentes entre ambos. Así mismo se utilizan configuraciones variables de los paneles para comparar las diferencias de presión sonora que existen entre las distintas posibilidades de colocarlos y decidir así sobre la mejor ubicación y configuración de los mismos. A continuación, una vez obtenidos las muestras de audio y los diferentes archivos de datos medidos con un analizador de audio en distintas posiciones de la orquesta, todo ello se calibra y analiza utilizando un programa desarrollado en Matlab, para evaluar el efecto de los paneles sobre la percepción auditiva de los músicos, haciendo especial hincapié en el análisis de las diferencias de nivel de presión sonora (SPL). Mediante el cálculo de la envolvente de las diferencias de nivel, se evalúa de un modo estadístico el efecto de atenuación de los paneles acústicos en los músicos de orquesta. El método está basado en la probabilidad estadística de varias muestras musicales ya que al tratarse de música tocada en directo, la dinámica y la sincronización entre los músicos varía según el momento en que se toque. Estos factores junto con el hecho de que la partitura de cada músico es diferente dificulta la comparación entre dos señales grabadas en diferentes puntos de la orquesta. Se necesita por lo tanto de varias muestras musicales para evaluar el efecto de atenuación de los paneles en las distintas configuraciones mencionadas anteriormente. El estudio completo del efecto de los paneles como entorno que influye en los músicos de orquesta cuando están sobre el escenario, tiene como objetivo la mejora de sus condiciones de trabajo. Abstract For several years, the European Union has been adopting many laws and regulations to protect and give more security to people who are exposed to some risk in their job. Being exposed to a loud sound pressure level during many hours in the job runs the risk of hearing damage. Particularly in the field of music, the ear is the most important working tool. Not taking care of the ear can cause some damage such as hearing loss, tinnitus, hyperacusis, diplacusis, etc. This could have an impact on the efficiency and satisfaction of the musicians when they are playing, which could also cause stress problems. Orchestra musicians, as many other workers in this sector, are usually exposed to a sound level of 80dB(A) or more during more than eight hours per day. It means that they must satisfy the law and their legal obligations to avoid health problems proceeding from their job. Putting into practice the new regulations is a challenge for orchestras. They must make sure that the repertoire, with its dynamic, balance and feeling, is not affected by the reduction of sound levels imposed by the law. This study tries to investigate the benefits and disadvantages of using shields as a hearing protector during rehearsals and orchestral concerts.

Mapping of the Music Ontology to the Media Value Chain Ontology and the PROV Ontology

Mapping of the Music Ontology to the Media Value Chain Ontology and the PROV Ontology

La musique c'est l'air, l'architecture, la lumiêre = Music is air, architecture is light [Entrevista]

La musique c'est l'air, l'architecture, la lumiêre = Music is air, architecture is light [Entrevista]

The genera of recent Mollusca: arranged according to their organization. By Henry Adams...and Arthur Adams.

1

The 65-kDa carrot microtubule-associated protein forms regularly arranged filamentous cross-bridges between microtubules

In plants, cortical microtubules (MTs) occur in characteristically parallel groups maintained up to one microtubule diameter apart by fine filamentous cross-bridges. However, none of the plant microtubule-associated proteins (MAPs) so far purified accounts for the observed separation between MTs in cells. We previously isolated from carrot cytoskeletons a MAP fraction including 120- and 65-kDa MAPs and have now separated the 65-kDa carrot MAP by sucrose density centrifugation. MAP65 does not induce tubulin polymerization but induces the formation of bundles of parallel MTs in a nucleotide-insensitive manner. The bundling effect is inhibited by porcine MAP2, but, unlike MAP2, MAP65 is heat-labile. In the electron microscope, MAP65 appears as filamentous cross-bridges, maintaining an intermicrotubule spacing of 25–30 nm. Microdensitometer-computer correlation analysis reveals that the cross-bridges are regularly spaced, showing a regular axial spacing that is compatible with a symmetrical helical superlattice for 13 protofilament MTs. Because MAP65 maintains in vitro the inter-MT spacing observed in plants and is shown to decorate cortical MTs, it is proposed that this MAP is important for the organization of the cortical array in vivo.

Sights for Sounds: The Roles of Illuminated Initials in Italian Music Manuscripts

The scholarship on illuminated initials is substantial, yet there is a significant absence of information when discussing the initials found in music manuscripts specifically. In this paper, I endeavor to supplement the current scholarship by focusing my research on music manuscripts produced in Italy between 1250 and 1500 A.D. in order to provide examples of the relationships between image, music, and text in the context of use. I use mainly iconographic research methods, though a considerable amount of background information is reliant on the research of other authors in the field of medieval philosophy and theology. Through my research I have concluded that the use of illuminated initials in medieval Italian music manuscripts enhances the function of the manuscript by providing another layer of understanding which audience members could use to aid them in their meditation, prayer, and in the performance of the music.

Classical Guitar Music in Printed Collections: A New Index and a Model for Indexing Instrumental Music in Score Collections

Classical Guitar Music in Printed Collections is a new, open-access, online index to the contents of published score collections for classical guitar. Its interlinked, alphabetized lists allow one to find a composition by title or composer, to discover what score collections include that piece, to see what other works are included in each collection identified, and to locate a copy in a library collection. Accuracy of identification is guaranteed by incipit images of each work. The article discusses how this index differs from existing bibliographies of the classical guitar literature, its structure and design, and technical details of its publication.

