Sample records for jazz improvisation activities

  1. Using Jazz to Teach Improvisation

    ERIC Educational Resources Information Center

    Chappell, Jon

    2007-01-01

    Improvising has been around since the dawn of music. Most music in the world is improvised to some extent, and the idea of performing notes on the page "as written" is a fairly young development in music's history. One genre that does heavily stress improvisation from the start is jazz. Since jazz ethic is based on improvised performances,…

  2. Instrumental Jazz Improvisation Development: Characteristics of Novice, Intermediate, and Advanced Improvisers

    ERIC Educational Resources Information Center

    Palmer, C. Michael

    2016-01-01

    The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants (N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were…

  3. "Play It Again, Billy, but This Time with More Mistakes": Divergent Improvisation Activities for the Jazz Ensemble

    ERIC Educational Resources Information Center

    Healy, Daniel J.

    2014-01-01

    The jazz ensemble represents an important performance opportunity in many school music programs. Due to the cultural history of jazz as an improvisatory art form, school jazz ensemble directors must address methods of teaching improvisation concepts to young students. Progress has been made in the field of prescribed improvisation activities and…

  4. Descriptions of Improvisational Thinking by Developing Jazz Improvisers

    ERIC Educational Resources Information Center

    Norgaard, Martin

    2017-01-01

    Research investigating improvisational skill development in adolescent learners is scant. In this study interviews with developing jazz improvisers are used to characterize the skill-building process. The findings were considered in light of two views of skill learning. In one view, students progress through several discrete levels, while in a…

  5. Development of a Rubric for Collegiate Jazz Improvisation Performance Assessment

    ERIC Educational Resources Information Center

    Moore, Kendall Ryan

    2016-01-01

    The purpose of this study was to develop a jazz improvisation rubric for the evaluation of collegiate jazz improvisation. To create this measure, research objectives were devised to investigate the aurally-observed performer-controlled components of improvisation, which aurally-observed components should be evaluated in an improvisatory…

  6. Use Jazz to Teach Your String Students Improvisation

    ERIC Educational Resources Information Center

    Caputo, Charles R.

    2006-01-01

    Standards 3 and 9 of the National Standards for Music Education charge teachers to teach improvisation as well as music of diverse cultures. Jazz is a musical style that is perfect to cover both content areas. Until now, however, jazz repertoire and improvisation have not played a major role in the education of string students. One reason is that…

  7. The Five Improvisation "Brains": A Pedagogical Model for Jazz Improvisation at High School and the Undergraduate Level

    ERIC Educational Resources Information Center

    Monk, Augusto

    2012-01-01

    The learning of jazz improvisation is often treated as the incorporation of stylistic vocabulary and development of technical dexterity. Although this methodology is effective, considering other aspects of jazz improvisation can make the learning process a more holistic and less technical endeavour. My experience teaching improvisation has led me…

  8. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance

    ERIC Educational Resources Information Center

    Smith, Derek T.

    2009-01-01

    The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record…

  9. Relationships among Selected Practice Behaviours and Achievement in Jazz Improvisation

    ERIC Educational Resources Information Center

    Watson, Kevin E.

    2015-01-01

    The purpose of this exploratory study was to examine the practice strategies that collegiate music majors chose to employ in preparing for a jazz improvisation performance, and the relationships among selected practice behaviours and achievement in instrumental jazz improvisation. Participants for the study (N = 62) were enrolled as music majors…

  10. Jazz and the 'art' of medicine: improvisation in the medical encounter.

    PubMed

    Haidet, Paul

    2007-01-01

    Improvisation is an important aspect of patient-physician communication. It is also a defining feature of jazz music performance. This essay uses examples from jazz to illustrate principles of improvisation that relate to an individual communication act (ie, building space into one's communication), a physician's communicative style (ie, developing one's voice), and the communicative process of the medical encounter (ie, achieving ensemble). At all 3 levels, the traditions of jazz improvisation can inform efforts to research and teach medical interviewing by fostering a contextualized view of patient-physician communication.

  11. Jazz and the ‘Art’ of Medicine: Improvisation in the Medical Encounter

    PubMed Central

    Haidet, Paul

    2007-01-01

    Improvisation is an important aspect of patient-physician communication. It is also a defining feature of jazz music performance. This essay uses examples from jazz to illustrate principles of improvisation that relate to an individual communication act (ie, building space into one’s communication), a physician’s communicative style (ie, developing one’s voice), and the communicative process of the medical encounter (ie, achieving ensemble). At all 3 levels, the traditions of jazz improvisation can inform efforts to research and teach medical interviewing by fostering a contextualized view of patient-physician communication. PMID:17389542

  12. Listeners' and Performers' Shared Understanding of Jazz Improvisations.

    PubMed

    Schober, Michael F; Spiro, Neta

    2016-01-01

    This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners' interpretations about what happened in a musical performance can be far more different from performers' interpretations than performers or other listeners might assume.

  13. Listeners' and Performers' Shared Understanding of Jazz Improvisations

    PubMed Central

    Schober, Michael F.; Spiro, Neta

    2016-01-01

    This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners' interpretations about what happened in a musical performance can be far more different from performers' interpretations than performers or other listeners might assume. PMID:27853438

  14. Using Jazz as a Metaphor to Teach Improvisational Communication Skills

    PubMed Central

    Jarecke, Jodi; Yang, Chengwu; Teal, Cayla R.; Street, Richard L.; Stuckey, Heather

    2017-01-01

    Metaphor helps humans understand complex concepts by “mapping” them onto accessible concepts. The purpose of this study was to investigate the effects of using jazz as a metaphor to teach senior medical students improvisational communication skills, and to understand student learning experiences. The authors designed a month-long course that used jazz to teach improvisational communication. A sample of fourth-year medical students (N = 30) completed the course between 2011 and 2014. Evaluation consisted of quantitative and qualitative data collected pre- and post-course, with comparison to a concurrent control group on some measures. Measures included: (a) Student self-reports of knowledge and ability performing communicative tasks; (b) blinded standardized patient assessment of students’ adaptability and quality of listening; and (c) qualitative course evaluation data and open-ended interviews with course students. Compared to control students, course students demonstrated statistically significant and educationally meaningful gains in adaptability and listening behaviors. Students’ course experiences suggested that the jazz components led to high engagement and creativity, and provided a model to guide application of improvisational concepts to their own communication behaviors. Metaphor proved to be a powerful tool in this study, partly through enabling increased reflection and decreased resistance to behaviors that, on the surface, tended to run counter to generally accepted norms. The use of jazz as a metaphor to teach improvisational communication warrants further refinement and investigation. PMID:28777345

  15. Using Jazz as a Metaphor to Teach Improvisational Communication Skills.

    PubMed

    Haidet, Paul; Jarecke, Jodi; Yang, Chengwu; Teal, Cayla R; Street, Richard L; Stuckey, Heather

    2017-08-04

    Metaphor helps humans understand complex concepts by "mapping" them onto accessible concepts. The purpose of this study was to investigate the effects of using jazz as a metaphor to teach senior medical students improvisational communication skills, and to understand student learning experiences. The authors designed a month-long course that used jazz to teach improvisational communication. A sample of fourth-year medical students ( N = 30) completed the course between 2011 and 2014. Evaluation consisted of quantitative and qualitative data collected pre- and post-course, with comparison to a concurrent control group on some measures. Measures included: (a) Student self-reports of knowledge and ability performing communicative tasks; (b) blinded standardized patient assessment of students' adaptability and quality of listening; and (c) qualitative course evaluation data and open-ended interviews with course students. Compared to control students, course students demonstrated statistically significant and educationally meaningful gains in adaptability and listening behaviors. Students' course experiences suggested that the jazz components led to high engagement and creativity, and provided a model to guide application of improvisational concepts to their own communication behaviors. Metaphor proved to be a powerful tool in this study, partly through enabling increased reflection and decreased resistance to behaviors that, on the surface, tended to run counter to generally accepted norms. The use of jazz as a metaphor to teach improvisational communication warrants further refinement and investigation.

  16. Generating Ideas in Jazz Improvisation: Where Theory Meets Practice

    ERIC Educational Resources Information Center

    Hargreaves, Wendy

    2012-01-01

    Idea generation is an integral component of jazz improvising. This article merges theoretical origins and practical experiences through the examination of two seminal works from Pressing and Sudnow. A comparative analysis yields three common sources with distinct characteristics. The greater body of jazz literature supports this potential link…

  17. Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers: A Factor Analytic Study

    ERIC Educational Resources Information Center

    Ward-Steinman, Patrice Madura

    2008-01-01

    In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative…

  18. Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

    ERIC Educational Resources Information Center

    Norgaard, Martin

    2011-01-01

    Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the…

  19. An Approach to Improvisation Pedagogy in Post-Secondary Jazz Programmes Based on Negative Dialectics

    ERIC Educational Resources Information Center

    Louth, Joseph Paul

    2012-01-01

    This article argues that an approach to jazz improvisation pedagogy based on negative dialectics may provide a viable solution to the threat of codification of the jazz language as a result of the academisation of improvisation studies at the post-secondary level. Some tentative means of incorporating such an approach into the design of university…

  20. Exploring the 12-Key Approach: Perceptions and Experiences of Improvising Jazz Vocalists

    ERIC Educational Resources Information Center

    Hargreaves, Wendy

    2016-01-01

    The 12-key approach is considered a foundational practice strategy for jazz instrumentalists. Its relevance to vocalists, however, seems less clear. This article investigates improvising jazz vocalists' perceptions and experiences of using the 12-key approach as distinguished from instrumentalists'. It uses data from a two-phase, mixed methods…

  1. Learning Pre-Played Solos: Self-Regulated Learning Strategies in Jazz/Improvised Music

    ERIC Educational Resources Information Center

    Nielsen, Siw G.

    2015-01-01

    This article reports on the self-regulated learning strategies of two advanced students in jazz/improvised music education when learning pre-played solos over well-known jazz tunes. The students were enrolled in a well-established performance degree programme in a music conservatoire, and videotaped their own individual practice sessions. In…

  2. Neural substrates of spontaneous musical performance: an FMRI study of jazz improvisation.

    PubMed

    Limb, Charles J; Braun, Allen R

    2008-02-27

    To investigate the neural substrates that underlie spontaneous musical performance, we examined improvisation in professional jazz pianists using functional MRI. By employing two paradigms that differed widely in musical complexity, we found that improvisation (compared to production of over-learned musical sequences) was consistently characterized by a dissociated pattern of activity in the prefrontal cortex: extensive deactivation of dorsolateral prefrontal and lateral orbital regions with focal activation of the medial prefrontal (frontal polar) cortex. Such a pattern may reflect a combination of psychological processes required for spontaneous improvisation, in which internally motivated, stimulus-independent behaviors unfold in the absence of central processes that typically mediate self-monitoring and conscious volitional control of ongoing performance. Changes in prefrontal activity during improvisation were accompanied by widespread activation of neocortical sensorimotor areas (that mediate the organization and execution of musical performance) as well as deactivation of limbic structures (that regulate motivation and emotional tone). This distributed neural pattern may provide a cognitive context that enables the emergence of spontaneous creative activity.

  3. Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation

    PubMed Central

    Limb, Charles J.; Braun, Allen R.

    2008-01-01

    To investigate the neural substrates that underlie spontaneous musical performance, we examined improvisation in professional jazz pianists using functional MRI. By employing two paradigms that differed widely in musical complexity, we found that improvisation (compared to production of over-learned musical sequences) was consistently characterized by a dissociated pattern of activity in the prefrontal cortex: extensive deactivation of dorsolateral prefrontal and lateral orbital regions with focal activation of the medial prefrontal (frontal polar) cortex. Such a pattern may reflect a combination of psychological processes required for spontaneous improvisation, in which internally motivated, stimulus-independent behaviors unfold in the absence of central processes that typically mediate self-monitoring and conscious volitional control of ongoing performance. Changes in prefrontal activity during improvisation were accompanied by widespread activation of neocortical sensorimotor areas (that mediate the organization and execution of musical performance) as well as deactivation of limbic structures (that regulate motivation and emotional tone). This distributed neural pattern may provide a cognitive context that enables the emergence of spontaneous creative activity. PMID:18301756

  4. Jazz improvisers' shared understanding: a case study.

    PubMed

    Schober, Michael F; Spiro, Neta

    2014-01-01

    To what extent and in what arenas do collaborating musicians need to understand what they are doing in the same way? Two experienced jazz musicians who had never previously played together played three improvisations on a jazz standard ("It Could Happen to You") on either side of a visual barrier. They were then immediately interviewed separately about the performances, their musical intentions, and their judgments of their partner's musical intentions, both from memory and prompted with the audiorecordings of the performances. Statements from both (audiorecorded) interviews as well as statements from an expert listener were extracted and anonymized. Two months later, the performers listened to the recordings and rated the extent to which they endorsed each statement. Performers endorsed statements they themselves had generated more often than statements by their performing partner and the expert listener; their overall level of agreement with each other was greater than chance but moderate to low, with disagreements about the quality of one of the performances and about who was responsible for it. The quality of the performances combined with the disparities in agreement suggest that, at least in this case study, fully shared understanding of what happened is not essential for successful improvisation. The fact that the performers endorsed an expert listener's statements more than their partner's argues against a simple notion that performers' interpretations are always privileged relative to an outsider's.

  5. Jazz improvisers' shared understanding: a case study

    PubMed Central

    Schober, Michael F.; Spiro, Neta

    2014-01-01

    To what extent and in what arenas do collaborating musicians need to understand what they are doing in the same way? Two experienced jazz musicians who had never previously played together played three improvisations on a jazz standard (“It Could Happen to You”) on either side of a visual barrier. They were then immediately interviewed separately about the performances, their musical intentions, and their judgments of their partner's musical intentions, both from memory and prompted with the audiorecordings of the performances. Statements from both (audiorecorded) interviews as well as statements from an expert listener were extracted and anonymized. Two months later, the performers listened to the recordings and rated the extent to which they endorsed each statement. Performers endorsed statements they themselves had generated more often than statements by their performing partner and the expert listener; their overall level of agreement with each other was greater than chance but moderate to low, with disagreements about the quality of one of the performances and about who was responsible for it. The quality of the performances combined with the disparities in agreement suggest that, at least in this case study, fully shared understanding of what happened is not essential for successful improvisation. The fact that the performers endorsed an expert listener's statements more than their partner's argues against a simple notion that performers' interpretations are always privileged relative to an outsider's. PMID:25152740

  6. The perception of musical spontaneity in improvised and imitated jazz performances.

    PubMed

    Engel, Annerose; Keller, Peter E

    2011-01-01

    The ability to evaluate spontaneity in human behavior is called upon in the esthetic appreciation of dramatic arts and music. The current study addresses the behavioral and brain mechanisms that mediate the perception of spontaneity in music performance. In a functional magnetic resonance imaging experiment, 22 jazz musicians listened to piano melodies and judged whether they were improvised or imitated. Judgment accuracy (mean 55%; range 44-65%), which was low but above chance, was positively correlated with musical experience and empathy. Analysis of listeners' hemodynamic responses revealed that amygdala activation was stronger for improvisations than imitations. This activation correlated with the variability of performance timing and intensity (loudness) in the melodies, suggesting that the amygdala is involved in the detection of behavioral uncertainty. An analysis based on the subjective classification of melodies according to listeners' judgments revealed that a network including the pre-supplementary motor area, frontal operculum, and anterior insula was most strongly activated for melodies judged to be improvised. This may reflect the increased engagement of an action simulation network when melodic predictions are rendered challenging due to perceived instability in the performer's actions. Taken together, our results suggest that, while certain brain regions in skilled individuals may be generally sensitive to objective cues to spontaneity in human behavior, the ability to evaluate spontaneity accurately depends upon whether an individual's action-related experience and perspective taking skills enable faithful internal simulation of the given behavior.

  7. The Perception of Musical Spontaneity in Improvised and Imitated Jazz Performances

    PubMed Central

    Engel, Annerose; Keller, Peter E.

    2011-01-01

    The ability to evaluate spontaneity in human behavior is called upon in the esthetic appreciation of dramatic arts and music. The current study addresses the behavioral and brain mechanisms that mediate the perception of spontaneity in music performance. In a functional magnetic resonance imaging experiment, 22 jazz musicians listened to piano melodies and judged whether they were improvised or imitated. Judgment accuracy (mean 55%; range 44–65%), which was low but above chance, was positively correlated with musical experience and empathy. Analysis of listeners’ hemodynamic responses revealed that amygdala activation was stronger for improvisations than imitations. This activation correlated with the variability of performance timing and intensity (loudness) in the melodies, suggesting that the amygdala is involved in the detection of behavioral uncertainty. An analysis based on the subjective classification of melodies according to listeners’ judgments revealed that a network including the pre-supplementary motor area, frontal operculum, and anterior insula was most strongly activated for melodies judged to be improvised. This may reflect the increased engagement of an action simulation network when melodic predictions are rendered challenging due to perceived instability in the performer's actions. Taken together, our results suggest that, while certain brain regions in skilled individuals may be generally sensitive to objective cues to spontaneity in human behavior, the ability to evaluate spontaneity accurately depends upon whether an individual's action-related experience and perspective taking skills enable faithful internal simulation of the given behavior. PMID:21738518

  8. Differences between Male and Female Students' Confidence, Anxiety, and Attitude toward Learning Jazz Improvisation

    ERIC Educational Resources Information Center

    Wehr-Flowers, Erin

    2006-01-01

    The purpose of this study was to examine the gender differences in the social-psychological constructs of confidence, anxiety, and attitude as they relate to jazz improvisation participation. Three subscales of the Fennema-Sherman Mathematics Attitude Survey (1976) were modified for this task, and surveys (N = 332) were given to students of…

  9. Professional Notes: Creativity in the Jazz Ensemble--Let's Get away from the Written Jazz Solo

    ERIC Educational Resources Information Center

    Larson, Robert

    2015-01-01

    Performing jazz offers students the opportunity to participate in a unique group activity where notated passages are blended with exciting moments of improvisation. Expectations have risen over the years as middle and high school jazz ensembles have proved that they can perform at a very high level. This expectation however, has led to the…

  10. The Effects of Aural versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation

    ERIC Educational Resources Information Center

    Watson, Kevin E.

    2010-01-01

    The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the…

  11. Difficulties in the neuroscience of creativity: jazz improvisation and the scientific method.

    PubMed

    McPherson, Malinda; Limb, Charles J

    2013-11-01

    Creativity is a fundamental and remarkable human capacity, yet the scientific study of creativity has been limited by the difficulty of reconciling the scientific method and creative processes. We outline several hurdles and considerations that should be addressed when studying the cognitive neuroscience of creativity and suggest that jazz improvisation may be one of the most useful experimental models for the study of spontaneous creativity. More broadly, we argue that studying creativity in a way that is both scientifically and ecologically valid requires collaboration between neuroscientists and artists. © 2013 New York Academy of Sciences.

  12. The Youth Worker as Jazz Improviser: Foregrounding Education "In the Moment" within the Professional Development of Youth Workers

    ERIC Educational Resources Information Center

    Harris, Pete

    2014-01-01

    This paper argues for the foregrounding of improvisation and education "in the moment" within youth workers' professional development. Devised in collaboration with third-year Youth and Community Work students and lecturers at a university in Birmingham, this participatory action research project drew on work of jazz ethnomusicologists…

  13. Teaching as Jazz

    ERIC Educational Resources Information Center

    Tomlinson, Carol Ann; Germundson, Amy

    2007-01-01

    Tomlinson and Germundson compare teaching well to playing jazz well. Excellent teaching involves a blend of techniques and theory; expressiveness; syncopation; call and response, and, frequently, improvisation. Weaving in analogies to jazz, the authors delineate four elements of such teaching: curriculum that helps students connect to big ideas,…

  14. Anodal tDCS to Right Dorsolateral Prefrontal Cortex Facilitates Performance for Novice Jazz Improvisers but Hinders Experts.

    PubMed

    Rosen, David S; Erickson, Brian; Kim, Youngmoo E; Mirman, Daniel; Hamilton, Roy H; Kounios, John

    2016-01-01

    Research on creative cognition reveals a fundamental disagreement about the nature of creative thought, specifically, whether it is primarily based on automatic, associative (Type-1) or executive, controlled (Type-2) processes. We hypothesized that Type-1 and Type-2 processes make differential contributions to creative production that depend on domain expertise. We tested this hypothesis with jazz pianists whose expertise was indexed by the number of public performances given. Previous fMRI studies of musical improvisation have reported that domain expertise is characterized by deactivation of the right-dorsolateral prefrontal cortex (r-DLPFC), a brain area associated with Type-2 executive processing. We used anodal, cathodal, and sham transcranial direct current stimulation (tDCS) applied over r-DLPFC with the reference electrode on the contralateral mastoid (1.5 mA for 15 min, except for sham) to modulate the quality of the pianists' performances while they improvised over chords with drum and bass accompaniment. Jazz experts rated each improvisation for creativity, esthetic appeal, and technical proficiency. There was no main effect of anodal or cathodal stimulation on ratings compared to sham; however, a significant interaction between anodal tDCS and expertise emerged such that stimulation benefitted musicians with less experience but hindered those with more experience. We interpret these results as evidence for a dual-process model of creativity in which novices and experts differentially engage Type-1 and Type-2 processes during creative production.

