Perception of emotion in sounded and imagined music

WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record response profiles for the dimensions of valence and arousal simultaneously and then on the single dimension of emotionality. The response profiles were compared using cross-correlation analysis, and an analysis of responses to musical feature turning points, which isolate instances of change in musical features thought to influence valence and arousal responses. We found strong similarity between the use of an emotionality arousal scale across the stimuli, regardless of condition (imagined or sounded). A majority of participants were able to create emotional response profiles while imagining the music, which were similar in timing to the response profiles created while listening to the sounded music.We conclude that similar mechanisms may be involved in the processing of emotion in music when the music is sounded and when imagined.

Recognition of familiar and unfamiliar music in normal aging and Alzheimer's disease

We tested normal young and elderly adults and elderly Alzheimer’s disease (AD) patients on recognition memory for tunes. In Experiment 1, AD patients and age-matched controls received a study list and an old/new recognition test of highly familiar, traditional tunes, followed by a study list and test of novel tunes. The controls performed better than did the AD patients. The controls showed the “mirror effect” of increased hits and reduced false alarms for traditional versus novel tunes, whereas the patients false-alarmed as often to traditional tunes as to novel tunes. Experiment 2 compared young adults and healthy elderly persons using a similar design. Performance was lower in the elderly group, but both younger and older subjects showed the mirror effect. Experiment 3 produced confusion between preexperimental familiarity and intraexperimental familiarity by mixing traditional and novel tunes in the study lists and tests. Here, the subjects in both age groups resembled the patients of Experiment 1 in failing to show the mirror effect. Older subjects again performed more poorly, and they differed qualitatively from younger subjects in setting stricter criteria for more nameable tunes. Distinguishing different sources of global familiarity is a factor in tune recognition, and the data suggest that this type of source monitoring is impaired in AD and involves different strategies in younger and older adults.

Comparison of music perception in bilateral and unilateral cochlear implant users and normal-hearing subjects

Music plays an important role in the daily life of cochlear implant (CI) users, but electrical hearing and speech processing pose challenges for enjoying music. Studies of unilateral CI (UCI) users' music perception have found that these subjects have little difficulty recognizing tempo and rhythm but great difficulty with pitch, interval and melody. The present study is an initial step towards understanding music perception in bilateral CI (BCI) users. The Munich Music Questionnaire was used to investigate music listening habits and enjoyment in 23 BCI users compared to 2 control groups: 23 UCI users and 23 normal-hearing (NH) listeners. Bilateral users appeared to have a number of advantages over unilateral users, though their enjoyment of music did not reach the level of NH listeners.

Social Work Education and Training in Europe and the Bologna Process

A short review of the last three decades shows that social work programmes have developed similarly in (almost) all European countries, both in terms of structural and content-related characteristics. Here I would like to focus on the following aspects: Increased academic focus of training, Generalist programme, International/European orientation. Increased academic focus means that social work programmes have been established at uni-versities or comparable higher education institutions, such as universities of applied sciences. The only exception is France where the approximately 150, generally fairly small colleges and the 14 larger instituts regionaux have a hybrid position between vocational colleges and universities and are roughly comparable to academies.

Germanic Mythology in Music: Cultural Memory and Conflict within the Framework of Modern Globalization

The multi-layered enactment of a national past in music has been strongly intertwined with the usage of mythological elements. Having often been compiled as a coherent narrative during the emergence of the European nation-states (like the Finnish Kalevala), the mythological material has often been perceived as a form of historical truth and national justification. This focal role is also apparent in various music genres ranging from folk revival to metal in post-1989 Europe. Within the globalized context, however, local-national interpretations can collide with earlier nationalist appropriations. This complex and sometimes politically conflicting situation becomes particularly evident with groups falling back on symbols and narrations that had previously been employed by Nazi-Germany. While Nazi-Germany had, among others, tried replace the Christmas tradition with elements and songs from Germanic (and other) mythological sources, modern Neo-Nazi music groups often employ central mythological names (like Odin or Tyr) and iconic elements (like Vikings and warriors) in song lyrics and CD cover designs. However, while many covers and lyrics are legally forbidden in Germany, Scandinavian and Baltic groups (like the Faroese Viking metal group Tyr and the Latvian pagan metal band Skyforger) employ similar elements of Norse mythology, which are often combined with traditional material. Discussing selected case studies, this paper highlights central discursive points of colliding historical-national associations and individual interpretations of the mythological elements in musical contexts. How far can the material be disassociated from the earlier historical political usage and instrumentalization? Is this necessary ? And how can the specific global-local conflict points be approached by a theoretical framework ?

A comparative analysis of ABE Bachelor of Science programs in European and US Universities.

European Universities are involved in series of great changes regarding teaching and education organization during the last few years. The origin of these changes is the creation of the so-called European Higher Education Area (EHEA), which main target is to harmonize the different University studies throughout Europe. As a consequence, most of the programs of studies in all degrees are suffering changes in order to converge to common structures. Taking advantage of the actual process, some European universities are moving from traditional Agricultural Engineering programs to a more wide discipline named recently as Biosystems Engineering, which is a science- based engineering discipline that integrates engineering science and design with applied biological, environmental and agricultural sciences, broadening in this way the area of application of Engineering sciences not strictly to agricultural sciences, but to the biologic al sciences in general, including the agricultural sciences. This paper presents a comparative study of different Bachelor of Science degrees offered by American and European Universities in the field of Agricultural/Biosystems Engineering. To carry out the analysis 40 programs accredited by ABET in American Universities and 50 European programs. Among other questions, the total number of credits, the number of semesters, the kind of modules and the distribution of subjects in groups (Basic Sciences, Engineering Fundamentals, Agricultural/Biological Sciences, Humanities & Economic Sciences, Applied Agricultural/Biological Engineering and electives) are discussed in the paper. The information provided can be an useful starting point in future definitions of new or renewed degrees with the aim of advancing in internationalization of the programs and helping student’s mobility.

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.

Definition of the requirements in plane geometry, solid geometry, plane and solid geometry, major requirement, plane and solid geometry minor requirement /

Wm. F. Osgood, chairman.

The care and treatment of music in a library,

Includes index.

Fantasia in C major, op. 159. [music] : for violin and piano /

Mode of access: Internet.

Arias, duets, terzets and quartets with orchestral accompaniment. [music] : in four volumes.

Mode of access: Internet.