Suite aus "Studenten Music" 1654, für 2 Violinen, 2 Violen, Violoncello (Kontrabass) und Klavier. [Für den prakt. Gebrauch

Originally for 5 instruments with continuo; the bass is realized for piano. The continuo part realized for keyboard instrument.

4. kleine Duetten für 2 Claviere /

At head of title in another hand: Lettera V, No 5870. No 8 de Westphal.

Gesture interaction in music for instruments and electroacoustic sounds

Esta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.

The resident assessment instrument-minimum data set 2.0 quality indicators : a systematic review

Background
The Resident Assessment Instrument-Minimum Data Set (RAI-MDS) 2.0 is designed to collect the minimum amount of data to guide care planning and monitoring for residents in long-term care settings. These data have been used to compute indicators of care quality. Use of the quality indicators to inform quality improvement initiatives is contingent upon the validity and reliability of the indicators. The purpose of this review was to systematically examine published and grey research reports in order to assess the state of the science regarding the validity and reliability of the RAI-MDS 2.0 Quality Indicators (QIs).

Methods
We systematically reviewed the evidence for the validity and reliability of the RAI-MDS 2.0 QIs. A comprehensive literature search identified relevant original research published, in English, prior to December 2008. Fourteen articles and one report examining the validity and/or reliability of the RAI-MDS 2.0 QIs were included.

Results
The studies fell into two broad categories, those that examined individual quality indicators and those that examined multiple indicators. All studies were conducted in the United States and included from one to a total of 209 facilities. The number of residents included in the studies ranged from 109 to 5758. One study conducted under research conditions examined 38 chronic care QIs, of which strong evidence for the validity of 12 of the QIs was found. In response to these findings, the 12 QIs were recommended for public reporting purposes. However, a number of observational studies (n=13), conducted in "real world" conditions, have tested the validity and/or reliability of individual QIs, with mixed results. Ten QIs have been studied in this manner, including falls, depression, depression without treatment, urinary incontinence, urinary tract infections, weight loss, bedfast, restraint, pressure ulcer, and pain. These studies have revealed the potential for systematic bias in reporting, with under-reporting of some indicators and over-reporting of others.

Conclusion
Evidence for the reliability and validity of the RAI-MDS QIs remains inconclusive. The QIs provide a useful tool for quality monitoring and to inform quality improvement programs and initiatives. However, caution should be exercised when interpreting the QI results and other sources of evidence of the quality of care processes should be considered in conjunction with QI results.

Chamber and solo instrument music.

Mode of access: Internet.

Italian inventions for instruments with a keyboard /

At head of title: Paper read before the fourth congress of the International Musical Society (Internationale Musikgesellschaft), London: May 29 to June 3, 1911.

The golden treasury of piano-music; a collection of pieces written for the virginal, spinet, harpsichord and clavichord

Contains works by Byrde, Bull, Gibbons, Frescobaldi, Froberger and others.

The well-tempered clavichord : forty-eight preludes and fugues for the piano /

Mode of access: Internet.

Music, media and making : humanising digital media in music education

This paper examines three functions of music technology in the study of music. Firstly, as a tool, secondly, as an instrument and, lastly, as a medium for thinking. As our societies become increasingly embroiled in digital media for representation and communication, our philosophies of music education need to adapt to integrate these developments while maintaining the essence of music. The foundation of music technology in the 1990s is the digital representation of sound. It is this fundamental shift to a new medium with which to represent sound that carries with it the challenge to address digital technology and its multiple effects on music creation and presentation. In this paper I suggest that music institutions should take a broad and integrated approach to the place of music technology in their courses, based on the understanding of digital representation of sound and these three functions it can serve. Educators should reconsider digital technologies such as synthesizers and computers as music instruments and cognitive amplifiers, not simply as efficient tools.

Navigating technological contexts and experience design in music education

For some time we have jokingly referred to our network jamming research with jam2jam as ‘Switched on Orff’ (Brown, Sorensen and Dillon 2002; Dillon 2003; Dillon 2006; Dillon 2006; Brown and Dillon 2007). The connection with electronic music and Wendy Carlos’ classic work ‘Switched on Bach’ was obvious; we were using electronic music in schools and with children. The deeper connection with Orff however was about recognising that electronic music and instruments could have cultural values and knowledge embedded in their design and practice in same way as what has come to be known as the Orff method (Orff and Keetman 1958-66). However whilst the Orff method focuses upon Western art music perceptual framework electronic instruments have the potential to have more fluid musical environments and even to move to interdisciplinary study by including visual media. Whilst the Orff method focused on making sense of Western art music through experience electronic environments potentially can make sense of the world of multi media that pervades our lives.