  15. Anodal tDCS to Right Dorsolateral Prefrontal Cortex Facilitates Performance for Novice Jazz Improvisers but Hinders Experts

    PubMed Central

    Rosen, David S.; Erickson, Brian; Kim, Youngmoo E.; Mirman, Daniel; Hamilton, Roy H.; Kounios, John

    2016-01-01

    Research on creative cognition reveals a fundamental disagreement about the nature of creative thought, specifically, whether it is primarily based on automatic, associative (Type-1) or executive, controlled (Type-2) processes. We hypothesized that Type-1 and Type-2 processes make differential contributions to creative production that depend on domain expertise. We tested this hypothesis with jazz pianists whose expertise was indexed by the number of public performances given. Previous fMRI studies of musical improvisation have reported that domain expertise is characterized by deactivation of the right-dorsolateral prefrontal cortex (r-DLPFC), a brain area associated with Type-2 executive processing. We used anodal, cathodal, and sham transcranial direct current stimulation (tDCS) applied over r-DLPFC with the reference electrode on the contralateral mastoid (1.5 mA for 15 min, except for sham) to modulate the quality of the pianists' performances while they improvised over chords with drum and bass accompaniment. Jazz experts rated each improvisation for creativity, esthetic appeal, and technical proficiency. There was no main effect of anodal or cathodal stimulation on ratings compared to sham; however, a significant interaction between anodal tDCS and expertise emerged such that stimulation benefitted musicians with less experience but hindered those with more experience. We interpret these results as evidence for a dual-process model of creativity in which novices and experts differentially engage Type-1 and Type-2 processes during creative production. PMID:27899889

  16. Stealing Knowledge in a Landscape of Learning: Conceptualizations of Jazz Education

    ERIC Educational Resources Information Center

    Bjerstedt, Sven

    2016-01-01

    Theoretical approaches to learning in practice-based jazz improvisation contexts include situated learning and ecological perspectives. This article focuses on how interest-driven, self-sustaining jazz learning activities can be matched against the concepts of stolen knowledge (Brown & Duguid, 1996) and landscape of learning (Bjerstedt, 2014).…

  17. Jazz musicians reveal role of expectancy in human creativity.

    PubMed

    Przysinda, Emily; Zeng, Tima; Maves, Kellyn; Arkin, Cameron; Loui, Psyche

    2017-12-01

    Creativity has been defined as the ability to produce work that is novel, high in quality, and appropriate to an audience. While the nature of the creative process is under debate, many believe that creativity relies on real-time combinations of known neural and cognitive processes. One useful model of creativity comes from musical improvisation, such as in jazz, in which musicians spontaneously create novel sound sequences. Here we use jazz musicians to test the hypothesis that individuals with training in musical improvisation, which entails creative generation of musical ideas, might process expectancy differently. We compare jazz improvisers, non-improvising musicians, and non-musicians in the domain-general task of divergent thinking, as well as the musical task of preference ratings for chord progressions that vary in expectation while EEGs were recorded. Behavioral results showed for the first time that jazz musicians preferred unexpected chord progressions. ERP results showed that unexpected stimuli elicited larger early and mid-latency ERP responses (ERAN and P3b), followed by smaller long-latency responses (Late Positivity Potential) in jazz musicians. The amplitudes of these ERP components were significantly correlated with behavioral measures of fluency and originality on the divergent thinking task. Together, results highlight the role of expectancy in creativity. Copyright © 2017 Elsevier Inc. All rights reserved.

  18. Landscapes of Musical Metaphor and Musical Learning: The Example of Jazz Education

    ERIC Educational Resources Information Center

    Bjerstedt, Sven

    2015-01-01

    Theoretical approaches to learning in practice-based jazz improvisation contexts include situated learning and ecological perspectives. This article focuses on how interest-driven, self-sustaining jazz learning activities can be matched against the results of a recent Swedish investigation based on extensive qualitative interviews with jazz…

  19. Living Jazz, Learning Jazz: Thoughts on a Responsive Pedagogy of Early Childhood Music

    ERIC Educational Resources Information Center

    Custodero, Lori A.

    2008-01-01

    In this article, jazz music is used as a lens through which early childhood music pedagogy is viewed, specifically thinking about swing and improvisation--the listening and responding to what is heard and seen, and the openness to possibility. These two concepts are defined by prominent jazz musicians and are traced in the child development…

  20. Emotional Intent Modulates The Neural Substrates Of Creativity: An fMRI Study of Emotionally Targeted Improvisation in Jazz Musicians

    PubMed Central

    McPherson, Malinda J.; Barrett, Frederick S.; Lopez-Gonzalez, Monica; Jiradejvong, Patpong; Limb, Charles J.

    2016-01-01

    Emotion is a primary motivator for creative behaviors, yet the interaction between the neural systems involved in creativity and those involved in emotion has not been studied. In the current study, we addressed this gap by using fMRI to examine piano improvisation in response to emotional cues. We showed twelve professional jazz pianists photographs of an actress representing a positive, negative or ambiguous emotion. Using a non-ferromagnetic thirty-five key keyboard, the pianists improvised music that they felt represented the emotion expressed in the photographs. Here we show that activity in prefrontal and other brain networks involved in creativity is highly modulated by emotional context. Furthermore, emotional intent directly modulated functional connectivity of limbic and paralimbic areas such as the amygdala and insula. These findings suggest that emotion and creativity are tightly linked, and that the neural mechanisms underlying creativity may depend on emotional state. PMID:26725925

  1. Emotional Intent Modulates The Neural Substrates Of Creativity: An fMRI Study of Emotionally Targeted Improvisation in Jazz Musicians.

    PubMed

    McPherson, Malinda J; Barrett, Frederick S; Lopez-Gonzalez, Monica; Jiradejvong, Patpong; Limb, Charles J

    2016-01-04

    Emotion is a primary motivator for creative behaviors, yet the interaction between the neural systems involved in creativity and those involved in emotion has not been studied. In the current study, we addressed this gap by using fMRI to examine piano improvisation in response to emotional cues. We showed twelve professional jazz pianists photographs of an actress representing a positive, negative or ambiguous emotion. Using a non-ferromagnetic thirty-five key keyboard, the pianists improvised music that they felt represented the emotion expressed in the photographs. Here we show that activity in prefrontal and other brain networks involved in creativity is highly modulated by emotional context. Furthermore, emotional intent directly modulated functional connectivity of limbic and paralimbic areas such as the amygdala and insula. These findings suggest that emotion and creativity are tightly linked, and that the neural mechanisms underlying creativity may depend on emotional state.

  2. Keyboard Improvisation: A Phenomenological Study

    ERIC Educational Resources Information Center

    Kingscott, John; Durrant, Colin

    2010-01-01

    The purpose of this study was to explore the phenomenon of musical improvisation within two contrasting musical genres--jazz piano and liturgical and concert organ. While improvisation is well documented in both genres, there is little literature relating the two forms and, in particular, the process of improvisation. The aim of this study is to…

  3. What About Their Performance Do Free Jazz Improvisers Agree Upon? A Case Study

    PubMed Central

    Pras, Amandine; Schober, Michael F.; Spiro, Neta

    2017-01-01

    When musicians improvise freely together—not following any sort of script, predetermined harmonic structure, or “referent”—to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings—their interrater reliability as measured with Cohen's kappa—was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds

  4. What About Their Performance Do Free Jazz Improvisers Agree Upon? A Case Study.

    PubMed

    Pras, Amandine; Schober, Michael F; Spiro, Neta

    2017-01-01

    When musicians improvise freely together-not following any sort of script, predetermined harmonic structure, or "referent"-to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings-their interrater reliability as measured with Cohen's kappa-was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds of statements

  5. "Doctor Jazz": Lessons that medical professionals can learn from jazz musicians.

    PubMed

    van Ark, Allard E; Wijnen-Meijer, Marjo

    2018-04-24

    The worlds of a physician and a jazz musician seem entirely different. Various studies, however, relating the concepts behind jazz music to medical practice and education, have been published. The aim of this essayistic review is to summarize previously described concepts behind jazz music and its required artistic skills that could be translated to medicine, encouraging doctors, medical students and medical educators to see their professional environment from a different perspective. A systematic search was conducted using PubMed, Embase, and ERIC databases, combining keywords with regard to jazz, medicine and medical education. Background information concerning jazz music and several jazz musicians was retrieved through an additional nonsystematic search using Google Scholar. Lessons with regard to improvisational skills, both in communication with patients and in a technical context, communication skills, leadership, interprofessional teamwork and coping with errors are presented. Doctors and medical students could learn various lessons from jazz music performance and jazz musicians. The potential and the possibilities of implementing jazz into the medical curriculum, in order to contribute to the development of professional skills and attitudes of medical students, could be explored further.

  6. Perceptions of Jazz Improvisation among Pennsylvania Music Educators

    ERIC Educational Resources Information Center

    Rummel, Jason Robert

    2010-01-01

    Jazz education has been a part of school music programs in the United States in both extracurricular and curricular settings since the 1920's. An enormous growth in the popularity of stage bands and jazz ensembles was experienced between the 1940's and 1980's resulting in a vibrant, widespread acceptance of jazz in the music curriculum (Luty,…

  7. Creativity and personality in classical, jazz and folk musicians.

    PubMed

    Benedek, Mathias; Borovnjak, Barbara; Neubauer, Aljoscha C; Kruse-Weber, Silke

    2014-06-01

    The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres.

  8. Creativity and personality in classical, jazz and folk musicians

    PubMed Central

    Benedek, Mathias; Borovnjak, Barbara; Neubauer, Aljoscha C.; Kruse-Weber, Silke

    2014-01-01

    The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres. PMID:24895472

  9. Charting Future Directions for Research in Jazz Pedagogy: Implications of the Literature

    ERIC Educational Resources Information Center

    Watson, Kevin E.

    2010-01-01

    This paper surveys and evaluates extant empirical research in jazz pedagogy. Investigations in the following areas are addressed: (a) variables that predict achievement in jazz improvisation; (b) content analyses of published instructional materials; (c) effectiveness of pedagogical methods; (d) construction and evaluation of jazz improvisation…

  10. Creativity and improvisation as therapeutic tools within music therapy.

    PubMed

    Tomaino, Concetta M

    2013-11-01

    The neuroscience of creativity and music improvisation is a fascinating topic and one with strong implications for clinical music therapy. Music therapists are trained to use musical improvisation as a means to bring their clients into deeper therapeutic relationship as well as free up any inhibitions or limitations that may block recovery. Could recent fMRI studies of jazz musicians showing areas of brain activation during music improvisation provide a new framework to understand underlying mechanisms at work with neurologically impaired individuals? © 2013 New York Academy of Sciences.

  11. Middle Level Leadership... and All That Jazz!

    ERIC Educational Resources Information Center

    Kinney, Patti; Tomlin, Dru

    2013-01-01

    Much like a Jazz group, successful middle level schools are also founded on elements of improvisation, collaboration, teamwork, and responsive communication. Just as the director of the jazz group must have a solid foundation of music theory, the skills to bring out the best in the players, and an attitude that allows others to shine, those who…

  12. The Sign of Silence: Negotiating Musical Identities in an Improvising Ensemble

    ERIC Educational Resources Information Center

    Wilson, Graeme B.; MacDonald, Raymond A. R.

    2012-01-01

    Group musical improvisation, as a spontaneous process of collaborative creativity effected through non-verbal social interaction, is a unique psychological phenomenon and universal capacity. Existing studies focus on improvisation among professional jazz musicians, often using qualitative methods. However, improvisation transcends genres and…

  13. Symbolic Interactionism in Music Education: Eight Strategies for Collaborative Improvisation

    ERIC Educational Resources Information Center

    Monk, Augusto

    2013-01-01

    Learning improvisation in music is often treated as the process of gaining skills to spontaneously perform within the conventions of a style. Alternatively, learning improvisation can offer musicians a place to explore sound as it happens in free improvisation. Within the school setting, the former approach is commonly used in the jazz programs,…

  14. "Cooking" Lessons for Rhythmic Skills: Jazz Piano.

    ERIC Educational Resources Information Center

    Gray, Jerry

    1983-01-01

    Jazz improvising basics can be broken down into four major areas: learning to feel rhythm; learning to hear sounds; imagining rhythm and sound combinations; and acquiring an effective technique to express these combinations. (RM)

  15. The neuroscience of musical improvisation.

    PubMed

    Beaty, Roger E

    2015-04-01

    Researchers have recently begun to examine the neural basis of musical improvisation, one of the most complex forms of creative behavior. The emerging field of improvisation neuroscience has implications not only for the study of artistic expertise, but also for understanding the neural underpinnings of domain-general processes such as motor control and language production. This review synthesizes functional magnetic resonance imagining (fMRI) studies of musical improvisation, including vocal and instrumental improvisation, with samples of jazz pianists, classical musicians, freestyle rap artists, and non-musicians. A network of prefrontal brain regions commonly linked to improvisatory behavior is highlighted, including the pre-supplementary motor area, medial prefrontal cortex, inferior frontal gyrus, dorsolateral prefrontal cortex, and dorsal premotor cortex. Activation of premotor and lateral prefrontal regions suggests that a seemingly unconstrained behavior may actually benefit from motor planning and cognitive control. Yet activation of cortical midline regions points to a role of spontaneous cognition characteristic of the default network. Together, such results may reflect cooperation between large-scale brain networks associated with cognitive control and spontaneous thought. The improvisation literature is integrated with Pressing's theoretical model, and discussed within the broader context of research on the brain basis of creative cognition. Copyright © 2015 Elsevier Ltd. All rights reserved.

  16. An Analysis of Vocal Jazz Repertoire by Three Selected Publishing Companies

    ERIC Educational Resources Information Center

    Baker, Wilbur R., Jr.

    2011-01-01

    The purpose of this study was to analyze SATB (soprano, alto, tenor, bass) vocal jazz octavos (N = 150) from three publishers in an effort to (a) identify the most prolific arrangers/composers, (b) cite improvisation opportunities, (c) document publisher improvisation markings, (d) indicate repeated titles, (e) identify most popular styles, and…

  17. Canons in Harmony, or Canons in Conflict: A Cultural Perspective on the Curriculum and Pedagogy of Jazz Improvization

    ERIC Educational Resources Information Center

    Prouty, Kenneth E.

    2004-01-01

    This essay examines how jazz educators construct methods for teaching the art of improvisation in institutionalized jazz studies programs. Unlike previous studies of the processes and philosophies of jazz instruction, I examine such processes from a cultural standpoint, to identify why certain methods might be favored over others. Specifically,…

  18. Pedagogical applications of cognitive research on musical improvisation.

    PubMed

    Biasutti, Michele

    2015-01-01

    This paper presents a model for the implementation of educational activities involving musical improvisation that is based on a review of the literature on the psychology of music. Psychology of music is a complex field of research in which quantitative and qualitative methods have been employed involving participants ranging from novices to expert performers. The cognitive research has been analyzed to propose a pedagogical approach to the development of processes rather than products that focus on an expert's use of improvisation. The intention is to delineate a reflective approach that goes beyond the mere instruction of some current practices of teaching improvisation in jazz pedagogy. The review highlights that improvisation is a complex, multidimensional act that involves creative and performance behaviors in real-time in addition to processes such as sensory and perceptual encoding, motor control, performance monitoring, and memory storage and recall. Educational applications for the following processes are outlined: anticipation, use of repertoire, emotive communication, feedback, and flow. These characteristics are discussed in relation to the design of a pedagogical approach to musical improvisation based on reflection and metacognition development.

  19. Teaching Improvisation and the Pedagogical History of the Jimmy Giuffre 3

    ERIC Educational Resources Information Center

    Johnston, Peter

    2013-01-01

    Improvisation pedagogy has presented a challenge to music educators since jazz courses began being offered in North American universities in the 1950s, a development which has raised important pedagogical questions ranging from 'Can improvisation be taught?' to "Should it be taught?" Following on the increase in academic…

  20. Creativity as a distinct trainable mental state: An EEG study of musical improvisation.

    PubMed

    Lopata, Joel A; Nowicki, Elizabeth A; Joanisse, Marc F

    2017-05-01

    Alpha-band EEG was used to index how creative mental states relate to the creation of artistic works in skilled musicians. We contrasted differences in frontal upper alpha-band activity between tasks with high and low creativity demands by recording EEGs while skilled musicians listened to, played back, and improvised jazz melodies. Neural responses were compared for skilled musicians with training in musical improvisation versus those who had no formal improvisation training. Consistent with our hypotheses, individuals showed increased frontal upper alpha-band activity during more creative tasks (i.e., improvisation) compared to during less creative tasks (i.e., rote playback). Moreover, this effect was greatest for musicians with formal improvisation training. The strength of this effect also appeared to modulate the quality of these improvisations, as evidenced by significant correlations between upper alpha EEG power and objective post-hoc ratings of individuals' performances. These findings support a conceptualization of creativity as a distinct mental state and suggest spontaneous processing capacity is better nurtured through formal institutional training than informal. Copyright © 2017 Elsevier Ltd. All rights reserved.

  1. Pedagogical applications of cognitive research on musical improvisation

    PubMed Central

    Biasutti, Michele

    2015-01-01

    This paper presents a model for the implementation of educational activities involving musical improvisation that is based on a review of the literature on the psychology of music. Psychology of music is a complex field of research in which quantitative and qualitative methods have been employed involving participants ranging from novices to expert performers. The cognitive research has been analyzed to propose a pedagogical approach to the development of processes rather than products that focus on an expert’s use of improvisation. The intention is to delineate a reflective approach that goes beyond the mere instruction of some current practices of teaching improvisation in jazz pedagogy. The review highlights that improvisation is a complex, multidimensional act that involves creative and performance behaviors in real-time in addition to processes such as sensory and perceptual encoding, motor control, performance monitoring, and memory storage and recall. Educational applications for the following processes are outlined: anticipation, use of repertoire, emotive communication, feedback, and flow. These characteristics are discussed in relation to the design of a pedagogical approach to musical improvisation based on reflection and metacognition development. PMID:26029147

  2. Perception of 'Back-Channeling' Nonverbal Feedback in Musical Duo Improvisation.

    PubMed

    Moran, Nikki; Hadley, Lauren V; Bader, Maria; Keller, Peter E

    2015-01-01

    In witnessing face-to-face conversation, observers perceive authentic communication according to the social contingency of nonverbal feedback cues ('back-channeling') by non-speaking interactors. The current study investigated the generality of this function by focusing on nonverbal communication in musical improvisation. A perceptual experiment was conducted to test whether observers can reliably identify genuine versus fake (mismatched) duos from musicians' nonverbal cues, and how this judgement is affected by observers' musical background and rhythm perception skill. Twenty-four musicians were recruited to perform duo improvisations, which included solo episodes, in two styles: standard jazz (where rhythm is based on a regular pulse) or free improvisation (where rhythm is non-pulsed). The improvisations were recorded using a motion capture system to generate 16 ten-second point-light displays (with audio) of the soloist and the silent non-soloing musician ('back-channeler'). Sixteen further displays were created by splicing soloists with back-channelers from different duos. Participants (N = 60) with various musical backgrounds were asked to rate the point-light displays as either real or fake. Results indicated that participants were sensitive to the real/fake distinction in the free improvisation condition independently of musical experience. Individual differences in rhythm perception skill did not account for performance in the free condition, but were positively correlated with accuracy in the standard jazz condition. These findings suggest that the perception of back-channeling in free improvisation is not dependent on music-specific skills but is a general ability. The findings invite further study of the links between interpersonal dynamics in conversation and musical interaction.

  3. Playing off the beat: Applying the jazz paradigm to psychotherapy.

    PubMed

    Johnson, David Read

    2018-02-01

    A jazz paradigm is applied to traditional psychotherapy practice, illuminating the links between psychotherapy and the Romantic aesthetic tradition, primarily in the centrality of concepts such as attunement. Modernist disruptions of realism during the early 20 th century, such as jazz, elaborated dissonant and improvisational artistic impulses that brought new vitality to their art forms. The psychotherapeutic relationship also has potential avenues for multilevel and discrepant communication that open possibilities of freedom. However, the limitations imposed by the single channel nature of comprehended language, compared with the capacity of artistic media to express multiple sensory information simultaneously, remain the most significant obstacle to dimensionalizing the psychotherapeutic dialogue. Psychotherapy may have much to gain from embracing some of the concepts underlying the jazz aesthetic. © 2018 Wiley Periodicals, Inc.

  4. Jazz Musicians as Academic Leaders: Improvisation in Higher Education

    ERIC Educational Resources Information Center

    Kleinschmidt, Robert A.

    2011-01-01

    Jazz musicians are unique individuals who seek to perform from a transcendental state in which tacit knowledge, teamwork, and communication blend to produce an effective performance. Academic leaders are also unique individuals who rely on communication to generate a sense of inclusion within a complex organization that at times epitomizes…

  5. Perception of ‘Back-Channeling’ Nonverbal Feedback in Musical Duo Improvisation

    PubMed Central

    Moran, Nikki; Hadley, Lauren V.; Bader, Maria; Keller, Peter E.