A quantitative assessment of students’ experiences of studying music: a Spanish perspective on the European credit transfer system (ECTS)

The purpose of this investigation is to evaluate whether or not the allocation of time proposed in the Music Study Guide, adapted from the European Higher Education Area (EHEA) guidelines, is consistent and adequate for students with minimal musical knowledge. The report takes into account the importance of students’ previous knowledge and the relation this has to the time and effort expended by students in acquiring appropriate knowledge and skills. This is related also to the adequacy of the course specification to meet the demands of university study and the labour market. Results show that those students who enrolled at university without any previous musical knowledge are likely to experience significant difficulty in the acquisition of certain musical and professional competences. This highlights a need to reinforce the music curriculum, or establish zero-level courses, in order to enable such students to succeed in the subject.

Human-computer interaction for optical music recognition tasks

The need to digitise music scores has led to the development of Optical Music Recognition (OMR) tools. Unfortunately, the performance of these systems is still far from providing acceptable results. This situation forces the user to be involved in the process due to the need of correcting the mistakes made during recognition. However, this correction is performed over the output of the system, so these interventions are not exploited to improve the performance of the recognition. This work sets the scenario in which human and machine interact to accurately complete the OMR task with the least possible effort for the user.

Recognition of online handwritten music symbols

Paper submitted to MML 2013, 6th International Workshop on Machine Learning and Music, Prague, September 23, 2013.

Cyclically-arranged, storm-controlled, prograding lithosomes in Messinian terrigenous shelves (Bajo Segura Basin, western Mediterranean)

This work focuses on a Messinian shallow-marine terrigenous unit, termed the La Virgen Formation, which forms part of the sedimentary infill of the Bajo Segura Basin (Betic margin of the western Mediterranean). This formation was deposited during a high sea level phase prior to the onset of the Messinian Salinity Crisis. Stratigraphically, it comprises a prograding stack of sandstone lithosomes alternating with marly intervals (1st-order cyclicity). These lithosomes are characterized by a homoclinal geometry that tapers distally, and interfinger with pelagic sediments rich in planktonic and benthic microfauna (Torremendo Formation). An analysis of sedimentary facies of each lithosome reveals a repetitive succession of sandy storm beds (tempestites), occasionally amalgamated, which are separated by thin marly layers (2nd-order cyclicity). Each storm bed contains internal erosional surfaces (3rd-order cyclicity) that delimit sets of laminae. Two categories of storm beds have been differentiated. The first one includes layers formed below storm wave base (SWB), characterized by traction structures associated to unidirectional flows (scoured base, planar lamination, and parting lineation). The second category consists of layers deposited above the SWB which display typical high regime oscillatory flow structures (swaley and hummocky cross lamination). In both cases, the ichnological record is characterized by an oligotypic association of Ophiomorpha nodosa, which can be interpreted as the result of allochthonous tracemakers (crustaceans) transported during storm events together with the sediment. The benthic microfauna in the marly intervals that separate the sandstone lithosomes (1st-order cyclicity) indicates that the storm ebb surges were deposited at depths ranging from those of inner shelf settings (with Elphidium spp. and Cibicides lobatulus) to those of outer shelf (with Valvulineria complanata and Uvigerina cylindrica). At the distal end of the sandstone lithosomes, the planktonic microfauna is characterized by a high content of taxa indicative of warm-oligotrophic waters (Globigerinoides obliquus and Globigerinoides bulloideus). In contrast, in the marly intervals, the microfauna is dominated by species typical of cold-eutrophic waters (Globigerina and Neogloboquadrina). This alternation of planktic foraminiferal assemblages is interpreted as being the expression of climatic cycles, in which every episode of progradation of tempestite-dominated lithosomes corresponds to maximum insolation and warm waters, whereas episodes of marly deposition correspond to minimal insolation and cold waters. The 1st-order cyclicity recorded in the La Virgen Formation, in a context of terrigenous storm-dominated shelf, corresponds to sapropel/homogeneous marl cycles formed in a pelagic basin (Torremendo Fm). These cycles in pelagic sediments are commonplace throughout the Mediterranean during the Messinian and reflect precession orbital changes: repeated periods of maximum insolation – minimum precession (sapropels) and minimal insolation – maximum precession (homogeneous marls). The fact that the example of terrigenous unit studied herein is coetaneous with the well-developed reef complexes in the Mediterranean basins points out the importance of sediment supply in the formation of large-scale sandy lithosomes. This is a crucial aspect to understanding reservoir genesis as well as lateral stratigraphic relationships with potential seal and/or source rocks.

Music and movement: A comparative study between the BAPNE and Suzuki Methods

The aim of this article is to compare the Suzuki and BAPNE methods based on bibliography published for both approaches. In the field of musical and instrumental education and especially for the childhood stage, the correct use of the body and voice are of fundamental importance. These two methods differ from one another; one principally musical and instrumental, which is the Suzuki method, and one non-musical, the BAPNE method, which aims at stimulating attention, concentration, memory and the executing function of the pupil through music and body percussion. Comparing different approaches may provide teachers with a useful insight for facing different issues related to their discipline.