A aprendizagem musical como elemento de aperfeiçoamento de competências matemáticas

Tomando como ponto de partida a relação entre música e matemática, nesta investigação temos como principal objetivo estudar a influência da aprendizagem musical no desempenho matemático. Pretendeu-se ainda observar o efeito de um conjunto de preditores no referido desempenho, mais concretamente do nível socioeconómico, da inteligência e de variáveis cognitivo-motivacionais (motivação, expectativas de autoeficácia e atribuições causais). Numa primeira parte, delineámos as linhas teóricas desta investigação. Começámos por relatar a relação entre música e matemática no âmbito da musicologia histórica, da teoria e análise musicais, da acústica e das tendências na composição musical, evidenciando os mecanismos de ligação entre elementos e conceitos musicais e tópicos e temas matemáticos. Relatámos os benefícios da exposição musical ao nível do desenvolvimento cognitivo e intelectual, destacando o aumento do raciocínio espacial, do desempenho matemático e da inteligência com a aprendizagem musical. De seguida, descrevemos o impacto das aulas de música no aumento do desempenho académico a várias disciplinas, nomeadamente a Matemática, enfatizando a associação da duração da aprendizagem musical com o aumento das capacidades matemáticas; para além do efeito da aprendizagem musical, procurámos ainda explicação de um desempenho académico melhorado com base em variáveis potenciadoras da performance, tais como o nível socioeconómico e a inteligência. Nesta linha de abordagem, explorámos os efeitos de variáveis influentes do desempenho académico fora do contexto musical, reportando-nos ao nível socioeconómico, à inteligência e às dimensões cognitivo-motivacionais (motivação, expectativas de autoeficácia e atribuições causais), destacando o poder preditivo da inteligência, seguido do nível socioeconómico e da motivação. Por fim, referimo-nos à interação entre música e encéfalo por meio das temáticas da plasticidade neural estrutural e funcional, do efeito da aprendizagem e performance musicais, da cognição musical e domínios não musicais, bem como dos fatores genéticos; sublinhamos a possibilidade de ligações entre a cognição musical e os domínios espacial e matemático. Numa segunda parte, apresentamos a investigação que desenvolvemos em contexto escolar com 112 alunos do 7º ano de escolaridade provenientes de 12 escolas do Ensino Básico. Nove são do Ensino Especializado de Música e três são do Ensino Regular. No total, as escolas enquadram-se nas zonas urbanas de Braga, Coimbra e Lisboa. O estudo possui carácter longitudinal e abrange três anos letivos, do 7º ao 9º anos de escolaridade. Após explanação dos objetivos, das hipóteses de investigação, da caracterização da amostra, da descrição dos instrumentos de avaliação e respetiva validação empírica, relatamos os resultados que encontrámos. Estes permitiram, por um lado, validar a hipótese de que os alunos submetidos ao ensino formal de música apresentam um desempenho matemático superior comparativamente aos alunos que não frequentaram este tipo de ensino (H1) e, por outro, sustentar que o número de anos de aprendizagem musical contribui para o aumento do desempenho matemático (H3). Sublinha-se, ainda, que os alunos de instrumento de teclado revelaram desempenho matemático mais elevado em relação aos seus pares que estudaram outros instrumentos. Já no que se refere ao poder preditivo do tipo de ensino (Ensino Especializado de Música vs. Ensino Regular), apurámos que a formação em música prevê melhores desempenhos a matemática; destaca-se que as variáveis em estudo, tais como o nível socioeconómico, a motivação, as expectativas de autoeficácia e a inteligência adicionam capacidade explicativa do desempenho matemático, sendo que a presença da aprendizagem musical perdeu aptidão preditiva apenas na presença da inteligência. Contudo, após controlo estatístico da inteligência, foi possível concluir que a aprendizagem musical mantém o poder preditivo no desempenho matemático (H2). Os resultados permitiram identificar em que tópicos e temas matemáticos relacionados com os elementos e conceitos musicais os alunos com aprendizagem musical apresentam melhores desempenhos, evidenciando-se os tópicos no âmbito da Geometria (H4). Observámos, também, que é possível prever o desempenho matemático a partir do raciocínio espacial dos alunos (H5). Finalmente, referimos as limitações, refletimos sobre as implicações que estes resultados poderão trazer no âmbito do ensino da música em Portugal e apontamos pistas conducentes ao desenvolvimento de investigações futuras.