    2015-01-01

    In witnessing face-to-face conversation, observers perceive authentic communication according to the social contingency of nonverbal feedback cues (‘back-channeling’) by non-speaking interactors. The current study investigated the generality of this function by focusing on nonverbal communication in musical improvisation. A perceptual experiment was conducted to test whether observers can reliably identify genuine versus fake (mismatched) duos from musicians’ nonverbal cues, and how this judgement is affected by observers’ musical background and rhythm perception skill. Twenty-four musicians were recruited to perform duo improvisations, which included solo episodes, in two styles: standard jazz (where rhythm is based on a regular pulse) or free improvisation (where rhythm is non-pulsed). The improvisations were recorded using a motion capture system to generate 16 ten-second point-light displays (with audio) of the soloist and the silent non-soloing musician (‘back-channeler’). Sixteen further displays were created by splicing soloists with back-channelers from different duos. Participants (N = 60) with various musical backgrounds were asked to rate the point-light displays as either real or fake. Results indicated that participants were sensitive to the real/fake distinction in the free improvisation condition independently of musical experience. Individual differences in rhythm perception skill did not account for performance in the free condition, but were positively correlated with accuracy in the standard jazz condition. These findings suggest that the perception of back-channeling in free improvisation is not dependent on music-specific skills but is a general ability. The findings invite further study of the links between interpersonal dynamics in conversation and musical interaction. PMID:26086593

  6. On Being and Becoming a Jazz Musician: Perceptions of Young Scottish Musicians

    ERIC Educational Resources Information Center

    Black, Pauline

    2017-01-01

    This paper examines what goes on in an improvising jazz combo in a secondary school in Scotland, where teaching follows Rogoff's three-stage sociocultural process, moving from an initial apprenticeship model through one of guided participation to one of participatory appropriation. Using a case study research design and interpretative…

  7. Connecting to create: expertise in musical improvisation is associated with increased functional connectivity between premotor and prefrontal areas.

    PubMed

    Pinho, Ana Luísa; de Manzano, Örjan; Fransson, Peter; Eriksson, Helene; Ullén, Fredrik

    2014-04-30

    Musicians have been used extensively to study neural correlates of long-term practice, but no studies have investigated the specific effects of training musical creativity. Here, we used human functional MRI to measure brain activity during improvisation in a sample of 39 professional pianists with varying backgrounds in classical and jazz piano playing. We found total hours of improvisation experience to be negatively associated with activity in frontoparietal executive cortical areas. In contrast, improvisation training was positively associated with functional connectivity of the bilateral dorsolateral prefrontal cortices, dorsal premotor cortices, and presupplementary areas. The effects were significant when controlling for hours of classical piano practice and age. These results indicate that even neural mechanisms involved in creative behaviors, which require a flexible online generation of novel and meaningful output, can be automated by training. Second, improvisational musical training can influence functional brain properties at a network level. We show that the greater functional connectivity seen in experienced improvisers may reflect a more efficient exchange of information within associative networks of importance for musical creativity.

  8. Connecting to Create: Expertise in Musical Improvisation Is Associated with Increased Functional Connectivity between Premotor and Prefrontal Areas

    PubMed Central

    Pinho, Ana Luísa; de Manzano, Örjan; Fransson, Peter; Eriksson, Helene

    2014-01-01

    Musicians have been used extensively to study neural correlates of long-term practice, but no studies have investigated the specific effects of training musical creativity. Here, we used human functional MRI to measure brain activity during improvisation in a sample of 39 professional pianists with varying backgrounds in classical and jazz piano playing. We found total hours of improvisation experience to be negatively associated with activity in frontoparietal executive cortical areas. In contrast, improvisation training was positively associated with functional connectivity of the bilateral dorsolateral prefrontal cortices, dorsal premotor cortices, and presupplementary areas. The effects were significant when controlling for hours of classical piano practice and age. These results indicate that even neural mechanisms involved in creative behaviors, which require a flexible online generation of novel and meaningful output, can be automated by training. Second, improvisational musical training can influence functional brain properties at a network level. We show that the greater functional connectivity seen in experienced improvisers may reflect a more efficient exchange of information within associative networks of importance for musical creativity. PMID:24790186

  9. Musical Preferences as a Function of Stimulus Complexity of Piano Jazz

    ERIC Educational Resources Information Center

    Gordon, Josh; Gridley, Mark C.

    2013-01-01

    Seven excerpts of modern jazz piano improvisations were selected to represent a range of perceived complexities. Audio recordings of the excerpts were played for 27 listeners who were asked to indicate their level of enjoyment on 7-point scales. Indications of enjoyment followed an inverted-U when plotted against perceived complexity of the music.…

  10. Control Improvisation with Application to Music

    DTIC Science & Technology

    2013-11-04

    Control Improvisation with Application to Music Alexandre Donze Sophie Libkind Sanjit A. Seshia David Wessel Electrical Engineering and Computer...to Music 5a. CONTRACT NUMBER 5b. GRANT NUMBER 5c. PROGRAM ELEMENT NUMBER 6. AUTHOR(S) 5d. PROJECT NUMBER 5e. TASK NUMBER 5f. WORK UNIT NUMBER 7...domain of music . More speci cally, we consider the scenario of generating a monophonic Jazz melody (solo) on a given song harmonization. The music is

  11. Rituals of creativity: tradition, modernity, and the "acoustic unconscious" in a U.S. collegiate jazz music program.

    PubMed

    Wilf, Eitan

    2012-01-01

    In this article, I seek to complicate the distinction between imitation and creativity, which has played a dominant role in the modern imaginary and anthropological theory. I focus on a U.S. collegiate jazz music program, in which jazz educators use advanced sound technologies to reestablish immersive interaction with the sounds of past jazz masters against the backdrop of the disappearance of performance venues for jazz. I analyze a key pedagogical practice in the course of which students produce precise replications of the recorded improvisations of past jazz masters and then play them in synchrony with the recordings. Through such synchronous iconization, students inhabit and reenact the creativity epitomized by these recordings. I argue that such a practice, which I call a “ritual of creativity,” suggests a coconstitutive relationship between imitation and creativity, which has intensified under modernity because of the availability of new technologies of digital reproduction.

  12. Jazz Listening Activities: Children's Literature and Authentic Music Samples.

    ERIC Educational Resources Information Center

    McDonald, Nan L.; Fisher, Douglas; Helzer, Rick

    2002-01-01

    Describes a unit that is appropriate for upper elementary and middle school students that focuses on jazz music using biographies about jazz musicians. Discusses the five sections of the unit. Includes a list of "Suggested Jazz Listening Samples," jazz videos, and a bibliography of resources related to jazz music. (CMK)

  13. The role of emotion in musical improvisation: an analysis of structural features.

    PubMed

    McPherson, Malinda J; Lopez-Gonzalez, Monica; Rankin, Summer K; Limb, Charles J

    2014-01-01

    One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion.

  14. Distributed improvisation: a systems perspective of improvisation 'epics' by led outdoor activity leaders.

    PubMed

    Trotter, Margaret J; Salmon, Paul M; Goode, Natassia; Lenné, Michael G

    2018-02-01

    Improvisation represents the spontaneous and real-time conception and execution of a novel response to an unanticipated situation. In order to benefit from the positive safety potential of this phenomenon, it is necessary to understand what influences its appropriateness and effectiveness. This study has applied the system-based methodology Impromaps to analysing accounts of improvisation aimed at mitigating adverse safety outcomes. These accounts were obtained from led outdoor activity (LOA) leaders through critical decision method interviews. Influencing factors and interactions have been identified across all system levels. The factors most influential to leaders' ability to improvise are 'Policy, procedures and rules', 'Organisation culture', 'Training', 'Role responsibilities', 'Communication/instruction/demonstration', 'Situation awareness', 'Leader experience', 'Mental simulation', 'Equipment, clothing & PPE' and 'Terrain/physical environment'. To enhance the likelihood of effective, appropriate improvisation, LOA providers are recommended to focus on higher level factors over which they are able to exert greater control. Practitioner Summary: To enhance resilience in safety-critical situations, organisations need to understand what influences appropriate, effective improvisation. To elucidate this, the Impromaps methodology is applied to in-depth interview data. The Impromap affords a graphical depiction of the influencing factors and interactions across the system, providing a basis for the development of interventions.

  15. The Effects of Group Free Improvisation Instruction on Improvisation Achievement and Improvisation Confidence

    ERIC Educational Resources Information Center

    Hickey, Maud; Ankney, Kimberly; Healy, Daniel; Gallo, Donna

    2016-01-01

    While improvisation in K-12 schools in the USA has gained some traction since the inception of the US National Standards in 1994, there is still a dearth of improvisation activities in schools because of the lack of music teacher preparation in improvisation. The purpose of this study was to determine if providing group free improvisation…

  16. The Role of Emotion in Musical Improvisation: An Analysis of Structural Features

    PubMed Central

    McPherson, Malinda J.; Lopez-Gonzalez, Monica; Rankin, Summer K.; Limb, Charles J.

    2014-01-01

    One of the primary functions of music is to convey emotion, yet how music accomplishes this task remains unclear. For example, simple correlations between mode (major vs. minor) and emotion (happy vs. sad) do not adequately explain the enormous range, subtlety or complexity of musically induced emotions. In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. Our findings demonstrate a lack of simple correspondence between emotions and musical features of spontaneous musical improvisation. While improvisations in response to positive emotional cues were more likely to be in major keys, have faster tempos, faster key press velocities and more staccato notes when compared to negative improvisations, there was a wide distribution for each emotion with components that directly violated these primary associations. The finding that musicians often combine disparate features together in order to convey emotion during improvisation suggests that structural diversity may be an essential feature of the ability of music to express a wide range of emotion. PMID:25144200

  17. Auditory risk assessment of college music students in jazz band-based instructional activity.

    PubMed

    Gopal, Kamakshi V; Chesky, Kris; Beschoner, Elizabeth A; Nelson, Paul D; Stewart, Bradley J

    2013-01-01

    It is well-known that musicians are at risk for music-induced hearing loss, however, systematic evaluation of music exposure and its effects on the auditory system are still difficult to assess. The purpose of the study was to determine if college students in jazz band-based instructional activity are exposed to loud classroom noise and consequently exhibit acute but significant changes in basic auditory measures compared to non-music students in regular classroom sessions. For this we (1) measured and compared personal exposure levels of college students (n = 14) participating in a routine 50 min jazz ensemble-based instructional activity (experimental) to personal exposure levels of non-music students (n = 11) participating in a 50-min regular classroom activity (control), and (2) measured and compared pre- to post-auditory changes associated with these two types of classroom exposures. Results showed that the L eq (equivalent continuous noise level) generated during the 50 min jazz ensemble-based instructional activity ranged from 95 dBA to 105.8 dBA with a mean of 99.5 ± 2.5 dBA. In the regular classroom, the L eq ranged from 46.4 dBA to 67.4 dBA with a mean of 49.9 ± 10.6 dBA. Additionally, significant differences were observed in pre to post-auditory measures between the two groups. The experimental group showed a significant temporary threshold shift bilaterally at 4000 Hz (P < 0.05), and a significant decrease in the amplitude of transient-evoked otoacoustic emission response in both ears (P < 0.05) after exposure to the jazz ensemble-based instructional activity. No significant changes were found in the control group between pre- and post-exposure measures. This study quantified the noise exposure in jazz band-based practice sessions and its effects on basic auditory measures. Temporary, yet significant, auditory changes seen in music students place them at risk for hearing loss compared to their non-music cohorts.

  18. Real-time implementation of an interactive jazz accompaniment system

    NASA Astrophysics Data System (ADS)

    Deshpande, Nikhil

    Modern computational algorithms and digital signal processing (DSP) are able to combine with human performers without forced or predetermined structure in order to create dynamic and real-time accompaniment systems. With modern computing power and intelligent algorithm layout and design, it is possible to achieve more detailed auditory analysis of live music. Using this information, computer code can follow and predict how a human's musical performance evolves, and use this to react in a musical manner. This project builds a real-time accompaniment system to perform together with live musicians, with a focus on live jazz performance and improvisation. The system utilizes a new polyphonic pitch detector and embeds it in an Ableton Live system - combined with Max for Live - to perform elements of audio analysis, generation, and triggering. The system also relies on tension curves and information rate calculations from the Creative Artificially Intuitive and Reasoning Agent (CAIRA) system to help understand and predict human improvisation. These metrics are vital to the core system and allow for extrapolated audio analysis. The system is able to react dynamically to a human performer, and can successfully accompany the human as an entire rhythm section.

  19. Shaping Interpersonal Learning in the Jazz Improvisation Lesson: Observing a Dynamic Systems Approach

    ERIC Educational Resources Information Center

    de Bruin, Leon Rene

    2018-01-01

    Music institutions predominantly utilize the one-to-one lesson in developing and supporting music students' learning of skill and knowledge. This article explores the effect that interpersonal interaction plays in shaping pedagogical applications between teacher and student. Observing the learning of improvisation within this individualized social…

  20. Spectral-Spatial Differentiation of Brain Activity During Mental Imagery of Improvisational Music Performance Using MEG.

    PubMed

    Boasen, Jared; Takeshita, Yuya; Kuriki, Shinya; Yokosawa, Koichi

    2018-01-01

    Group musical improvisation is thought to be akin to conversation, and therapeutically has been shown to be effective at improving communicativeness, sociability, creative expression, and overall psychological health. To understand these therapeutic effects, clarifying the nature of brain activity during improvisational cognition is important. Some insight regarding brain activity during improvisational music cognition has been gained via functional magnetic resonance imaging (fMRI) and electroencephalography (EEG). However, we have found no reports based on magnetoencephalography (MEG). With the present study, we aimed to demonstrate the feasibility of improvisational music performance experimentation in MEG. We designed a novel MEG-compatible keyboard, and used it with experienced musicians ( N = 13) in a music performance paradigm to spectral-spatially differentiate spontaneous brain activity during mental imagery of improvisational music performance. Analyses of source activity revealed that mental imagery of improvisational music performance induced greater theta (5-7 Hz) activity in left temporal areas associated with rhythm production and communication, greater alpha (8-12 Hz) activity in left premotor and parietal areas associated with sensorimotor integration, and less beta (15-29 Hz) activity in right frontal areas associated with inhibition control. These findings support the notion that musical improvisation is conversational, and suggest that creation of novel auditory content is facilitated by a more internally-directed, disinhibited cognitive state.

  1. The artificial zinc finger coding gene 'Jazz' binds the utrophin promoter and activates transcription.

    PubMed

    Corbi, N; Libri, V; Fanciulli, M; Tinsley, J M; Davies, K E; Passananti, C

    2000-06-01

    Up-regulation of utrophin gene expression is recognized as a plausible therapeutic approach in the treatment of Duchenne muscular dystrophy (DMD). We have designed and engineered new zinc finger-based transcription factors capable of binding and activating transcription from the promoter of the dystrophin-related gene, utrophin. Using the recognition 'code' that proposes specific rules between zinc finger primary structure and potential DNA binding sites, we engineered a new gene named 'Jazz' that encodes for a three-zinc finger peptide. Jazz belongs to the Cys2-His2 zinc finger type and was engineered to target the nine base pair DNA sequence: 5'-GCT-GCT-GCG-3', present in the promoter region of both the human and mouse utrophin gene. The entire zinc finger alpha-helix region, containing the amino acid positions that are crucial for DNA binding, was specifically chosen on the basis of the contacts more frequently represented in the available list of the 'code'. Here we demonstrate that Jazz protein binds specifically to the double-stranded DNA target, with a dissociation constant of about 32 nM. Band shift and super-shift experiments confirmed the high affinity and specificity of Jazz protein for its DNA target. Moreover, we show that chimeric proteins, named Gal4-Jazz and Sp1-Jazz, are able to drive the transcription of a test gene from the human utrophin promoter.

  2. Spectral-Spatial Differentiation of Brain Activity During Mental Imagery of Improvisational Music Performance Using MEG

    PubMed Central

    Boasen, Jared; Takeshita, Yuya; Kuriki, Shinya; Yokosawa, Koichi

    2018-01-01

    Group musical improvisation is thought to be akin to conversation, and therapeutically has been shown to be effective at improving communicativeness, sociability, creative expression, and overall psychological health. To understand these therapeutic effects, clarifying the nature of brain activity during improvisational cognition is important. Some insight regarding brain activity during improvisational music cognition has been gained via functional magnetic resonance imaging (fMRI) and electroencephalography (EEG). However, we have found no reports based on magnetoencephalography (MEG). With the present study, we aimed to demonstrate the feasibility of improvisational music performance experimentation in MEG. We designed a novel MEG-compatible keyboard, and used it with experienced musicians (N = 13) in a music performance paradigm to spectral-spatially differentiate spontaneous brain activity during mental imagery of improvisational music performance. Analyses of source activity revealed that mental imagery of improvisational music performance induced greater theta (5–7 Hz) activity in left temporal areas associated with rhythm production and communication, greater alpha (8–12 Hz) activity in left premotor and parietal areas associated with sensorimotor integration, and less beta (15–29 Hz) activity in right frontal areas associated with inhibition control. These findings support the notion that musical improvisation is conversational, and suggest that creation of novel auditory content is facilitated by a more internally-directed, disinhibited cognitive state. PMID:29740300

  3. Jazz: An Afro-American Art Music.

    ERIC Educational Resources Information Center

    Griffin, Marie P.

    1983-01-01

    Discussion of roots of jazz--form of art music which originated in United States through confrontation of blacks with European music--highlights jazz styles and stylists, blues, ragtime, dixieland, big bands, bop, cool jazz, modern jazz, jazz recording, jazz discography, and jazz collection in the library. Thirty-four references are cited. (EJS)

  4. Mechanics of jazz shoes and their effect on pointing in child dancers.

    PubMed

    Fong Yan, Alycia; Smith, Richard; Vanwanseele, Benedicte; Hiller, Claire

    2012-07-01

    There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes tested were a split-sole jazz shoe, full-sole jazz shoe, and jazz sneaker. A shoe dynamometer measured the stiffness of the jazz shoes. The shoes had a significant effect on ankle plantar flexion. All jazz shoes significantly restricted the midfoot plantar flexion angle compared with the barefoot condition. The split-sole jazz shoe demonstrated the least restriction, whereas the full-sole jazz shoe the most midfoot restriction. A small restriction in metartarsophalangeal plantar flexion and a greater restriction at the midfoot joint were demonstrated when wearing stiff jazz shoes. These restrictions will decrease the aesthetic of the pointed foot, may encourage incorrect muscle activation, and have an impact on dance performance.

  5. Neural substrates of interactive musical improvisation: an FMRI study of 'trading fours' in jazz.

    PubMed

    Donnay, Gabriel F; Rankin, Summer K; Lopez-Gonzalez, Monica; Jiradejvong, Patpong; Limb, Charles J

    2014-01-01

    Interactive generative musical performance provides a suitable model for communication because, like natural linguistic discourse, it involves an exchange of ideas that is unpredictable, collaborative, and emergent. Here we show that interactive improvisation between two musicians is characterized by activation of perisylvian language areas linked to processing of syntactic elements in music, including inferior frontal gyrus and posterior superior temporal gyrus, and deactivation of angular gyrus and supramarginal gyrus, brain structures directly implicated in semantic processing of language. These findings support the hypothesis that musical discourse engages language areas of the brain specialized for processing of syntax but in a manner that is not contingent upon semantic processing. Therefore, we argue that neural regions for syntactic processing are not domain-specific for language but instead may be domain-general for communication.

  6. Improvisational Theater Games: Performatory Team-Building Activities

    ERIC Educational Resources Information Center

    Ingalls, Joan S.

    2018-01-01

    This article describes five improvisational theater games for building "teams" in the classroom and on the sports field. Particular attention is given to understanding how teams must challenge the hyper-individuality of modern culture. Improvisational theater games for team building are designed to help participants find a balance…

  7. Improvisational Practices in Elementary General Music Classrooms

    ERIC Educational Resources Information Center

    Gruenhagen, Lisa M.; Whitcomb, Rachel

    2014-01-01

    Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the…

  8. Introducing Improvisational Skills Through Rhythm Tap: Whether Used in a Dance Class or in a Physical Education Dance Unit, These Simple Exercises Will Overcome Students' Inhibitions and Encourage Their Creative Abilities

    ERIC Educational Resources Information Center

    West, Colleen N.

    2005-01-01

    Rhythm tap is sweeping the nation as an outlet for self-expression. Also known as "jazz tap" or "percussive tap," this art form's dominant focus is musicality, improvisation, simple-to-complex rhythms, and new styles. It reaches beyond technique and serves as an outlet for self-expression, independence, and spontaneity. Rhythm tap incorporates an…

  9. Women in Jazz.

    ERIC Educational Resources Information Center

    Abrams, Mary

    1981-01-01

    The Kansas City Women's Jazz Festival was founded to provide exposure and a market for women in jazz. In its four years of operation it has grown in size and stature, stimulated creation of a scholarship fund, and spurred development of other festivals. (MSE)

  10. Is Punk the New Jazz?

    ERIC Educational Resources Information Center

    Moore, Ryan

    2012-01-01

    In the 1920s, jazz was widely condemned as "the devil's music," and "Ladies' Home Journal" warned its readers that young people were being morally corrupted as they danced along to "the abominable jazz orchestra with its voodoo-born minors and its direct appeal to the sensory center." But within a few decades, jazz was fully absorbed into the…

  11. Learning with Jazz.

    ERIC Educational Resources Information Center

    Renwick, Lucille

    2002-01-01

    Describes how teachers at three different elementary schools use jazz to teach students to read, write, and sing. In each case, jazz is used to enrich standard curricula and raise students' appreciation of this music form widely recognized for its rich heritage rooted in African American culture. Literature resources and relevant Web sites are…

  12. Jazz Ensembles' Era of Accelerated Growth: Part II.

    ERIC Educational Resources Information Center

    Luty, Bruce

    1982-01-01

    Jazz has been increasingly accepted into the college music curricula from 1960 to the present. As the popularity of jazz broadened, the demand for high school and college jazz courses grew, more music for jazz ensembles was published, and the number of college jazz festivals increased. (AM)

  13. Interaction with Machine Improvisation

    NASA Astrophysics Data System (ADS)

    Assayag, Gerard; Bloch, George; Cont, Arshia; Dubnov, Shlomo

    We describe two multi-agent architectures for an improvisation oriented musician-machine interaction systems that learn in real time from human performers. The improvisation kernel is based on sequence modeling and statistical learning. We present two frameworks of interaction with this kernel. In the first, the stylistic interaction is guided by a human operator in front of an interactive computer environment. In the second framework, the stylistic interaction is delegated to machine intelligence and therefore, knowledge propagation and decision are taken care of by the computer alone. The first framework involves a hybrid architecture using two popular composition/performance environments, Max and OpenMusic, that are put to work and communicate together, each one handling the process at a different time/memory scale. The second framework shares the same representational schemes with the first but uses an Active Learning architecture based on collaborative, competitive and memory-based learning to handle stylistic interactions. Both systems are capable of processing real-time audio/video as well as MIDI. After discussing the general cognitive background of improvisation practices, the statistical modelling tools and the concurrent agent architecture are presented. Then, an Active Learning scheme is described and considered in terms of using different improvisation regimes for improvisation planning. Finally, we provide more details about the different system implementations and describe several performances with the system.

  14. Determining the end of a musical turn: Effects of tonal cues.

    PubMed

    Hadley, Lauren V; Sturt, Patrick; Moran, Nikki; Pickering, Martin J

    2018-01-01

    Successful duetting requires that musicians coordinate their performance with their partners. In the case of turn-taking in improvised performance they need to be able to predict their partner's turn-end in order to accurately time their own entries. Here we investigate the cues used for accurate turn-end prediction in musical improvisations, focusing on the role of tonal structure. In a response-time task, participants more accurately determined the endings of (tonal) jazz than (non-tonal) free improvisation turns. Moreover, for the jazz improvisations, removing low frequency information (<2100Hz) - and hence obscuring the pitch relationships conveying tonality - reduced response accuracy, but removing high frequency information (>2100Hz) had no effect. Neither form of filtering affected response accuracy in the free improvisation condition. We therefore argue that tonal cues aided prediction accuracy for the jazz improvisations compared to the free improvisations. We compare our results with those from related speech research (De Ruiter et al., 2006), to draw comparisons between the structural function of tonality and linguistic syntax. Copyright © 2017. Published by Elsevier B.V.

  15. Neural Substrates of Interactive Musical Improvisation: An fMRI Study of ‘Trading Fours’ in Jazz

    PubMed Central

    Donnay, Gabriel F.; Rankin, Summer K.; Lopez-Gonzalez, Monica; Jiradejvong, Patpong; Limb, Charles J.

    2014-01-01

    Interactive generative musical performance provides a suitable model for communication because, like natural linguistic discourse, it involves an exchange of ideas that is unpredictable, collaborative, and emergent. Here we show that interactive improvisation between two musicians is characterized by activation of perisylvian language areas linked to processing of syntactic elements in music, including inferior frontal gyrus and posterior superior temporal gyrus, and deactivation of angular gyrus and supramarginal gyrus, brain structures directly implicated in semantic processing of language. These findings support the hypothesis that musical discourse engages language areas of the brain specialized for processing of syntax but in a manner that is not contingent upon semantic processing. Therefore, we argue that neural regions for syntactic processing are not domain-specific for language but instead may be domain-general for communication. PMID:24586366

  16. A History of Women in Jazz.

    ERIC Educational Resources Information Center

    Miller, Susanna L.

    1991-01-01

    The history of women jazz performers and composers, namely African Americans, in the United States is traced from its beginnings to contemporary artists. Women have played an integral role in jazz development. Separate women's festivals showcase many female talents, demonstrating that the future is very promising for women in jazz. (SLD)

  17. Profiling the Jazz Singer

    ERIC Educational Resources Information Center

    Hargreaves, Wendy

    2013-01-01

    This paper presents new data extracted from the National Survey of Jazz Instrumentalists and Vocalists. The survey was administered to 209 professional jazz musicians who resided and performed in Australia during 2009-2010. Presented here are five statistically significant characteristics which differentiate vocalists' experiences from other jazz…

  18. Improvisation: Thinking "and" Playing Music

    ERIC Educational Resources Information Center

    Beckstead, David

    2013-01-01

    This article explores and contextualizes improvisation in music from an educational perspective. First, recent brain research that sees improvisation as a distinct cognitive activity is examined and used to illustrate the importance and uniqueness of this often ignored area of music learning. Next, the implications for the music classroom are…

  19. Improvisational Teaching as Mode of Knowing

    ERIC Educational Resources Information Center

    Shem-Tov, Naphtaly

    2011-01-01

    Theatrical improvisation is a joyful, creative, and playful activity of discovery and a spontaneous process. It seems to be the opposite of teaching, which requires proper planning and advance thinking and seems a very "serious business" that deals with values and knowledge. Improvisation is shaped by flexibility and by transformative…

  20. Exploring improvisation in nursing.

    PubMed

    Hanley, Mary Anne; Fenton, Mary V

    2007-06-01

    Improvisation has long been considered a function of music, dance, and the theatre arts. An exploration of the definitions and characteristics of this concept in relation to the art and practice of nursing provide an opportunity to illuminate related qualities within the field of nursing. Nursing has always demonstrated improvisation because it is often required to meet the needs of patients in a rapidly changing environment. However, little has been done to identify improvisation in the practice of nursing or to teach improvisation as a nursing knowledge-based skill. This article strives to explore the concept of improvisation in nursing, to describe the characteristics of improvisation as applied to nursing, and to utilize case studies to illustrate various manifestations of improvisation in nursing practice.

  1. Novel activation domain derived from Che-1 cofactor coupled with the artificial protein Jazz drives utrophin upregulation.

    PubMed

    Desantis, Agata; Onori, Annalisa; Di Certo, Maria Grazia; Mattei, Elisabetta; Fanciulli, Maurizio; Passananti, Claudio; Corbi, Nicoletta

    2009-02-01

    Our aim is to upregulate the expression level of the dystrophin related gene utrophin in Duchenne muscular dystrophy, thus complementing the lack of dystrophin functions. To this end, we have engineered synthetic zinc finger based transcription factors. We have previously shown that the artificial three-zinc finger protein named Jazz fused with the Vp16 activation domain, is able to bind utrophin promoter A and to increase the endogenous level of utrophin in transgenic mice. Here, we report on an innovative artificial protein, named CJ7, that consists of Jazz DNA binding domain fused to a novel activation domain derived from the regulatory multivalent adaptor protein Che-1/AATF. This transcriptional activation domain is 100 amino acids in size and it is very powerful as compared to the Vp16 activation domain. We show that CJ7 protein efficiently promotes transcription and accumulation of the acetylated form of histone H3 on the genomic utrophin promoter locus.

  2. Space Operations Officers as Jazz Musicians

    DTIC Science & Technology

    2010-01-01

    the essay, he cites jazz musicians who explain the qualities that define jazz, how they practice the art form and how they develop the capabilities... musician analyzes the string of notes he just played to find the best way to “answer his own musical question” with his next run of notes, to “create...20 Army Space Journal 2010 Winter/Spring Edition Space operationS officerS as Jazz Musicians MAJ JOSEph GUzMAn SMDC, TrADOC CApABIlITy MAnAGEr

  3. Peer Mentoring in a High School Jazz Ensemble

    ERIC Educational Resources Information Center

    Goodrich, Andrew

    2007-01-01

    The use of peer mentoring in a successful high school jazz band was explored during one academic year of instruction using ethnographic techniques. Participants included primary informants (student jazz band members, director, assistant director, adult mentors) and secondary informants (guidance counselor, principal, parents, non-jazz band member…

  4. The Ups, the Downs, but Jazz Still Lives.

    ERIC Educational Resources Information Center

    Boyd, Herb

    1991-01-01

    In each era in which white jazz musicians have received acclaim, black musicians have been the true innovators. Black jazz musicians of the past and contemporary artists are discussed. Although they may not receive the publicity they deserve, black musicians will continue in the forefront of jazz. (SLD)

  5. Musical creativity and the brain.

    PubMed

    López-González, Mónica; Limb, Charles J

    2012-01-01

    On the spot, as great jazz performers expertly improvise solo passages, they make immediate decisions about which musical phrases to invent and to play. Researchers, like authors Mónica López-González and Dana Foundation grantee Charles J. Limb, are now using brain imaging to study the neural underpinnings of spontaneous artistic creativity, from jazz riffs to freestyle rap. So far, they have found that brain areas deactivated during improvisation are also at rest during dreaming and meditation, while activated areas include those controlling language and sensorimotor skills. Even with relatively few completed studies, researchers have concluded that musical creativity clearly cannot be tied to just one brain area or process.

  6. Developing Musical Creativity through Improvisation in the Large Performance Classroom

    ERIC Educational Resources Information Center

    Norgaard, Martin

    2017-01-01

    Improvisation is an ideal way to develop musical creativity in ensemble settings. This article describes two prominent theoretical frameworks related to improvisation. Next, based on research with developing and expert improvisers, it discusses how to sequence improvisatory activities so that students feel accomplished at every step. Finally, the…

  7. Creativity and Learning Jazz: The Practice of "Listening"

    ERIC Educational Resources Information Center

    Black, Steven P.

    2008-01-01

    This article is about interaction, culture, and creativity. The ethnographic setting is a set of jazz performance classes at a California university. Although I write about jazz music, the reader need not have a background in studying or performing jazz (or music in general) to understand this article. In the title of the article, the term…

  8. Novice Music Teachers Learning to Improvise in an Improvisation Professional Development Workshop

    ERIC Educational Resources Information Center

    Filsinger, Mark H.

    2013-01-01

    With the intent of improving music improvisation pedagogy, the purpose of this research was to examine experiences of six novice music teachers and a professional development facilitator in an eight-week Improvisation Professional Development Workshop (IPDW). The research questions were: 1. How do teachers learn to improvise within the context of…

  9. Fine-Tuning Your Ensemble's Jazz Style.

    ERIC Educational Resources Information Center

    Garcia, Antonio J.

    1991-01-01

    Proposes instructional strategies for directors of jazz groups, including guidelines for developing of skills necessary for good performance. Includes effective methods for positive changes in ensemble style. Addresses jazz group problems such as beat, tempo, staying in tune, wind power, and solo/ensemble lines. Discusses percussionists, bassists,…

  10. Teaching Improvisation in Elementary General Music: Facing Fears and Fostering Creativity

    ERIC Educational Resources Information Center

    Whitcomb, Rachel

    2013-01-01

    Improvisation is a vital part of an elementary general music education. While some music teachers successfully include improvisation in music instruction, others have fears and face challenges when attempting improvisational activities in the classroom. This article acknowledges obstacles facing music educators when attempting to incorporate…

  11. Helping Students Master Improvisation.

    ERIC Educational Resources Information Center

    Hinz, Bob

    1995-01-01

    Defines musical improvisation as taking place when a musician's aural and technical facilities combine to create a spontaneous form of musical expression. Discusses the use of improvisation as a means of enhancing student interest and performance. Includes a six-step approach for teaching musical improvisation. (CFR)

  12. Activation and connectivity patterns of the presupplementary and dorsal premotor areas during free improvisation of melodies and rhythms.

    PubMed

    de Manzano, Örjan; Ullén, Fredrik

    2012-10-15

    Free, i.e. non-externally cued generation of movement sequences is fundamental to human behavior. We have earlier hypothesized that the dorsal premotor cortex (PMD), which has been consistently implicated in cognitive aspects of planning and selection of spatial motor sequences may be particularly important for the free generation of spatial movement sequences, whereas the pre-supplementary motor area (pre-SMA), which shows increased activation during perception, learning and reproduction of temporal sequences, may contribute more to the generation of temporal structures. Here we test this hypothesis using fMRI and musical improvisation in professional pianists as a model behavior. We employed a 2 × 2 factorial design with the factors Melody (Specified/Improvised) and Rhythm (Specified/Improvised). The main effect analyses partly confirmed our hypothesis: there was a main effect of Melody in the PMD; the pre-SMA was present in the main effect of Rhythm, as predicted, as well as in the main effect of Melody. A psychophysiological interaction analysis of functional connectivity demonstrated that the correlation in activity between the pre-SMA and cerebellum was higher during rhythmic improvisation than during the other conditions. In summary, there were only subtle differences in activity level between the pre-SMA and PMD during improvisation, regardless of condition. Consequently, the free generation of rhythmic and melodic structures, appears to be largely integrated processes but the functional connectivity between premotor areas and other regions may change during free generation in response to sequence-specific spatiotemporal demands. Copyright © 2012 Elsevier Inc. All rights reserved.

  13. 'Disease is unrhythmical': jazz, health, and disability in 1920s America.

    PubMed

    Johnson, Russell L

    2011-01-01

    The 1920s in the United States are commonly remembered as the Jazz Age. Although historians have focused on the African American origins of the music, another theme was also prominent in the public discourse surrounding jazz: disability. Critics saw jazz and its associated dances as defective, causing both mental and physical impairments in their devotees. In other words, jazz music and dance were disabled and disabling. Proponents of jazz responded in kind, asserting that jazz did not cause impairments, it cured them; similarly, jazz was not defective music or dance, but a revitalisation of the art forms. On the one hand, these reactions might have been expected, given the long history of belief in a relationship between music and health. However, the importance of health issues such as eugenics and rehabilitation in the 1920s also clearly influenced the responses of opinion leaders, politicians, academics, music professionals, and others to jazz music and dance.

  14. Birth of the School: Discursive Methodologies in Jazz Education

    ERIC Educational Resources Information Center

    Whyton, Tony

    2006-01-01

    Over recent years, jazz as an academic discipline has grown in volume and stature--indeed, jazz studies now plays a significant role in a number of higher education music programmes within the university and conservatoire sector. The proliferation of jazz education programmes has, inevitably, brought about the publication of specific pedagogical…

  15. A jazz-based approach for optimal setting of pressure reducing valves in water distribution networks

    NASA Astrophysics Data System (ADS)

    De Paola, Francesco; Galdiero, Enzo; Giugni, Maurizio

    2016-05-01

    This study presents a model for valve setting in water distribution networks (WDNs), with the aim of reducing the level of leakage. The approach is based on the harmony search (HS) optimization algorithm. The HS mimics a jazz improvisation process able to find the best solutions, in this case corresponding to valve settings in a WDN. The model also interfaces with the improved version of a popular hydraulic simulator, EPANET 2.0, to check the hydraulic constraints and to evaluate the performances of the solutions. Penalties are introduced in the objective function in case of violation of the hydraulic constraints. The model is applied to two case studies, and the obtained results in terms of pressure reductions are comparable with those of competitive metaheuristic algorithms (e.g. genetic algorithms). The results demonstrate the suitability of the HS algorithm for water network management and optimization.

  16. The Battle for Legitimacy: "Jazz" Versus Academia

    ERIC Educational Resources Information Center

    Baker, David

    1973-01-01

    Jazz is black music; black man gave this music to the world, and every advancement and major innovation of this music has come from him. This is perhaps the reason that has hindered the unbiased acceptance of jazz into academia. (Author/RJ)

  17. Jazz: The Serious Music of Black Americans.

    ERIC Educational Resources Information Center

    Harrison, Daphne Duval

    1978-01-01

    Racism has been a major factor in determining the role and stature of jazz and the musicians who play it. Jazz has been denied its artistic due because it emerged from Black people who have been systematically denied their social and civil rights. (Author/GC)

  18. Understanding the Impact of Expertise in Joint and Solo-Improvisation.

    PubMed

    Issartel, Johann; Gueugnon, Mathieu; Marin, Ludovic

    2017-01-01

    Joint-improvisation is not only an open-ended creative action that two or more people perform together in the context of an artistic performance (e.g., theatre, music or dance). Joint-improvisation also takes place in daily life activities when humans take part in collective performance such as toddlers at play or adults engaged in a conversation. In the context of this article, joint-improvisation has been looked at from a social motor coordination perspective. In the literature, the nature of the social motor coordination characteristics of joint-improvisation for either the creative aspect or daily life features of this motor performance remains unclear. Additionally, both solo-improvisation and joint-improvisation need to be studied conjointly to establish the influence of the social element of improvisation in the emergence of multi-agent motor coordination. In order to better understand those two types of improvisation, we compared three level of expertise - novice, intermediate and professional in dance improvisation to identify movement characteristics for each of the groups. Pairs of the same level were asked to improvise together. Each individual was also asked to perform an improvisation on his/her own. We found that each of the three groups present specific movement organization with movement complexity increasing with the level of expertise. Experts performed shorter movement duration in conjunction with an increase range of movement. The direct comparison of individual and paired Conditions highlighted that the joint-improvisation reduced the complexity of the movement organization and those for all three levels while maintaining the differences between the groups. This direct comparison amongst those three distinct groups provides an original insight onto the nature of movement patterns in joint-improvisation situation. Overall, it reveals the role of both individual and collective properties in the emergence of social coordination.

  19. Understanding the Impact of Expertise in Joint and Solo-Improvisation

    PubMed Central

    Issartel, Johann; Gueugnon, Mathieu; Marin, Ludovic

    2017-01-01

    Joint-improvisation is not only an open-ended creative action that two or more people perform together in the context of an artistic performance (e.g., theatre, music or dance). Joint-improvisation also takes place in daily life activities when humans take part in collective performance such as toddlers at play or adults engaged in a conversation. In the context of this article, joint-improvisation has been looked at from a social motor coordination perspective. In the literature, the nature of the social motor coordination characteristics of joint-improvisation for either the creative aspect or daily life features of this motor performance remains unclear. Additionally, both solo-improvisation and joint-improvisation need to be studied conjointly to establish the influence of the social element of improvisation in the emergence of multi-agent motor coordination. In order to better understand those two types of improvisation, we compared three level of expertise – novice, intermediate and professional in dance improvisation to identify movement characteristics for each of the groups. Pairs of the same level were asked to improvise together. Each individual was also asked to perform an improvisation on his/her own. We found that each of the three groups present specific movement organization with movement complexity increasing with the level of expertise. Experts performed shorter movement duration in conjunction with an increase range of movement. The direct comparison of individual and paired Conditions highlighted that the joint-improvisation reduced the complexity of the movement organization and those for all three levels while maintaining the differences between the groups. This direct comparison amongst those three distinct groups provides an original insight onto the nature of movement patterns in joint-improvisation situation. Overall, it reveals the role of both individual and collective properties in the emergence of social coordination. PMID:28713301

  20. Cortical regions involved in the generation of musical structures during improvisation in pianists.

    PubMed

    Bengtsson, Sara L; Csíkszentmihályi, Mihály; Ullén, Fredrik

    2007-05-01

    Studies on simple pseudorandom motor and cognitive tasks have shown that the dorsolateral prefrontal cortex and rostral premotor areas are involved in free response selection. We used functional magnetic resonance imaging to investigate whether these brain regions are also involved in free generation of responses in a more complex creative behavior: musical improvisation. Eleven professional pianists participated in the study. In one condition, Improvise, the pianist improvised on the basis of a visually displayed melody. In the control condition, Reproduce, the participant reproduced his previous improvisation from memory. Participants were able to reproduce their improvisations with a high level of accuracy, and the contrast Improvise versus Reproduce was thus essentially matched in terms of motor output and sensory feedback. However, the Improvise condition required storage in memory of the improvisation. We therefore also included a condition FreeImp, where the pianist improvised but was instructed not to memorize his performance. To locate brain regions involved in musical creation, we investigated the activations in the Improvise-Reproduce contrast that were also present in FreeImp contrasted with a baseline rest condition. Activated brain regions included the right dorsolateral prefrontal cortex, the presupplementary motor area, the rostral portion of the dorsal premotor cortex, and the left posterior part of the superior temporal gyrus. We suggest that these regions are part of a network involved in musical creation, and discuss their possible functional roles.

  1. The challenge of improvised explosives

    DOE PAGES

    Maienschein, Jon L.

    2012-06-14

    Energetic materials have been developed for decades, and indeed centuries, with a common set of goals in mind. Performance (as a detonating explosive, a propellant, or a pyrotechnic) has always been key, equally important have been the attributes of safety, stability, and reproducibility. Research and development with those goals has led to the set of energetic materials commonly used today. In the past few decades, the adoption and use of improvised explosives in attacks by terrorists or third-world parties has led to many questions about these materials, e.g., how they may be made, what threat they pose to the intendedmore » target, how to handle them safely, and how to detect them. The unfortunate advent of improvised explosives has opened the door for research into these materials, and there are active programs in many countries. I will discuss issues and opportunities facing research into improvised explosives.« less

  2. Expert Western Classical Music Improvisers' Strategies

    ERIC Educational Resources Information Center

    Després, Jean-Philippe; Burnard, Pamela; Dubé, Francis; Stévance, Sophie

    2017-01-01

    The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice's aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers' thinking…

  3. Improvisation as Ability, Culture, and Experience

    ERIC Educational Resources Information Center

    Higgins, Lee; Mantie, Roger

    2013-01-01

    We argue in this article for greater role for improvisation in the music classroom. Based on an extensive examination of scholarship about improvisational practices, we propose three conceptualizations--ability, culture, experience--that can serve to guide the teaching of improvisation. When considered as an "ability," improvisation is a…

  4. High notes: the role of drugs in the making of Jazz.

    PubMed

    Singer, Merrill; Mirhej, Greg

    2006-01-01

    This paper examines the role played by illicit drugs, especially marijuana and heroin, in the historic development and evolution of Jazz in the United States during the twentieth century. In addition to an assessment of the extent of drug use and kinds of drugs used by Jazz musicians and singers, the impact and costs of drug use on the lives of people in Jazz, and the changing patterns of drug use during several eras of Jazz production, the paper contextualizes drug use among Jazz performers and societal response to it in light of prevailing ethnic inequalities and critical medical anthropological theory.