Sound levels and risk perceptions of music students during classes

It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians’ exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.

Beyond a constructivist curriculum : a critique of competing paradigms in music education

The distinction between learning to perform on an instrument or voice and learning music in a wider sense is one that is made in many countries, and is especially pertinent in England in the context of recent policy developments. This article argues that, whilst this distinction has come to represent curricula based on the opposing paradigms of behaviourist and constructivist approaches to learning, this opposition does not necessarily extend to the pedagogy through which the curricula are taught. A case study of the National Curriculum in England highlights the characteristics of a curriculum based on constructivist principles, along with the impact this has when taught in a behaviourist way. It is argued that conceiving the curriculum in terms of musical competencies and pedagogy in terms of musical understanding would provide a basis for greater continuity and higher quality in the music education experienced by young people.

Land surface temperature retrieval from Sentinel 2 and 3 Missions

In this work we explore the synergistic use of future MSI instrument on board Sentinel-2 platform and OLCI/SLSTR instruments on board Sentinel-3 platform in order to improve LST products currently derived from the single AATSR instrument on board the ENVI- SAT satellite. For this purpose, the high spatial resolu- tion data from Setinel2/MSI will be used for a good characterization of the land surface sub-pixel heteroge- neity, in particular for a precise parameterization of surface emissivity using a land cover map and spectral mixture techniques. On the other hand, the high spectral resolution of OLCI instrument, suitable for a better characterization of the atmosphere, along with the dual- view available in the SLTSR instrument, will allow a better atmospheric correction through improved aero- sol/water vapor content retrievals and the implementa- tion of novel cloud screening procedures. Effective emissivity and atmospheric corrections will allow accu- rate LST retrievals using the SLSTR thermal bands by developing a synergistic split-window/dual-angle algo- rithm. ENVISAT MERIS and AATSR instruments and different high spatial resolution data (Landsat/TM, Proba/CHRIS, Terra/ASTER) will be used as bench- mark for the future OLCI, SLSTR and MSI instruments. Results will be validated using ground data collected in the framework of different field campaigns organized by ESA.

Calcium hydroxide intracanal dressing removal with different rotary instruments and irrigating solutions: A scanning electron microscopy study

This study evaluated the efficacy of 2 types of rotary instruments employed in association with sodium hypochlorite (NaOCl) or EDTA in removing calcium hydroxide (CH) residues from root canals dentin walls. Forty-two mandibular human incisors were instrumented with the ProTaper System up to F2 instrument, irrigated with 2.5% NaOCl followed by 17% EDTA and filled with a CH intracanal dressing. After 7 days, the CH dressing was removed using 4 techniques: NiTi rotary instrument size 25, 0.06 taper (K3 Endo) and irrigation with 17% EDTA (Group 1), NiTi rotary F1 instrument (ProTaper) and irrigation with 17% EDTA (Group 2), NiTi rotary instrument size 25, 0.06 taper and irrigation with 2.5% NaOCl (Group 3) and NiTi rotary F1 instrument and irrigation with 2.5% NaOCl (Group 4). Two roots without intracanal dressing were used as negative controls. Teeth were evaluated by scanning electron microscopy, in the cervical and apical canal thirds. None of the techniques removed the CH dressing completely. In the apical and cervical thirds, F1 instrument was better than instrument size 25, 0.06 taper in removing CH residues (p<0.05), regardless of the final irrigating solution. No difference was found between the irrigating solutions in the groups of F1 instrument and of instrument size 25, 0.06 taper (p>0.05). The negative controls had no CH residues on the dentin walls. In conclusion, the ProTaper F1 instrument was better than K3 Endo instrument size 25, 0.06 taper in the removal of CH intracanal medication, regardless of irrigating solution used.