  5. Gaining Independence: An Interview with Jamey Aebersold

    ERIC Educational Resources Information Center

    Howey, Brad

    2010-01-01

    Jamey Aebersold is an internationally known saxophonist and authority on jazz education and improvisation. His series of jazz play-along book and CD sets are valuable tools for music teachers, and his weeklong summer jazz workshops--now in their thirty-third year at the University of Louisville in Kentucky and thirty-seventh year overall--have had…

  6. Teaching Improvisation through Processes. Applications in Music Education and Implications for General Education

    PubMed Central

    Biasutti, Michele

    2017-01-01

    Improvisation is an articulated multidimensional activity based on an extemporaneous creative performance. Practicing improvisation, participants expand sophisticated skills such as sensory and perceptual encoding, memory storage and recall, motor control, and performance monitoring. Improvisation abilities have been developed following several methodologies mainly with a product-oriented perspective. A model framed under the socio-cultural theory of learning for designing didactic activities on processes instead of outcomes is presented in the current paper. The challenge is to overcome the mere instructional dimension of some practices of teaching improvisation by designing activities that stimulate self-regulated learning strategies in the students. In the article the present thesis is declined in three ways, concerning the following three possible areas of application: (1) high-level musical learning, (2) musical pedagogy with children, (3) general pedagogy. The applications in the music field focusing mainly on an expert's use of improvisation are discussed. The last section considers how these ideas should transcend music studies, presenting the benefits and the implications of improvisation activities for general learning. Moreover, the application of music education to the following cognitive processes are discussed: anticipation, use of repertoire, emotive communication, feedback and flow. These characteristics could be used to outline a pedagogical method for teaching music improvisation based on the development of reflection, reasoning, and meta-cognition. PMID:28626441

  7. Teaching Improvisation through Processes. Applications in Music Education and Implications for General Education.

    PubMed

    Biasutti, Michele

    2017-01-01

    Improvisation is an articulated multidimensional activity based on an extemporaneous creative performance. Practicing improvisation, participants expand sophisticated skills such as sensory and perceptual encoding, memory storage and recall, motor control, and performance monitoring. Improvisation abilities have been developed following several methodologies mainly with a product-oriented perspective. A model framed under the socio-cultural theory of learning for designing didactic activities on processes instead of outcomes is presented in the current paper. The challenge is to overcome the mere instructional dimension of some practices of teaching improvisation by designing activities that stimulate self-regulated learning strategies in the students. In the article the present thesis is declined in three ways, concerning the following three possible areas of application: (1) high-level musical learning, (2) musical pedagogy with children, (3) general pedagogy. The applications in the music field focusing mainly on an expert's use of improvisation are discussed. The last section considers how these ideas should transcend music studies, presenting the benefits and the implications of improvisation activities for general learning. Moreover, the application of music education to the following cognitive processes are discussed: anticipation, use of repertoire, emotive communication, feedback and flow. These characteristics could be used to outline a pedagogical method for teaching music improvisation based on the development of reflection, reasoning, and meta-cognition.

  8. Understanding the Experiences of Women in Jazz: A Suggested Model

    ERIC Educational Resources Information Center

    Wehr, Erin L.

    2016-01-01

    Jazz has long been recognized as a male-dominated field, with females traditionally having only limited acceptance, often in the roles of singer and pianist. Researchers have explored sources of the gender imbalance in the field of jazz and jazz education, but there is no theory or framework to organize such findings. This directed content…

  9. What Research Reveals about School Jazz Education

    ERIC Educational Resources Information Center

    West, Chad

    2015-01-01

    Though jazz has been a part of many school music programs for more than 40 years, relatively little research on jazz education exists. Despite this scarcity, a comprehensive examination of the extant literature could serve to inform practice and guide future studies. Therefore, the purpose of this article is to analyze and synthesize the extant…

  10. 75 FR 32075 - African-American Music Appreciation Month, 2010

    Federal Register 2010, 2011, 2012, 2013, 2014

    2010-06-07

    ... shores of Africa and the islands of the Caribbean to the jazz clubs of New Orleans and the music halls of... improvisational innovations of jazz, the simple truth of the blues, the rhythms of rock and roll, and the urban...

  11. New Styles, New Technologies, New Possibilities in Jazz.

    ERIC Educational Resources Information Center

    Kuzmich, John, Jr.

    1989-01-01

    Focuses on the growth of jazz-related ensembles and jazz education. Covers trends that parallel technological developments including electronic keyboards, Musical Instrument Digital Interface (MIDI) systems, the computer, computer assisted instruction, interactive video, and the compact disc. Urges teachers to update their knowledge and experience…

  12. Psychosocial stressors and the short life spans of legendary jazz musicians.

    PubMed

    Patalano, F

    2000-04-01

    Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

  13. Safety-Related Improvisation in Led Outdoor Activities: An Exploratory Investigation into Its Occurrence and Influencing Factors

    ERIC Educational Resources Information Center

    Trotter, Margaret J.; Salmon, Paul M.; Lenné, Michael G.

    2014-01-01

    The dynamic nature of led outdoor activities means that, despite activity providers' best efforts, activity leaders can be exposed to unanticipated situations for which no procedures exist. Improvisation, the spontaneous, real-time conception and execution of a novel response, has been identified as a potential means of maintaining safety in…

  14. Whose Classroom Is It, Anyway? Improvisation as a Teaching Tool

    ERIC Educational Resources Information Center

    Berk, Ronald A.; Trieber, Rosalind H.

    2009-01-01

    Improvisational techniques derived from the experiences in improvisational theatre can be adapted for the college classroom to leverage the characteristics of the Net Generation, their multiple intelligences and learning styles, and the variety of collaborative learning activities already in place in a learner-centered environment. When…

  15. Psychosocial stressors in the lives of great jazz musicians.

    PubMed

    Patalano, F

    1997-02-01

    Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

  16. Biography, Identity, Improvisation, Sound: Intersections of Personal and Social Identity through Improvisation

    ERIC Educational Resources Information Center

    Smilde, Rineke

    2016-01-01

    This essay addresses the relationship of improvisation and identity. Biographical research that was conducted by the author into professional musicians' lifelong learning showed the huge importance of improvisation for personal expression. Musically, the concept of "sound" appeared to serve as a strong metaphor for identity. In addition,…

  17. Free Improvisation; Life Expression

    ERIC Educational Resources Information Center

    Ng, Hoon Hong

    2011-01-01

    This autoethnographic study seeks the value, position and possibilities of free improvisation in the musical field. It explores how embodied knowledge, dialectical exchanges, emotional and intellectual stimulation constructs and reconstructs experiences in various contexts for the free improviser, who is both researcher and actual piano performer.…

  18. Ethnic Dance. The Origins of Jazz. A Curriculum Design for Dance.

    ERIC Educational Resources Information Center

    Hubbard, Karen W.

    1988-01-01

    The article describes the development, organization, goals, and activities of a course designed to trace the evolution of jazz dance and tie this dynamic dance form to the cultural experiences of African-Americans. (CB)

  19. Memorization by a Jazz Musician: A Case Study

    ERIC Educational Resources Information Center

    Noice, Helga; Jeffrey, John; Noice, Tony; Chaffin, Roger

    2008-01-01

    To investigate the memory strategies of jazz musicians, we videotaped an experienced jazz pianist as he learned a new bebop piece. He had not previously heard a recording of the selection, nor had he seen the written music. The pianist provided detailed reports of the musical structure and the types of cues he used as landmarks to guide his…

  20. Jazz Leader Helps a Band Take Giant Steps

    ERIC Educational Resources Information Center

    Kelderman, Eric

    2008-01-01

    This article profiles Neil Slater, the longtime leader of the jazz program at the University of North Texas who encouraged both musical perfection and artistic freedom among his star pupils. Standards are high at North Texas, which has become a Camelot where aspiring jazz musicians have come to hone their skills since 1947, when it offered one of…

  1. Can Improvisation Be "Taught"?: A Call for Free Improvisation in Our Schools

    ERIC Educational Resources Information Center

    Hickey, Maud

    2009-01-01

    The purpose of this article is to present the idea that the music education profession's current drive to include improvisation in school music is limited in its approach, and that "teaching" improvisation, in the traditional sense, is not possible. These beliefs are based on an examination of current methodologies and texts in light of the…

  2. The Occupational Aspirations and Expectations of College Students Majoring in Jazz Studies

    ERIC Educational Resources Information Center

    Devroop, Karendra

    2012-01-01

    This study was designed to investigate the occupational aspirations and occupational expectations of college students majoring in jazz studies in the United States. Participants included the population of jazz studies majors (N = 211) at a large mid-southern university known for its prestigious and internationally recognized jazz program. A…

  3. Improvisation and the art of holistic nursing.

    PubMed

    Hanley, Mary Anne; Fenton, Mary V

    2013-10-01

    The art of improvisation is an essential component of responding on the front lines of caring. Improvisation expresses the nurse's capacity to perceive the changing patterns of patients and their environments in ways that foster creative and innovative approaches to meeting healthcare needs. Many holistic nurses across the country are working on the front lines of caring, improvising and implementing projects to create change within their communities. This article examines improvisation within the context of the art and science of nursing, and proposes that improvisation reflects qualities within holistic nursing that are essential in contemporary health care.

  4. The Neuroscience of Improvisation

    ERIC Educational Resources Information Center

    Landau, Andrew T.; Limb, Charles J.

    2017-01-01

    Current research in the neuroscience of musical creativity reveals promising implications for the value of learning to improvise. This article outlines the neuroscientific literature on musical improvisation and relates these findings to the benefits of musical creativity. We begin by describing the neural substrates of flow with respect to the…

  5. Shared periodic performer movements coordinate interactions in duo improvisations

    PubMed Central

    Jakubowski, Kelly; Moran, Nikki; Keller, Peter E.

    2018-01-01

    Human interaction involves the exchange of temporally coordinated, multimodal cues. Our work focused on interaction in the visual domain, using music performance as a case for analysis due to its temporally diverse and hierarchical structures. We made use of two improvising duo datasets—(i) performances of a jazz standard with a regular pulse and (ii) non-pulsed, free improvizations—to investigate whether human judgements of moments of interaction between co-performers are influenced by body movement coordination at multiple timescales. Bouts of interaction in the performances were manually annotated by experts and the performers’ movements were quantified using computer vision techniques. The annotated interaction bouts were then predicted using several quantitative movement and audio features. Over 80% of the interaction bouts were successfully predicted by a broadband measure of the energy of the cross-wavelet transform of the co-performers’ movements in non-pulsed duos. A more complex model, with multiple predictors that captured more specific, interacting features of the movements, was needed to explain a significant amount of variance in the pulsed duos. The methods developed here have key implications for future work on measuring visual coordination in musical ensemble performances, and can be easily adapted to other musical contexts, ensemble types and traditions. PMID:29515867

  6. Shared periodic performer movements coordinate interactions in duo improvisations.

    PubMed

    Eerola, Tuomas; Jakubowski, Kelly; Moran, Nikki; Keller, Peter E; Clayton, Martin

    2018-02-01

    Human interaction involves the exchange of temporally coordinated, multimodal cues. Our work focused on interaction in the visual domain, using music performance as a case for analysis due to its temporally diverse and hierarchical structures. We made use of two improvising duo datasets-(i) performances of a jazz standard with a regular pulse and (ii) non-pulsed, free improvizations-to investigate whether human judgements of moments of interaction between co-performers are influenced by body movement coordination at multiple timescales. Bouts of interaction in the performances were manually annotated by experts and the performers' movements were quantified using computer vision techniques. The annotated interaction bouts were then predicted using several quantitative movement and audio features. Over 80% of the interaction bouts were successfully predicted by a broadband measure of the energy of the cross-wavelet transform of the co-performers' movements in non-pulsed duos. A more complex model, with multiple predictors that captured more specific, interacting features of the movements, was needed to explain a significant amount of variance in the pulsed duos. The methods developed here have key implications for future work on measuring visual coordination in musical ensemble performances, and can be easily adapted to other musical contexts, ensemble types and traditions.

  7. Impact attenuation properties of jazz shoes alter lower limb joint stiffness during jump landings.

    PubMed

    Fong Yan, Alycia; Smith, Richard M; Hiller, Claire E; Sinclair, Peter J

    2017-05-01

    To quantify the impact attenuation properties of the jazz shoes, and to investigate the in-vivo effect of four jazz shoe designs on lower limb joint stiffness during a dance-specific jump. Repeated measures. A custom-built mechanical shoe tester similar to that used by athletic shoe companies was used to vertically impact the forefoot and heel region of four different jazz shoe designs. Additionally, dancers performed eight sautés in second position in bare feet and the shoe conditions. Force platforms and 3D-motion capture were used to analyse the joint stiffness of the midfoot, ankle, knee and hip during the jump landings. Mechanical testing of the jazz shoes revealed significant differences in impact attenuation characteristics among each of the jazz shoe designs. Gross knee and midfoot joint stiffness were significantly affected by the jazz shoe designs in the dancers' jump landings. The tested jazz shoe designs altered the impact attenuating capacity of jump landing technique in dancers. The cushioned jazz shoes are recommended particularly for injured dancers to reduce impact on the lower limb. Jazz shoe design should consider the impact attenuation properties of the forefoot region, due to the toe-strike landing technique in dance movement. Copyright © 2016 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

  8. Jazz Researchers: Riding the Dissonance of Pedagogy and Inquiry

    ERIC Educational Resources Information Center

    Lozenski, Brian D.

    2016-01-01

    Drawing from a two-year ethnographic study, this article establishes jazz as an epistemological metaphor for critical participatory action research. The author juxtaposes the tensions inherent in jazz music and critical participatory research methodologies to provide a framework for understanding how dissonance can become a productive element for…

  9. Will Jazz Survive? Thoughts on the State of the Great American Art.

    ERIC Educational Resources Information Center

    Benjamin, Playthell

    1983-01-01

    Jazz is undoubtedly the great North American contribution to art, yet this art form is undermined by the White music elite which chooses instead to support institutions that perpetuate European music. When jazz is given attention in the mass media, both its Black origins and the great Black jazz artists are largely ignored. (GC)

  10. Freedom of Expression and Rhetorical Art: The Problems of Avant-Garde Jazz.

    ERIC Educational Resources Information Center

    Francesconi, Robert

    Although the success of black jazz has been limited by its lack of recognition in the white-controlled music industry, its rhetorical development as an expression of black consciousness can be traced from the bebop of the 1940s and early 1950s, through the hard bop and free jazz of the 1960s, to the jazz orientation of the disco circuit in the…

  11. Reading "Gatsby"/Performing "Jazz": On Narrative Voice, Race, and Resistance.

    ERIC Educational Resources Information Center

    Rogers, Theresa

    1998-01-01

    Describes an experiment in pairing the novels "The Great Gatsby" (F. Scott Fitzgerald) and "Jazz" (Toni Morrison) in a teacher preparation class. Relates that the students (all European American) initially resisted "Jazz" and accepted "Gatsby" as a timeless classic. Includes responses about another Toni…

  12. Correlated microtiming deviations in jazz and rock music.

    PubMed

    Sogorski, Mathias; Geisel, Theo; Priesemann, Viola

    2018-01-01

    Musical rhythms performed by humans typically show temporal fluctuations. While they have been characterized in simple rhythmic tasks, it is an open question what is the nature of temporal fluctuations, when several musicians perform music jointly in all its natural complexity. To study such fluctuations in over 100 original jazz and rock/pop recordings played with and without metronome we developed a semi-automated workflow allowing the extraction of cymbal beat onsets with millisecond precision. Analyzing the inter-beat interval (IBI) time series revealed evidence for two long-range correlated processes characterized by power laws in the IBI power spectral densities. One process dominates on short timescales (t < 8 beats) and reflects microtiming variability in the generation of single beats. The other dominates on longer timescales and reflects slow tempo variations. Whereas the latter did not show differences between musical genres (jazz vs. rock/pop), the process on short timescales showed higher variability for jazz recordings, indicating that jazz makes stronger use of microtiming fluctuations within a measure than rock/pop. Our results elucidate principles of rhythmic performance and can inspire algorithms for artificial music generation. By studying microtiming fluctuations in original music recordings, we bridge the gap between minimalistic tapping paradigms and expressive rhythmic performances.

  13. Correlated microtiming deviations in jazz and rock music

    PubMed Central

    Sogorski, Mathias; Geisel, Theo

    2018-01-01

    Musical rhythms performed by humans typically show temporal fluctuations. While they have been characterized in simple rhythmic tasks, it is an open question what is the nature of temporal fluctuations, when several musicians perform music jointly in all its natural complexity. To study such fluctuations in over 100 original jazz and rock/pop recordings played with and without metronome we developed a semi-automated workflow allowing the extraction of cymbal beat onsets with millisecond precision. Analyzing the inter-beat interval (IBI) time series revealed evidence for two long-range correlated processes characterized by power laws in the IBI power spectral densities. One process dominates on short timescales (t < 8 beats) and reflects microtiming variability in the generation of single beats. The other dominates on longer timescales and reflects slow tempo variations. Whereas the latter did not show differences between musical genres (jazz vs. rock/pop), the process on short timescales showed higher variability for jazz recordings, indicating that jazz makes stronger use of microtiming fluctuations within a measure than rock/pop. Our results elucidate principles of rhythmic performance and can inspire algorithms for artificial music generation. By studying microtiming fluctuations in original music recordings, we bridge the gap between minimalistic tapping paradigms and expressive rhythmic performances. PMID:29364920

  14. The Improvisational in Teaching Reading.

    ERIC Educational Resources Information Center

    Commeyras, Michelle

    2002-01-01

    Contends that an improvisational stance in teaching avoids disagreements and blockages that can stymie reading instruction. Outlines eight graduate students' experiences teaching improvisationally. Explains that the tutors sought a collaborative teaching stance that was in tune with the individual children's interests and personality. Defines…

  15. Jazz Up Your Curriculum

    ERIC Educational Resources Information Center

    Lim, Janine

    2010-01-01

    In this article, the author describes the Jazz Workshop, a unique blend of collaboration and constructivist learning using videoconferencing and Web 2.0 tools. Each summer it draws about 400 participants--mostly teachers, technology facilitators, teacher librarians, and videoconferencing coordinators--who convene in 20 locations across three…

  16. Expertise-related deactivation of the right temporoparietal junction during musical improvisation.

    PubMed

    Berkowitz, Aaron L; Ansari, Daniel

    2010-01-01

    Musical training has been associated with structural changes in the brain as well as functional differences in brain activity when musicians are compared to nonmusicians on both perceptual and motor tasks. Previous neuroimaging comparisons of musicians and nonmusicians in the motor domain have used tasks involving prelearned motor sequences or synchronization with an auditorily presented sequence during the experiment. Here we use functional magnetic resonance imaging (fMRI) to examine expertise-related differences in brain activity between musicians and nonmusicians during improvisation--the generation of novel musical-motor sequences--using a paradigm that we previously used in musicians alone. Despite behaviorally matched performance, the two groups showed significant differences in functional brain activity during improvisation. Specifically, musicians deactivated the right temporoparietal junction (rTPJ) during melodic improvisation, while nonmusicians showed no change in activity in this region. The rTPJ is thought to be part of a ventral attentional network for bottom-up stimulus-driven processing, and it has been postulated that deactivation of this region occurs in order to inhibit attentional shifts toward task-irrelevant stimuli during top-down, goal-driven behavior. We propose that the musicians' deactivation of the rTPJ during melodic improvisation may represent a training-induced shift toward inhibition of stimulus-driven attention, allowing for a more goal-directed performance state that aids in creative thought.

  17. Jazz Style and Articulation: How to Get Your Band or Choir to Swing

    ERIC Educational Resources Information Center

    Tolson, Jerry

    2012-01-01

    The interpretation of jazz style is crucial to the element of swing in any jazz ensemble performance. Today, many charts for both large and small instrumental and vocal jazz ensembles are well marked with articulations and expression markings. However, in some cases, there is nothing to guide the musician. This article addresses some common jazz…

  18. Neural correlates of lyrical improvisation: an FMRI study of freestyle rap.

    PubMed

    Liu, Siyuan; Chow, Ho Ming; Xu, Yisheng; Erkkinen, Michael G; Swett, Katherine E; Eagle, Michael W; Rizik-Baer, Daniel A; Braun, Allen R

    2012-01-01

    The neural correlates of creativity are poorly understood. Freestyle rap provides a unique opportunity to study spontaneous lyrical improvisation, a multidimensional form of creativity at the interface of music and language. Here we use functional magnetic resonance imaging to characterize this process. Task contrast analyses indicate that improvised performance is characterized by dissociated activity in medial and dorsolateral prefrontal cortices, providing a context in which stimulus-independent behaviors may unfold in the absence of conscious monitoring and volitional control. Connectivity analyses reveal widespread improvisation-related correlations between medial prefrontal, cingulate motor, perisylvian cortices and amygdala, suggesting the emergence of a network linking motivation, language, affect and movement. Lyrical improvisation appears to be characterized by altered relationships between regions coupling intention and action, in which conventional executive control may be bypassed and motor control directed by cingulate motor mechanisms. These functional reorganizations may facilitate the initial improvisatory phase of creative behavior.

  19. Experimental Learning Enhancing Improvisation Skills

    ERIC Educational Resources Information Center

    Pereira Christopoulos, Tania; Wilner, Adriana; Trindade Bestetti, Maria Luisa

    2016-01-01

    Purpose: This study aims to present improvisation training and experimentation as an alternative method to deal with unexpected events in which structured processes do not seem to work. Design/Methodology/Approach: Based on the literature of sensemaking and improvisation, the study designs a framework and process model of experimental learning…

  20. The Causal Inference of Cortical Neural Networks during Music Improvisations

    PubMed Central

    Wan, Xiaogeng; Crüts, Björn; Jensen, Henrik Jeldtoft

    2014-01-01

    We present an EEG study of two music improvisation experiments. Professional musicians with high level of improvisation skills were asked to perform music either according to notes (composed music) or in improvisation. Each piece of music was performed in two different modes: strict mode and “let-go” mode. Synchronized EEG data was measured from both musicians and listeners. We used one of the most reliable causality measures: conditional Mutual Information from Mixed Embedding (MIME), to analyze directed correlations between different EEG channels, which was combined with network theory to construct both intra-brain and cross-brain networks. Differences were identified in intra-brain neural networks between composed music and improvisation and between strict mode and “let-go” mode. Particular brain regions such as frontal, parietal and temporal regions were found to play a key role in differentiating the brain activities between different playing conditions. By comparing the level of degree centralities in intra-brain neural networks, we found a difference between the response of musicians and the listeners when comparing the different playing conditions. PMID:25489852

  1. The causal inference of cortical neural networks during music improvisations.

    PubMed

    Wan, Xiaogeng; Crüts, Björn; Jensen, Henrik Jeldtoft

    2014-01-01

    We present an EEG study of two music improvisation experiments. Professional musicians with high level of improvisation skills were asked to perform music either according to notes (composed music) or in improvisation. Each piece of music was performed in two different modes: strict mode and "let-go" mode. Synchronized EEG data was measured from both musicians and listeners. We used one of the most reliable causality measures: conditional Mutual Information from Mixed Embedding (MIME), to analyze directed correlations between different EEG channels, which was combined with network theory to construct both intra-brain and cross-brain networks. Differences were identified in intra-brain neural networks between composed music and improvisation and between strict mode and "let-go" mode. Particular brain regions such as frontal, parietal and temporal regions were found to play a key role in differentiating the brain activities between different playing conditions. By comparing the level of degree centralities in intra-brain neural networks, we found a difference between the response of musicians and the listeners when comparing the different playing conditions.

  2. Form Analysis for Jazz Arrangers.

    ERIC Educational Resources Information Center

    Smith, John C.

    1980-01-01

    The author discusses the importance of the study of the contour of form and of a review of how music elements affect contour when studying jazz composition. When this has been mastered, students can begin the study of style. (Author/KC)

  3. Gender and Participation in High School and College Instrumental Jazz Ensembles

    ERIC Educational Resources Information Center

    McKeage, Kathleen M.

    2004-01-01

    This study is an examination of the relationship between gender and participation in high school and college instrumental jazz ensembles. Student demographic and attitudinal information was collected using the researcher-designed Instrumental Jazz Participation Survey (IJPS). Undergraduate college band students (N = 628) representing 15 programs…

  4. Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study.

    PubMed

    Harris, Robert; de Jong, Bauke M

    2015-10-22

    Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar music, subjects either (covertly) appraised the presented music performance or imagined they were playing the music themselves. We hypothesized that improvising musicians would exhibit enhanced efficiency of audiomotor transformation reflected by stronger ventral premotor activation. Statistical Parametric Mapping revealed that, while virtually 'playing along׳ with the music, improvising musicians exhibited activation of a right-hemisphere distribution of cerebral areas including posterior-superior parietal and dorsal premotor cortex. Involvement of these right-hemisphere dorsal stream areas suggests that improvising musicians recruited an amodal spatial processing system subserving pitch-to-space transformations to facilitate their virtual motor performance. Score-dependent musicians recruited a primarily left-hemisphere pattern of motor areas together with the posterior part of the right superior temporal sulcus, suggesting a relationship between aural discrimination and symbolic representation. Activations in bilateral auditory cortex were significantly larger for improvising musicians than for score-dependent musicians, suggesting enhanced top-down effects on aural perception. Our results suggest that learning to play a music instrument primarily from notation predisposes musicians toward aural identification and discrimination, while learning by improvisation involves audio-spatial-motor transformations, not only during performance, but also perception. Copyright © 2015 The Authors. Published by Elsevier B.V. All rights reserved.

  5. SmAll That Jazz

    ERIC Educational Resources Information Center

    Bluemel, Dina

    2007-01-01

    This article describes how Viktor Schreckengost's work had been a learning experience for the students of Grant Elementary School. Viktor's most famous work, "Jazz Bowl," was the focus of the author's curriculum. Viktor created this punch bowl for Eleanor Roosevelt in the 1930s. The bowl was so popular that a series of them were produced. The…

  6. Jazz: A Beginner's Guide

    ERIC Educational Resources Information Center

    Poliniak, Susan

    2011-01-01

    Introducing jazz music to elementary and middle school students can open a multitude of creative doors--provided that teachers know how and where to start. This article presents a sample of what Christine Nowmos teaches to her kindergarten-through-fourth-grade classrooms over the course of two months. During January and February each year, she has…

  7. The Exceptional Art of Hank Mobley's 1955-1970 Jazz Compositions

    ERIC Educational Resources Information Center

    Clark, Russell M.

    2009-01-01

    Hank Mobley had profound influence on the East coast style of jazz. As a composer, he was a major contributor to the development of the specific style of East Coast jazz known as hard bop. Between the years of 1955 and 1970, Hank Mobley recorded one hundred-forty two original compositions. Due to the lack of published transcriptions and analyses…

  8. Interactive Distance Education: Improvisation Helps Bridge the Gap.

    ERIC Educational Resources Information Center

    Yucha, Carolyn B.

    1996-01-01

    Describes distance learning through the use of interactive duplex video and audio. Improvisation techniques force active participation by students. Addresses faculty concerns about the interrelationships between instructor and students and among students in distance education environments. (MKR)

  9. 'Thinking on my feet': an improvisation course to enhance students' confidence and responsiveness in the medical interview.

    PubMed

    Shochet, Robert; King, Julie; Levine, Rachel; Clever, Sarah; Wright, Scott

    2013-02-01

    accreditation and expert panel consensus guidelines have stressed the importance and framed the structure for best communication practices. Exemplary curricula for teaching medical trainees in core communication strategies to use with patients have been published; many emphasise patient-centred and/or relationshipcentred strategies. Simulated patient technologies with video review can allow learners to practise their skills through both self-assessment and feedback from others. However, despite these newer learning resources, frameworks and behavioural checklists, learners naïve to clinical patient encounters must still learn how to function and adapt within the interpersonal communicative space that is created by the learner and patient. At its core, this is an iterative, spontaneous process created by the dyad and yielding, from moment to moment, to unique and unanticipated outcomes. Thus, repetitive practice will improve confidence but may miss the mark in learning the essential skills of intuitive and improvised interpersonal responsiveness. One could argue that existing approaches in teaching medical learners communication skills may promote rigid and stereotyped responses. Haidet proposes that there are significant parallels between the patient-physician dialogue (when a physician attempts to learn details about a patient and their illness) and improvisational jazz. 11 He contends that effective clinicians who are committed to relationship-centred practice depart from overarching principles of biomedical inquiry when necessary to respond spontaneously and without script to the particular circumstances of each encounter. It is believed that successful doctor-patient relationships are founded upon trusting and open communication, as well as genuine respect that can be shown by a willingness to listen or respond to the issues raised by patients. 12 The nature of the comprehensive care in family medicine makes it likely that GPs will regularly be surprised by concerns raised

  10. The cognitive demands of standardized patients: understanding limitations in attention and working memory with the decoding of nonverbal behavior during improvisations.

    PubMed

    Newlin-Canzone, Elizabeth T; Scerbo, Mark W; Gliva-McConvey, Gayle; Wallace, Amelia M

    2013-08-01

    This study was designed to look at the challenges of standardized patients while in role and to use the findings to enhance training methods. The study investigated the effect of improvisations and multiple-task performance on the ability of standardized patients to observe and evaluate another's communication behaviors and its associated mental workload. Twenty standardized patients participated in a 2 types of interview (with and without improvisations)-by-2 types of observation (passive and active) within-groups design. The results indicated that both active observations and improvisations had a negative effect on the standardized patients' ability to observe the learner, missing more than 75% of nonverbal behaviors during active improvisational encounters. Moreover, standardized patients experienced the highest mental demand during active improvisational encounters. The findings suggest that the need to simultaneously portray a character and assess a learner may negatively affect the ability of standardized patients to provide accurate evaluations of a learner, particularly when they are required to improvise responses, underscoring the need for specific and targeted training.

  11. Fearless Improvisation: A Pilot Study to Analyze String Students' Confidence, Anxiety, and Attitude toward Learning Improvisation

    ERIC Educational Resources Information Center

    Alexander, Michael L.

    2012-01-01

    The purpose of this study was to investigate the confidence, anxiety, and attitude of novice string student improvisers. A form of the Fennema-Sherman Mathematics Attitudes Scales, as modified for improvisation by Wehr-Flowers, was given to middle school and high school string students (N = 121) after their participation in a 4-month improvisation…

  12. How to Stage a Jazz Festival.

    ERIC Educational Resources Information Center

    Marantz, Bart

    1982-01-01

    Describes how to organize a successful college jazz festival. The author discusses how to find funding, the importance of getting good musical clinicians and star attractions, and the use of media to promote the festival. (AM)

  13. Neural Correlates of Lyrical Improvisation: An fMRI Study of Freestyle Rap

    PubMed Central

    Liu, Siyuan; Chow, Ho Ming; Xu, Yisheng; Erkkinen, Michael G.; Swett, Katherine E.; Eagle, Michael W.; Rizik-Baer, Daniel A.; Braun, Allen R.

    2012-01-01

    The neural correlates of creativity are poorly understood. Freestyle rap provides a unique opportunity to study spontaneous lyrical improvisation, a multidimensional form of creativity at the interface of music and language. Here we use functional magnetic resonance imaging to characterize this process. Task contrast analyses indicate that improvised performance is characterized by dissociated activity in medial and dorsolateral prefrontal cortices, providing a context in which stimulus-independent behaviors may unfold in the absence of conscious monitoring and volitional control. Connectivity analyses reveal widespread improvisation-related correlations between medial prefrontal, cingulate motor, perisylvian cortices and amygdala, suggesting the emergence of a network linking motivation, language, affect and movement. Lyrical improvisation appears to be characterized by altered relationships between regions coupling intention and action, in which conventional executive control may be bypassed and motor control directed by cingulate motor mechanisms. These functional reorganizations may facilitate the initial improvisatory phase of creative behavior. PMID:23155479

  14. Valuing Cultural Context and Style: Strategies for Teaching Traditional Jazz Dance from the Inside Out

    ERIC Educational Resources Information Center

    Hubbard, Karen W.

    2008-01-01

    This article presents an approach to teaching that acknowledges the history and style of authentic jazz dance; also known as traditional jazz dance. Described for students on the first class-day as "...your great-grandparents' jazz..." the course is an introduction to the stylistic characteristics of an indigenous U.S. form evolved primarily from…

  15. Humanizing the Deities of Jazz

    ERIC Educational Resources Information Center

    Jeppesen, Scott

    2017-01-01

    As musicians, we have been taught to idolize certain figures in music history. These individuals are considered untouchable, unassailable, and unquestionably brilliant. This practice is increasingly evident in jazz. Figures like Duke Ellington, Louis Armstrong, Charlie Parker, and Miles Davis have all undergone a virtual apotheosis. While there is…

  16. The effect of modified jazz dance on balance, cognition, and mood in older adults.

    PubMed

    Alpert, Patricia T; Miller, Sally K; Wallmann, Harvey; Havey, Richard; Cross, Chad; Chevalia, Theresa; Gillis, Carrie B; Kodandapari, Keshavan

    2009-02-01

    The purpose of this pilot study was to evaluate the impact of jazz dance class instruction on balance, cognition, and mood (specifically depression) in 13 healthy, community-dwelling, English-speaking older women with a mean age of 68. Data were collected using self-report questionnaires (Folstein Mini Mental Status Examination [MMSE] and Geriatric Depression Scale [GDS]), and the sensory organization test (SOT) for balance measurements (using the NeuroCom Smart Balance Master) was performed at three time periods in the study: time 1: between week 1 and week 2 of jazz class (baseline), time 2: between week 8 and week 9 of jazz class (midpoint), and time 3: after week 15 of jazz class (final measurement). Differences in mean MMSE and GDS scores over time were not significant; however, SOT scores showed an increasing trend (p < .001). Data analysis using analysis of variance with repeated measures showed that balance measures improved throughout the duration of the study (F(2,10)= 19.68, p < .001). Post hoc analyses using paired t tests with a Bonferroni correction indicated that significant increases in balance occurred from time 1 to time 2 and from time 2 to time 3. These preliminary pilot study findings suggest that jazz dance does not impact cognition or mood but may improve balance in older women. This finding may have significant implications for fall prevention in the postmenopausal population. Because falls are a leading cause of morbidity and mortality in older adults of both genders, research is needed to evaluate both the impact of jazz dance on balance in older men and jazz dance as a fall prevention strategy in aging adults. Additionally, longitudinal research with a larger sample size is needed to test the effectiveness of jazz dance as a strategy for improving balance, cognition, and mood.

  17. Say Who You Are, Play Who You Are: Improvisation, Pedagogy, and Youth on the Margins

    ERIC Educational Resources Information Center

    Willox, Ashlee Cunsolo; Heble, Ajay; Jackson, Rob; Walker, Melissa; Waterman, Ellen

    2011-01-01

    This paper presents a research that emerges from a set of community-based outreach activities associated with a large-scale, interdisciplinary project, Improvisation, Community, and Social Practice (ICASP), which focuses on the social and pedagogical implications of improvised musical practices. Working from the premise that musical improvisation…

  18. The Multiple-Demand System in the Novelty of Musical Improvisation: Evidence from an MRI Study on Composers.

    PubMed

    Lu, Jing; Yang, Hua; He, Hui; Jeon, Seun; Hou, Changyue; Evans, Alan C; Yao, Dezhong

    2017-01-01

    The multiple-demand (MD) system has proven to be associated with creating structured mental programs in comprehensive behaviors, but the functional mechanisms of this system have not been clarified in the musical domain. In this study, we explored the hypothesis that the MD system is involved in a comprehensive music-related behavior known as musical improvisation. Under a functional magnetic resonance imaging (fMRI) paradigm, 29 composers were recruited to improvise melodies through visual imagery tasks according to familiar and unfamiliar cues. We found that the main regions of the MD system were significantly activated during both musical improvisation conditions. However, only a greater involvement of the intraparietal sulcus (IPS) within the MD system was shown when improvising with unfamiliar cues. Our results revealed that the MD system strongly participated in musical improvisation through processing the novelty of melodies, working memory, and attention. In particular, improvising with unfamiliar cues required more musical transposition manipulations. Moreover, both functional and structural analyses indicated evidence of neuroplasticity in MD regions that could be associated with musical improvisation training. These findings can help unveil the functional mechanisms of the MD system in musical cognition, as well as improve our understanding of musical improvisation.

  19. Forty lives in the bebop business: mental health in a group of eminent jazz musicians.

    PubMed

    Wills, Geoffrey I

    2003-09-01

    Above-average levels of psychopathology have been demonstrated convincingly in groups of outstanding individuals working in the arts. Currently, jazz musicians have not been studied in this regard. To investigate any evidence of psychopathology in a group of eminent jazz musicians. Biographical material relating to 40 eminent American modern jazz musicians was reviewed and an attempt was made to formulate diagnoses using DSM-IV. Evidence was provided of levels of psychopathology in the sample of jazz musicians similar to those found in other previously investigated creative groups, with the exception of substance related problems. An interesting connection between creativity and sensation-seeking was highlighted. The link between psychopathology and creativity in the arts was given further weight. Future studies of jazz musicians using larger samples and making comparison with groups from different eras of music would give greater clarification to this area.

  20. Using Baroque Techniques to Teach Improvisation in Your Classroom

    ERIC Educational Resources Information Center

    Yoo, Hyesoo

    2015-01-01

    Before our current notation system was widely adopted by musicians, improvisation was a key component of music throughout the Western world. One of the fundamental elements of the baroque style, namely, using improvised embellishment, offered musicians great artist liberty. During the baroque period, improvisation spread across Europe and beyond.…

  1. Improvisation as an adaptive strategy for occupational therapy practice.

    PubMed

    Krusen, Nancy E

    2012-01-01

    ABSTRACT As health care environments become increasingly complex, practitioners must develop new adaptive skills to master practice. The idea of using theatrical improvisation (improv) in health care is relatively new. Occupational therapy students were taught a module of improvisational techniques as part of an academic seminar, learning improvisation rules, and enacting solutions to typical daily professional challenges. The purpose of this article is to recommend improvisational techniques as an adaptive skill to effectively blend art and science for occupational therapy practice in fast-paced and unpredictable health care environments.

  2. Disrupting Improvised Explosive Device Terror Campaigns: Basic Research Opportunities

    DTIC Science & Technology

    2008-01-01

    2008 2. REPORT TYPE 3. DATES COVERED 00-00-2008 to 00-00-2008 4. TITLE AND SUBTITLE Disrupting Improvised Explosive Device Terror Campaigns... Explosive Device Terror Campaigns: Basic Research Opportunities A WORKSHOP REPORT Committee on Defeating Improvised Explosive Devices...iv v COMMITTEE ON DEFEATING IMPROVISED EXPLOSIVE DEVICES: BASIC RESEARCH TO INTERRUPT THE IED DELIVERY CHAIN Chairperson

  3. The Multiple-Demand System in the Novelty of Musical Improvisation: Evidence from an MRI Study on Composers

    PubMed Central

    Lu, Jing; Yang, Hua; He, Hui; Jeon, Seun; Hou, Changyue; Evans, Alan C.; Yao, Dezhong

    2017-01-01

    The multiple-demand (MD) system has proven to be associated with creating structured mental programs in comprehensive behaviors, but the functional mechanisms of this system have not been clarified in the musical domain. In this study, we explored the hypothesis that the MD system is involved in a comprehensive music-related behavior known as musical improvisation. Under a functional magnetic resonance imaging (fMRI) paradigm, 29 composers were recruited to improvise melodies through visual imagery tasks according to familiar and unfamiliar cues. We found that the main regions of the MD system were significantly activated during both musical improvisation conditions. However, only a greater involvement of the intraparietal sulcus (IPS) within the MD system was shown when improvising with unfamiliar cues. Our results revealed that the MD system strongly participated in musical improvisation through processing the novelty of melodies, working memory, and attention. In particular, improvising with unfamiliar cues required more musical transposition manipulations. Moreover, both functional and structural analyses indicated evidence of neuroplasticity in MD regions that could be associated with musical improvisation training. These findings can help unveil the functional mechanisms of the MD system in musical cognition, as well as improve our understanding of musical improvisation. PMID:29311776

  4. Putting It Together: Integrating Jazz Education in the Elementary General Music Classroom

    ERIC Educational Resources Information Center

    Ferguson, Laura

    2004-01-01

    American schools have great secondary performance programs, and many of these programs do wonderful things with jazz education. As wonderful as these programs are, only a small percentage of secondary school students join them, and usually the percentage of students participating in the jazz components of these programs is even smaller. As many…

  5. Jazz and substance abuse: road to creative genius or pathway to premature death.

    PubMed

    Tolson, Gerald H Jerry; Cuyjet, Michael J

    2007-01-01

    Jazz music and jazz musicians have often been linked for better or worse to the world of addictive substances. Many talented jazz musicians either had their careers sidetracked or prematurely ended due to their addiction to drugs and/or alcohol. The rigors of nightly performances, travel, and for many musicians a disapproving society exacted a toll that impacted the creativity of many artists of the genre. The fact that drug and alcohol use had a significant impact on the performance levels of numerous jazz musicians in the 1940's and 1950's has been much discussed, but more study of that impact is warranted. While recent research has provided new information regarding this challenging topic, there is still much to learn. Indeed, a number of questions for inquiry may be posed. Among those questions are the following: Was the work of these jazz artists truly inspired? Would their creative output have been enhanced had they not been addicted to substances? What was the impact of the addictive substances on their ability to function as creative artists and is there evidence to refute or verify that impact? Are there identifiable traits in certain artists that allowed them to be creative in spite of their addictions? This examination presents an evaluation of the evidence of the link between creativity and substance abuse especially as it relates to selected jazz artists during this time period and how they remained creative and actually prospered in their careers in spite of addictions to controlled substances.

  6. Jazzing up the Psychological Contract

    ERIC Educational Resources Information Center

    Hartley, Nell Tabor

    2010-01-01

    Helping students and practitioners to understand and utilize the Psychological Contract is often a difficult task. Unlike fault-finding research, this paper presents the PC as a positive, vibrant and valuable tool. In an effort to make the concept less elusive, the paper draws upon the metaphor of jazz. The metaphor is an accepted tool of…

  7. Jazz drummers recruit language-specific areas for the processing of rhythmic structure.

    PubMed

    Herdener, Marcus; Humbel, Thierry; Esposito, Fabrizio; Habermeyer, Benedikt; Cattapan-Ludewig, Katja; Seifritz, Erich

    2014-03-01

    Rhythm is a central characteristic of music and speech, the most important domains of human communication using acoustic signals. Here, we investigated how rhythmical patterns in music are processed in the human brain, and, in addition, evaluated the impact of musical training on rhythm processing. Using fMRI, we found that deviations from a rule-based regular rhythmic structure activated the left planum temporale together with Broca's area and its right-hemispheric homolog across subjects, that is, a network also crucially involved in the processing of harmonic structure in music and the syntactic analysis of language. Comparing the BOLD responses to rhythmic variations between professional jazz drummers and musical laypersons, we found that only highly trained rhythmic experts show additional activity in left-hemispheric supramarginal gyrus, a higher-order region involved in processing of linguistic syntax. This suggests an additional functional recruitment of brain areas usually dedicated to complex linguistic syntax processing for the analysis of rhythmical patterns only in professional jazz drummers, who are especially trained to use rhythmical cues for communication.

  8. Improvisation: An Essential Element of Musical Proficiency.

    ERIC Educational Resources Information Center

    Dobbins, Bill

    1980-01-01

    The author discusses the importance of improvisation, suggesting that improvisation be introduced in the earliest stages of education and be taught through an approach that integrates ear training, sight-reading, instrumental and vocal techniques and theory into a unified and complete understanding of music as a language. (Author/KC)

  9. Sharing the Gift of Jazz: An Interview with Willie L. Hill Jr.

    ERIC Educational Resources Information Center

    Howe, Brad

    2011-01-01

    This article presents an interview with Willie L. Hill Jr., founder and director of the Society for Jazz Education. Currently a professor of music education at the University of Massachusetts-Amherst and the director of the UMass Fine Arts Center, Hill has served as director of education for the Thelonious Monk Institute of Jazz. He is a past…

  10. Training generalized improvisation of tools by preschool children1

    PubMed Central

    Parsonson, Barry S.; Baer, Donald M.

    1978-01-01

    The development of new, “creative” behaviors was examined in a problem-solving context. One form of problem solving, improvisation, was defined as finding a substitute to replace the specifically designated, but currently unavailable, tool ordinarily used to solve the problem. The study examined whether preschool children spontaneously displayed generalized improvisation skills, and if not, whether they could be trained to do so within different classes of tools. Generalization across different tool classes was monitored but not specifically trained. Five preschool children participated in individual sessions that first probed their skill at improvising tools, and later trained and probed generalized improvisation in one or more of three tool classes (Hammers, Containers, and Shoelaces), using a multiple-baseline design. All five children were trained with Hammers, two were trained in two classes, and two were trained in all three tool classes. Four of the five children improvised little in Baseline. During Training, all five showed increased generalized improvisation within the trained class, but none across classes. Tools fabricated by item combinations were rare in Baseline, but common in Training. Followup probes showed that the training effects were durable. PMID:16795596

  11. Creating Time: Social Collaboration in Music Improvisation.

    PubMed

    Walton, Ashley E; Washburn, Auriel; Langland-Hassan, Peter; Chemero, Anthony; Kloos, Heidi; Richardson, Michael J

    2018-01-01

    Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements of their heads, left arms, and right arms. The backing tracks varied in rhythmic and harmonic information, from a chord progression to a continuous drone. Differences in movement coordination and playing behavior were evaluated using the mathematical tools of complex dynamical systems, with the aim of uncovering the multiscale dynamics that characterize musical collaboration. Collectively, the findings indicated that each backing track afforded the emergence of different patterns of coordination with respect to how the musicians played together, how they moved together, as well as their experience collaborating with each other. Additionally, listeners' experiences of the music when rating audio recordings of the improvised performances were related to the way the musicians coordinated both their playing behavior and their bodily movements. Accordingly, the study revealed how complex dynamical systems methods (namely recurrence analysis) can capture the turn-taking dynamics that characterized both the social exchange of the music improvisation and the sounds of collaboration more generally. The study also demonstrated how musical improvisation provides a way of understanding how social interaction emerges from the structure of the behavioral task context. Copyright © 2017 Cognitive Science Society, Inc.

  12. Expertise in Musical Improvisation and Creativity: The Mediation of Idea Evaluation

    PubMed Central

    Kleinmintz, Oded M.; Goldstein, Pavel; Mayseless, Naama; Abecasis, Donna; Shamay-Tsoory, Simone G.

    2014-01-01

    The current study explored the influence of musical expertise, and specifically training in improvisation on creativity, using the framework of the twofold model, according to which creativity involves a process of idea generation and idea evaluation. Based on the hypothesis that a strict evaluation phase may have an inhibiting effect over the generation phase, we predicted that training in improvisation may have a “releasing effect” on the evaluation system, leading to greater creativity. To examine this hypothesis, we compared performance among three groups - musicians trained in improvisation, musicians not trained in improvisation, and non-musicians - on divergent thinking tasks and on their evaluation of creativity. The improvisation group scored higher on fluency and originality compared to the other two groups. Among the musicians, evaluation of creativity mediated how experience in improvisation was related to originality and fluency scores. It is concluded that deliberate practice of improvisation may have a “releasing effect” on creativity. PMID:25010334

  13. Expertise in musical improvisation and creativity: the mediation of idea evaluation.

    PubMed

    Kleinmintz, Oded M; Goldstein, Pavel; Mayseless, Naama; Abecasis, Donna; Shamay-Tsoory, Simone G

    2014-01-01

    The current study explored the influence of musical expertise, and specifically training in improvisation on creativity, using the framework of the twofold model, according to which creativity involves a process of idea generation and idea evaluation. Based on the hypothesis that a strict evaluation phase may have an inhibiting effect over the generation phase, we predicted that training in improvisation may have a "releasing effect" on the evaluation system, leading to greater creativity. To examine this hypothesis, we compared performance among three groups--musicians trained in improvisation, musicians not trained in improvisation, and non-musicians--on divergent thinking tasks and on their evaluation of creativity. The improvisation group scored higher on fluency and originality compared to the other two groups. Among the musicians, evaluation of creativity mediated how experience in improvisation was related to originality and fluency scores. It is concluded that deliberate practice of improvisation may have a "releasing effect" on creativity.

  14. African Retentions in Blues and Jazz.

    ERIC Educational Resources Information Center

    Meadows, Eddie S.

    1979-01-01

    The perseverance of African musical characteristics among American Blacks is an historic reality. African retentions have been recorded in Black music of the antebellum period. Various African scales and rhythms permeate Black American music today as evidenced in the retentions found in blues and jazz. (RLV)

  15. A Three-Stage Process of Improvisation for Teamwork: Action Research

    ERIC Educational Resources Information Center

    Hains-Wesson, Rachael; Pollard, Vikki; Campbell, Angela

    2017-01-01

    This study examines street performing arts students' responses to using improvisation for teamwork during a first year, non-placement, work-integrated learning (WIL) experience. The aim of the study was to investigate: (1) students' perceptions of improvisation and (2) ways in which to design teamwork assessments that utilise improvisation. Data…

  16. The mirror game as a paradigm for studying the dynamics of two people improvising motion together

    PubMed Central

    Noy, Lior; Dekel, Erez; Alon, Uri

    2011-01-01

    Joint improvisation is the creative action of two or more people without a script or designated leader. Examples include improvisational theater and music, and day-to-day activities such as conversations. In joint improvisation, novel action is created, emerging from the interaction between people. Although central to creative processes and social interaction, joint improvisation remains largely unexplored due to the lack of experimental paradigms. Here we introduce a paradigm based on a theater practice called the mirror game. We measured the hand motions of two people mirroring each other at high temporal and spatial resolution. We focused on expert actors and musicians skilled in joint improvisation. We found that players can jointly create novel complex motion without a designated leader, synchronized to less than 40 ms. In contrast, we found that designating one player as leader deteriorated performance: The follower showed 2–3 Hz oscillation around the leader's smooth trajectory, decreasing synchrony and reducing the range of velocities reached. A mathematical model suggests a mechanism for these observations based on mutual agreement on future motion in mirrored reactive–predictive controllers. This is a step toward understanding the human ability to create novelty by improvising together. PMID:22160696

  17. The mirror game as a paradigm for studying the dynamics of two people improvising motion together.

    PubMed

    Noy, Lior; Dekel, Erez; Alon, Uri

    2011-12-27

    Joint improvisation is the creative action of two or more people without a script or designated leader. Examples include improvisational theater and music, and day-to-day activities such as conversations. In joint improvisation, novel action is created, emerging from the interaction between people. Although central to creative processes and social interaction, joint improvisation remains largely unexplored due to the lack of experimental paradigms. Here we introduce a paradigm based on a theater practice called the mirror game. We measured the hand motions of two people mirroring each other at high temporal and spatial resolution. We focused on expert actors and musicians skilled in joint improvisation. We found that players can jointly create novel complex motion without a designated leader, synchronized to less than 40 ms. In contrast, we found that designating one player as leader deteriorated performance: The follower showed 2-3 Hz oscillation around the leader's smooth trajectory, decreasing synchrony and reducing the range of velocities reached. A mathematical model suggests a mechanism for these observations based on mutual agreement on future motion in mirrored reactive-predictive controllers. This is a step toward understanding the human ability to create novelty by improvising together.

  18. The artificial gene Jazz, a transcriptional regulator of utrophin, corrects the dystrophic pathology in mdx mice.

    PubMed

    Di Certo, Maria Grazia; Corbi, Nicoletta; Strimpakos, Georgios; Onori, Annalisa; Luvisetto, Siro; Severini, Cinzia; Guglielmotti, Angelo; Batassa, Enrico Maria; Pisani, Cinzia; Floridi, Aristide; Benassi, Barbara; Fanciulli, Maurizio; Magrelli, Armando; Mattei, Elisabetta; Passananti, Claudio

    2010-03-01

    The absence of the cytoskeletal protein dystrophin results in Duchenne muscular dystrophy (DMD). The utrophin protein is the best candidate for dystrophin replacement in DMD patients. To obtain therapeutic levels of utrophin expression in dystrophic muscle, we developed an alternative strategy based on the use of artificial zinc finger transcription factors (ZF ATFs). The ZF ATF 'Jazz' was recently engineered and tested in vivo by generating a transgenic mouse specifically expressing Jazz at the muscular level. To validate the ZF ATF technology for DMD treatment we generated a second mouse model by crossing Jazz-transgenic mice with dystrophin-deficient mdx mice. Here, we show that the artificial Jazz protein restores sarcolemmal integrity and prevents the development of the dystrophic disease in mdx mice. This exclusive animal model establishes the notion that utrophin-based therapy for DMD can be efficiently developed using ZF ATF technology and candidates Jazz as a novel therapeutic molecule for DMD therapy.

  19. Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness.

    PubMed

    Himberg, Tommi; Laroche, Julien; Bigé, Romain; Buchkowski, Megan; Bachrach, Asaf

    2018-02-09

    Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of "togetherness" associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a 'rhythm battle' dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts.

  20. Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness

    PubMed Central

    Laroche, Julien; Buchkowski, Megan; Bachrach, Asaf

    2018-01-01

    Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts. PMID:29425178

  1. Riffing on the universe

    NASA Astrophysics Data System (ADS)

    Cox, Trevor

    2016-05-01

    Music and physics might seem like polar opposites, one having great emotional potency and the other being a cerebral subject of equations, theories and deductions. Both, however, benefit from improvisers - people who stand on the shoulders of giants, taking earlier triumphs and building on them to create something new. For me, analogies like these, which draw parallels between physicists and jazz musicians, are the most fascinating revelations in Stephon Alexander's book The Jazz of Physics.

  2. The acquisition of socio-motor improvisation in the mirror game.

    PubMed

    Gueugnon, Mathieu; Salesse, Robin N; Coste, Alexandre; Zhao, Zhong; Bardy, Benoît G; Marin, Ludovic

    2016-04-01

    Socio-motor improvisation is defined as the creative action of two or more people without a script or anticipated preparation. It is evaluated through two main parameters: movement synchronization and movement richness. Experts in art (e.g., dance, theater or music) are known to exhibit higher synchronization and to perform richer movements during interpersonal improvisation, but how these competences evolve over time is largely unknown. In the present study, we investigated whether performing more synchronized and richer movements over time can promote the acquisition of improvisation. Pairs of novice participants were instructed to play an improvisation mirror game in three different sessions. Between sessions, they performed an unintended interpersonal coordination task in which synchronization and richness were manipulated, resulting in four different groups of dyads. Our results demonstrate that synchronization during improvisation improved for all groups whereas movement richness only enhanced for dyads that performed synchronized movements during unintended coordination tasks. Our findings suggest that movement synchrony contributes more than movement richness to the acquisition of socio-motor improvisation in the mirror game. Copyright © 2015 Elsevier B.V. All rights reserved.

  3. Informal Music Learning, Improvisation and Teacher Education

    ERIC Educational Resources Information Center

    Wright, Ruth; Kanellopoulos, Panagiotis

    2010-01-01

    This paper explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two…

  4. Novel adeno-associated viral vector delivering the utrophin gene regulator jazz counteracts dystrophic pathology in mdx mice.

    PubMed

    Strimpakos, Georgios; Corbi, Nicoletta; Pisani, Cinzia; Di Certo, Maria Grazia; Onori, Annalisa; Luvisetto, Siro; Severini, Cinzia; Gabanella, Francesca; Monaco, Lucia; Mattei, Elisabetta; Passananti, Claudio

    2014-09-01

    Over-expression of the dystrophin-related gene utrophin represents a promising therapeutic strategy for Duchenne muscular dystrophy (DMD). The strategy is based on the ability of utrophin to functionally replace defective dystrophin. We developed the artificial zinc finger transcription factor "Jazz" that up-regulates both the human and mouse utrophin promoter. We observed a significant recovery of muscle strength in dystrophic Jazz-transgenic mdx mice. Here we demonstrate the efficacy of an experimental gene therapy based on the systemic delivery of Jazz gene in mdx mice by adeno-associated virus (AAV). AAV serotype 8 was chosen on the basis of its high affinity for skeletal muscle. Muscle-specific expression of the therapeutic Jazz gene was enhanced by adding the muscle α-actin promoter to the AAV vector (mAAV). Injection of mAAV8-Jazz viral preparations into mdx mice resulted in muscle-specific Jazz expression coupled with up-regulation of the utrophin gene. We show a significant recovery from the dystrophic phenotype in mAAV8-Jazz-treated mdx mice. Histological and physiological analysis revealed a reduction of fiber necrosis and inflammatory cell infiltration associated with functional recovery in muscle contractile force. The combination of ZF-ATF technology with the AAV delivery can open a new avenue to obtain a therapeutic strategy for treatment of DMD. © 2014 Wiley Periodicals, Inc.

  5. A Facet-Factorial Approach towards the Development and Validation of a Jazz Rhythm Section Performance Rating Scale

    ERIC Educational Resources Information Center

    Wesolowski, Brian C.

    2017-01-01

    The purpose of this study was to develop a valid and reliable rating scale to assess jazz rhythm sections in the context of jazz big band performance. The research questions that guided this study included: (a) what central factors contribute to the assessment of a jazz rhythm section? (b) what items should be used to describe and assess a jazz…

  6. Moral Outrage and Musical Corruption: White Educators' Responses to the "Jazz Problem"

    ERIC Educational Resources Information Center

    Hardesty, Jacob

    2016-01-01

    More than a musical genre, jazz in the 1920s was viewed by critics and supporters alike as a type of lifestyle, one that frequently led to drinking, dancing, and "petting." Much to the horror of older generations, white young people were particularly drawn to jazz and its "hot rhythms." Secondary school teachers and…

  7. Improvisation and meaning.

    PubMed

    Gilbertson, Simon

    2013-08-07

    This article presents and discusses a long-term repeated-immersion research process that explores meaning allocated to an episode of 50 seconds of music improvisation in early neurosurgical rehabilitation by a teenage boy with severe traumatic brain injury and his music therapist. The process began with the original therapy session in August 1994 and extends to the current time of writing in 2013. A diverse selection of qualitative research methods were used during a repeated immersion and engagement with the selected episodes. The multiple methods used in this enquiry include therapeutic narrative analysis and musicological and video analysis during my doctoral research between 2002 and 2004, arts-based research in 2008 using expressive writing, and arts-based research in 2012 based on the creation of a body cast of my right hand as I used it to play the first note of my music improvising in the original therapy episode, which is accompanied by reflective journaling. The casting of my hand was done to explore and reconsider the role of my own body as an embodied and integral, but originally hidden, part of the therapy process. Put together, these investigations explore the potential meanings of the episode of music improvisation in therapy in an innovative and imaginative way. However, this article does not aim at this stage to present a model or theory for neurorehabilitation but offers an example of how a combination of diverse qualitative methods over an extended period of time can be instrumental in gaining innovative and rich insights into initially hidden perspectives on health, well-being, and human relating.

  8. Improvisation and the Aural Tradition in Afro-American Music

    ERIC Educational Resources Information Center

    Brown, Marion

    1973-01-01

    From collective improvisation in Afro-American music arose liberated improvisations designed to exhibit personal virtuosity. But that was all that changed; spontaneity and personal sound remained the most interesting components of the music. (Author/RJ)

  9. Dramaturgical and Music-Theoretical Approaches to Improvisation Pedagogy

    ERIC Educational Resources Information Center

    Huovinen, Erkki; Tenkanen, Atte; Kuusinen, Vesa-Pekka

    2011-01-01

    The aim of this article is to assess the relative merits of two approaches to teaching musical improvisation: a music-theoretical approach, focusing on chords and scales, and a "dramaturgical" one, emphasizing questions of balance, variation and tension. Adult students of music pedagogy, with limited previous experience in improvisation,…

  10. Utilizing Improvisation to Teach Empathy Skills in Counselor Education

    ERIC Educational Resources Information Center

    Bayne, Hannah B.; Jangha, Awa

    2016-01-01

    Empathy development is foundational to counselor training, yet there is scant research on techniques for teaching empathy aside from traditional microskills models. The authors discuss empathy as a skill set, highlight how improvisation (improv) can be used to enhance training, and describe how to incorporate improv activities within the classroom.

  11. The Value of Clinical Jazz: Teaching Critical Reflection on, in, and Toward Action.

    PubMed

    Casapulla, Sharon; Longenecker, Randall; Beverly, Elizabeth A

    2016-05-01

    Clinical Jazz is a small-group strategy in medical education designed to develop interpersonal skills and improve doctor-patient and interprofessional relationships. The purpose of this study was to explore medical students' and faculty facilitators' perceived value of Clinical Jazz. We conducted a modified Nominal Group Process with participating medical students (n=21), faculty facilitators (n=5), and research team members (n=3). Students and faculty facilitators independently answered the question, "What do you value about Clinical Jazz?" We then conducted content and thematic analyses on the resulting data. Three themes emerged during analysis: (1) students and faculty appreciated the opportunity to learn and practice a thoughtful and structured process for problem solving, (2) students and faculty valued the safety of the group process in sharing a diversity of perspectives on topics in medicine, and (3) students and faculty acknowledged the importance of addressing real and challenging problems that are rarely addressed in formal lectures and other planned small-group settings. Clinical Jazz provides students and faculty with the opportunity to address the hidden and/or informal curriculum in medical education, while providing a safe space and time to solve important clinical and interprofessional problems.

  12. Dalcroze-Based Improvisation.

    ERIC Educational Resources Information Center

    Abramson, Robert M.

    1980-01-01

    Described is the Emile Jaques-Dalcroze method of improvisation, which he believed was the study of the direct relations between cerebral commands and muscular interpretations in order to express one's own musical feelings. Performance is propelled by developing the students' powers of sensation, imagination, and memory. (Author/KC)

  13. Pedagogical Techniques of Improvisation Instructors without Academic Credentials

    ERIC Educational Resources Information Center

    Salonen, Richard Wayne

    2010-01-01

    The importance of music improvisation can be seen in its inclusion in the National Standards for Music Education and the accreditation standards for the National Association of Schools of Music. The purpose of this study was to examine the pedagogical techniques and materials of improvisation instructors who do not hold academic credentials. The…

  14. Free Improvisation and Performance Anxiety among Piano Students

    ERIC Educational Resources Information Center

    Allen, Robert

    2013-01-01

    The purpose of this study was to compare the levels of anxiety that students experienced according to whether their public performance consisted of a free improvisation or a repertory piece. The researcher had two objectives: (1) examine the relationship of students' levels of anxiety to free improvisation and repertory pieces during a…

  15. Young Pianists Exploring Improvisation Using Interactive Music Technology

    ERIC Educational Resources Information Center

    Rowe, Victoria; Triantafyllaki, Angeliki; Anagnostopoulou, Xristina

    2015-01-01

    The use of music technology in the enhancement of young pianists' musical improvisations has been scarcely explored in instrumental music teaching and learning research. In the present study, 19 piano pupils aged 6-10 from the UK and Greece used an interactive improvisation system called Musical Interaction Relying On Reflexion (MIROR)-Impro for…

  16. Improvisation and meaning

    PubMed Central

    2013-01-01

    This article presents and discusses a long-term repeated-immersion research process that explores meaning allocated to an episode of 50 seconds of music improvisation in early neurosurgical rehabilitation by a teenage boy with severe traumatic brain injury and his music therapist. The process began with the original therapy session in August 1994 and extends to the current time of writing in 2013. A diverse selection of qualitative research methods were used during a repeated immersion and engagement with the selected episodes. The multiple methods used in this enquiry include therapeutic narrative analysis and musicological and video analysis during my doctoral research between 2002 and 2004, arts-based research in 2008 using expressive writing, and arts-based research in 2012 based on the creation of a body cast of my right hand as I used it to play the first note of my music improvising in the original therapy episode, which is accompanied by reflective journaling. The casting of my hand was done to explore and reconsider the role of my own body as an embodied and integral, but originally hidden, part of the therapy process. Put together, these investigations explore the potential meanings of the episode of music improvisation in therapy in an innovative and imaginative way. However, this article does not aim at this stage to present a model or theory for neurorehabilitation but offers an example of how a combination of diverse qualitative methods over an extended period of time can be instrumental in gaining innovative and rich insights into initially hidden perspectives on health, well-being, and human relating. PMID:23930989

  17. Using Comedy Improvisation Techniques to Support Dance Training

    ERIC Educational Resources Information Center

    Larimer, Amy

    2012-01-01

    Although contemporary dance improvisation techniques and comedy improvisation are seldom linked, the two forms evolved around the same time and have many similarities. Both forms exist in the moment, share a highly ephemeral nature, and make use of physical games and structures. Both forms teach students the skill of being present, so essential to…

  18. Researching Group Assessment: Jazz in the Conservatoire

    ERIC Educational Resources Information Center

    Barratt, Elisabeth; Moore, Hilary

    2005-01-01

    This article presents the results of research into methods and scorings for jazz assessment in Trinity College of Music, London, focusing on the possibility of introducing group assessment. It considers the advantages of group assessment methods, contrasting these with the more traditional approach, firmly established in conservatoires, of…

  19. Calculations of lattice vibrational mode lifetimes using Jazz: a Python wrapper for LAMMPS

    NASA Astrophysics Data System (ADS)

    Gao, Y.; Wang, H.; Daw, M. S.

    2015-06-01

    Jazz is a new python wrapper for LAMMPS [1], implemented to calculate the lifetimes of vibrational normal modes based on forces as calculated for any interatomic potential available in that package. The anharmonic character of the normal modes is analyzed via the Monte Carlo-based moments approximation as is described in Gao and Daw [2]. It is distributed as open-source software and can be downloaded from the website http://jazz.sourceforge.net/.

  20. High-Speed Imaging Analysis of Register Transitions in Classically and Jazz-Trained Male Voices.

    PubMed

    Dippold, Sebastian; Voigt, Daniel; Richter, Bernhard; Echternach, Matthias

    2015-01-01

    Little data are available concerning register functions in different styles of singing such as classically or jazz-trained voices. Differences between registers seem to be much more audible in jazz singing than classical singing, and so we hypothesized that classically trained singers exhibit a smoother register transition, stemming from more regular vocal fold oscillation patterns. High-speed digital imaging (HSDI) was used for 19 male singers (10 jazz-trained singers, 9 classically trained) who performed a glissando from modal to falsetto register across the register transition. Vocal fold oscillation patterns were analyzed in terms of different parameters of regularity such as relative average perturbation (RAP), correlation dimension (D2) and shimmer. HSDI observations showed more regular vocal fold oscillation patterns during the register transition for the classically trained singers. Additionally, the RAP and D2 values were generally lower and more consistent for the classically trained singers compared to the jazz singers. However, intergroup comparisons showed no statistically significant differences. Some of our results may support the hypothesis that classically trained singers exhibit a smoother register transition from modal to falsetto register. © 2015 S. Karger AG, Basel.

  1. Improvisation Begins with Exploration: Giving Students Time to Explore the Sounds They Can Make with Their Instruments and Voices Is the First Step to Helping Them Become Successful Improvisers

    ERIC Educational Resources Information Center

    Volz, Micah D.

    2005-01-01

    Improvisation can be difficult to teach in any music classroom, but it can be particularly problematic in large ensembles like band, chorus, or orchestra. John Kratus proposes seven levels of improvisation, with exploration as the first step in the development of improvisation skills. Through experiences in making sounds, children begin to develop…

  2. Remembering to Laugh and Explore: Improvisational Activities for Literacy Teaching in Urban Classrooms

    ERIC Educational Resources Information Center

    Smith, Katy; McKnight, Katherine S.

    2009-01-01

    In an effort to push back against contextual factors that have constrained arts instruction and integration while recognizing that schools have limited resources, The Second City Training Center in Chicago has developed several educational programs that bring the art of improvisation to teachers and students. This article specifically focuses on…

  3. Novel Adeno-Associated Viral Vector Delivering the Utrophin Gene Regulator Jazz Counteracts Dystrophic Pathology in mdx Mice

    PubMed Central

    Strimpakos, Georgios; Corbi, Nicoletta; Pisani, Cinzia; Di Certo, Maria Grazia; Onori, Annalisa; Luvisetto, Siro; Severini, Cinzia; Gabanella, Francesca; Monaco, Lucia; Mattei, Elisabetta; Passananti, Claudio

    2014-01-01

    Over-expression of the dystrophin-related gene utrophin represents a promising therapeutic strategy for Duchenne muscular dystrophy (DMD). The strategy is based on the ability of utrophin to functionally replace defective dystrophin. We developed the artificial zinc finger transcription factor “Jazz” that up-regulates both the human and mouse utrophin promoter. We observed a significant recovery of muscle strength in dystrophic Jazz-transgenic mdx mice. Here we demonstrate the efficacy of an experimental gene therapy based on the systemic delivery of Jazz gene in mdx mice by adeno-associated virus (AAV). AAV serotype 8 was chosen on the basis of its high affinity for skeletal muscle. Muscle-specific expression of the therapeutic Jazz gene was enhanced by adding the muscle α-actin promoter to the AAV vector (mAAV). Injection of mAAV8-Jazz viral preparations into mdx mice resulted in muscle-specific Jazz expression coupled with up-regulation of the utrophin gene. We show a significant recovery from the dystrophic phenotype in mAAV8-Jazz-treated mdx mice. Histological and physiological analysis revealed a reduction of fiber necrosis and inflammatory cell infiltration associated with functional recovery in muscle contractile force. The combination of ZF-ATF technology with the AAV delivery can open a new avenue to obtain a therapeutic strategy for treatment of DMD. J. Cell. Physiol. 229: 1283–1291, 2014. © 2014 The Authors. Journal of Cellular Physiology Published by Wiley Periodicals, Inc. PMID:24469912

  4. Twelve tips for using applied improvisation in medical education.

    PubMed

    Hoffmann-Longtin, Krista; Rossing, Jonathan P; Weinstein, Elizabeth

    2018-04-01

    Future physicians will practice medicine in a more complex environment than ever, where skills of interpersonal communication, collaboration and adaptability to change are critical. Applied improvisation (or AI) is an instructional strategy which adapts the concepts of improvisational theater to teach these types of complex skills in other contexts. Unique to AI is its very active teaching approach, adapting theater games to help learners meet curricular objectives. In medical education, AI is particularly helpful when attempting to build students' comfort with and skills in complex, interpersonal behaviors such as effective listening, person-centeredness, teamwork and communication. This article draws on current evidence and the authors' experiences to present best practices for incorporating AI into teaching medicine. These practical tips help faculty new to AI get started by establishing goals, choosing appropriate games, understanding effective debriefing, considering evaluation strategies and managing resistance within the context of medical education.

  5. Generation of novel motor sequences: the neural correlates of musical improvisation.

    PubMed

    Berkowitz, Aaron L; Ansari, Daniel

    2008-06-01

    While some motor behavior is instinctive and stereotyped or learned and re-executed, much action is a spontaneous response to a novel set of environmental conditions. The neural correlates of both pre-learned and cued motor sequences have been previously studied, but novel motor behavior has thus far not been examined through brain imaging. In this paper, we report a study of musical improvisation in trained pianists with functional magnetic resonance imaging (fMRI), using improvisation as a case study of novel action generation. We demonstrate that both rhythmic (temporal) and melodic (ordinal) motor sequence creation modulate activity in a network of brain regions comprised of the dorsal premotor cortex, the rostral cingulate zone of the anterior cingulate cortex, and the inferior frontal gyrus. These findings are consistent with a role for the dorsal premotor cortex in movement coordination, the rostral cingulate zone in voluntary selection, and the inferior frontal gyrus in sequence generation. Thus, the invention of novel motor sequences in musical improvisation recruits a network of brain regions coordinated to generate possible sequences, select among them, and execute the decided-upon sequence.

  6. Impaired Maintenance of Interpersonal Synchronization in Musical Improvisations of Patients with Borderline Personality Disorder.

    PubMed

    Foubert, Katrien; Collins, Tom; De Backer, Jos

    2017-01-01

    Borderline personality disorder (BPD) is a serious and complex mental disorder with a lifetime prevalence of 5.9%, characterized by pervasive difficulties with emotion regulation, impulse control, and instability in interpersonal relationships and self-image. Impairments in interpersonal functioning have always been a prominent characteristic of BPD, indicating a need for research to identify the specific interpersonal processes that are problematic for diagnosed individuals. Previous research has concentrated on self-report questionnaires, unidirectional tests, and experimental paradigms wherein the exchange of social signals between individuals was not the focus. We propose joint musical improvisation as an alternative method to investigate interpersonal processes. Using a novel, carefully planned, ABA' accompaniment paradigm, and taking into account the possible influences of mood, psychotropic medication, general attachment, and musical sophistication, we recorded piano improvisations of 16 BPD patients and 12 matched healthy controls. We hypothesized that the insecure attachment system associated with BPD would be activated in the joint improvisation and manifest in measures of timing behavior. Results indicated that a logistic regression model, built on differences in timing deviations, predicted diagnosis with 82% success. More specifically, over the course of the improvisation B section (freer improvisation), controls' timing deviations decreased (temporal synchrony became more precise) whereas that of the patients with BPD did not, confirming our hypothesis. These findings are in accordance with previous research, where BPD is characterized by difficulties in attachment relationships such as maintaining strong attachment with others, but it is novel to find empirical evidence of such issues in joint musical improvisation. We suggest further longitudinal research within the field of music therapy, to study how recovery of these timing habits are related to

  7. Impaired Maintenance of Interpersonal Synchronization in Musical Improvisations of Patients with Borderline Personality Disorder

    PubMed Central

    Foubert, Katrien; Collins, Tom; De Backer, Jos

    2017-01-01

    Borderline personality disorder (BPD) is a serious and complex mental disorder with a lifetime prevalence of 5.9%, characterized by pervasive difficulties with emotion regulation, impulse control, and instability in interpersonal relationships and self-image. Impairments in interpersonal functioning have always been a prominent characteristic of BPD, indicating a need for research to identify the specific interpersonal processes that are problematic for diagnosed individuals. Previous research has concentrated on self-report questionnaires, unidirectional tests, and experimental paradigms wherein the exchange of social signals between individuals was not the focus. We propose joint musical improvisation as an alternative method to investigate interpersonal processes. Using a novel, carefully planned, ABA′ accompaniment paradigm, and taking into account the possible influences of mood, psychotropic medication, general attachment, and musical sophistication, we recorded piano improvisations of 16 BPD patients and 12 matched healthy controls. We hypothesized that the insecure attachment system associated with BPD would be activated in the joint improvisation and manifest in measures of timing behavior. Results indicated that a logistic regression model, built on differences in timing deviations, predicted diagnosis with 82% success. More specifically, over the course of the improvisation B section (freer improvisation), controls' timing deviations decreased (temporal synchrony became more precise) whereas that of the patients with BPD did not, confirming our hypothesis. These findings are in accordance with previous research, where BPD is characterized by difficulties in attachment relationships such as maintaining strong attachment with others, but it is novel to find empirical evidence of such issues in joint musical improvisation. We suggest further longitudinal research within the field of music therapy, to study how recovery of these timing habits are related

  8. The Real Jazz Journalism: "New York Times" Coverage of an Emerging Art Form (1921-1929).

    ERIC Educational Resources Information Center

    Williams, Luther G.

    As jazz music found its way onto the public agenda between 1921 and 1929 the "New York Times" became a major forum for the controversy surrounding the new music form. Although jazz was played mostly by black musicians, this fact was seldom reflected in the newspaper's stories, and the specter of racism loomed just beneath the surface of…

  9. BioJazz: in silico evolution of cellular networks with unbounded complexity using rule-based modeling.

    PubMed

    Feng, Song; Ollivier, Julien F; Swain, Peter S; Soyer, Orkun S

    2015-10-30

    Systems biologists aim to decipher the structure and dynamics of signaling and regulatory networks underpinning cellular responses; synthetic biologists can use this insight to alter existing networks or engineer de novo ones. Both tasks will benefit from an understanding of which structural and dynamic features of networks can emerge from evolutionary processes, through which intermediary steps these arise, and whether they embody general design principles. As natural evolution at the level of network dynamics is difficult to study, in silico evolution of network models can provide important insights. However, current tools used for in silico evolution of network dynamics are limited to ad hoc computer simulations and models. Here we introduce BioJazz, an extendable, user-friendly tool for simulating the evolution of dynamic biochemical networks. Unlike previous tools for in silico evolution, BioJazz allows for the evolution of cellular networks with unbounded complexity by combining rule-based modeling with an encoding of networks that is akin to a genome. We show that BioJazz can be used to implement biologically realistic selective pressures and allows exploration of the space of network architectures and dynamics that implement prescribed physiological functions. BioJazz is provided as an open-source tool to facilitate its further development and use. Source code and user manuals are available at: http://oss-lab.github.io/biojazz and http://osslab.lifesci.warwick.ac.uk/BioJazz.aspx. © The Author(s) 2015. Published by Oxford University Press on behalf of Nucleic Acids Research.

  10. Improvisation and the self-organization of multiple musical bodies.

    PubMed

    Walton, Ashley E; Richardson, Michael J; Langland-Hassan, Peter; Chemero, Anthony

    2015-01-01

    Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step toward understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies.

  11. Improvisation and the self-organization of multiple musical bodies

    PubMed Central

    Walton, Ashley E.; Richardson, Michael J.; Langland-Hassan, Peter; Chemero, Anthony

    2015-01-01

    Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step toward understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. PMID:25941499

  12. Seen but Not Heard: Young Children, Improvised Singing and Educational Practice

    ERIC Educational Resources Information Center

    Young, Susan

    2006-01-01

    In this article the author suggests that the persistence of a "performance model" of early childhood music education has detracted attention from children's spontaneous musical activity. The article focuses on one dimension of children's spontaneous musicality: improvised singing. Descriptions of short episodes taken from two periods of…

  13. Teaching Improvisation through Melody and Blues-Based Harmony: A Comprehensive and Sequential Approach

    ERIC Educational Resources Information Center

    Heil, Leila

    2017-01-01

    This article describes a sequential approach to improvisation teaching that can be used with students at various age and ability levels by any educator, regardless of improvisation experience. The 2014 National Core Music Standards include improvisation as a central component in musical learning and promote instructional approaches that are…

  14. The Tight-interlocked Rhythm Section: Production and Perception of Synchronisation in Jazz Trio Performance.

    PubMed

    Hofmann, Alex; Wesolowski, Brian C; Goebl, Werner

    2017-01-01

    This study investigates the production and perception of timing, synchronisation and dynamics in jazz trio performances. In a production experiment, six trio combinations of one saxophonist, two bassists, and three drummers were recorded while they performed three popular jazz songs. Onset timing and dynamics of each performer were extracted and analysed. Results showed that the tempo was significantly influenced by the timing of the drummers and all performers showed higher temporal precision on the backbeats. The drummers demonstrated individual swing-ratios, accentuations of beats and intrapersonal asynchronies between simultaneous hi-hat and ride cymbal onsets, which resulted in a hi-hat played 2-26 ms ahead of the pulse of the music. In a subsequent perception test, participants ([Formula: see text]) rated 12 excerpts of the jazz recordings. They selected their preferred version from a pool of stimuli containing the original version, but also manipulations with artificially increased or reduced asynchronies. Stimuli with reduced asynchronies smaller than 19 ms were preferred by the listeners over the original or the fully quantised timing. This suggests that listeners endorse a 'tight-interlocked' jazz rhythm section, with asynchronies smaller than the perceptual threshold (temporal masking), but with natural timing variabilities that makes it distinguishable from a computer-generated playback.

  15. The Tight-interlocked Rhythm Section: Production and Perception of Synchronisation in Jazz Trio Performance

    PubMed Central

    Hofmann, Alex; Wesolowski, Brian C.; Goebl, Werner

    2017-01-01

    Abstract This study investigates the production and perception of timing, synchronisation and dynamics in jazz trio performances. In a production experiment, six trio combinations of one saxophonist, two bassists, and three drummers were recorded while they performed three popular jazz songs. Onset timing and dynamics of each performer were extracted and analysed. Results showed that the tempo was significantly influenced by the timing of the drummers and all performers showed higher temporal precision on the backbeats. The drummers demonstrated individual swing-ratios, accentuations of beats and intrapersonal asynchronies between simultaneous hi-hat and ride cymbal onsets, which resulted in a hi-hat played 2–26 ms ahead of the pulse of the music. In a subsequent perception test, participants () rated 12 excerpts of the jazz recordings. They selected their preferred version from a pool of stimuli containing the original version, but also manipulations with artificially increased or reduced asynchronies. Stimuli with reduced asynchronies smaller than 19 ms were preferred by the listeners over the original or the fully quantised timing. This suggests that listeners endorse a ‘tight-interlocked’ jazz rhythm section, with asynchronies smaller than the perceptual threshold (temporal masking), but with natural timing variabilities that makes it distinguishable from a computer-generated playback. PMID:29238387

  16. A Survey of Florida High School Instrumental Music Programs: Rationale for the Inclusion of Jazz Ensemble Experience in Music Teacher Training

    ERIC Educational Resources Information Center

    Hinkle, Jonathan R.

    2011-01-01

    During the past 60 years, jazz music has slowly become recognized as a genre worthy of study in high school music programs throughout the United States. Only a few researchers have analyzed large samples of jazz-related instruction in instrumental music programs, and of these studies no data were collected to investigate the inclusion of jazz in…

  17. Improvisation for Leadership Development.

    PubMed

    Trepanier, Sylvain; Nordgren, Mollie

    2017-04-01

    Leaders are required to demonstrate agility, creativity, and innovation. Professional development educators can help leaders to develop the skills to listen carefully, be present in the moment, and contribute to any conversation by using improvisation. J Contin Educ Nurs. 2017;48(4):151-153. Copyright 2017, SLACK Incorporated.

  18. Free Improvisation: What It Is, and Why We Should Apply It in Our General Music Classrooms

    ERIC Educational Resources Information Center

    Niknafs, Nasim

    2013-01-01

    Improvisation, the third content standard for the National Standards for Music Education (Music Educators National Conference, 1994), has received less attention from music teachers. This article advocates for more improvisation specifically free improvisation in general music classrooms. The nature of free improvisation, and its evolution in the…

  19. [Beyond suffering, schizophrenic improvisation and therapeutic challenges].

    PubMed

    Bizot, Tatiana

    2016-01-01

    Led jointly by an actress and an occupational therapist, an 'improvisation' activity has been set up within the Sainte-Anne University Hospital SHU Sector 14 for hospitalised patients, on medical prescription. This containing environment provides psychological support and encourages patients with schizophrenia to explore their creativity and to 'let go' so as to discover new physical possibilities. The group thereby becomes a support for the relationship and the development of verbal and non-verbal communication. Copyright © 2016 Elsevier Masson SAS. All rights reserved.

  20. A Pilot Study of Using Jazz Warm Up Exercises in Primary School Choir in Hong Kong

    ERIC Educational Resources Information Center

    Chen, Jason Chi Wai; Lee, Han Wai

    2013-01-01

    This pilot study is to examine whether it is valuable to implement jazz choral practice in Hong Kong primary school setting. The findings can serve as a reference to explore the possibilities of promoting jazz education in Asian countries or in China. The participants were 70 public primary school students from grade 2 to 5 in Hong Kong. All…

  1. A Proposed Model of Jazz Theory Knowledge Acquisition

    ERIC Educational Resources Information Center

    Ciorba, Charles R.; Russell, Brian E.

    2014-01-01

    The purpose of this study was to test a hypothesized model that proposes a causal relationship between motivation and academic achievement on the acquisition of jazz theory knowledge. A reliability analysis of the latent variables ranged from 0.92 to 0.94. Confirmatory factor analyses of the motivation (standardized root mean square residual…

  2. Aesthetics of Surrender: Levinas and the Disruption of Agency in Moral Education.

    ERIC Educational Resources Information Center

    Chinnery, Ann

    2003-01-01

    Uses jazz improvisation as a metaphor to focus on three interrelated aspects of ethical responsibility according to Emmanuel Lavinas's theories: (1) passivity; (2) heteronomy; and (3) inescapability. Discusses some ways in which reframing responsibility and subjectivity along this line might offer new possibilities for conceiving subjectivity and…

  3. Exposure to music and noise-induced hearing loss (NIHL) among professional pop/rock/jazz musicians.

    PubMed

    Halevi-Katz, Dana N; Yaakobi, Erez; Putter-Katz, Hanna

    2015-01-01

    Noise-induced hearing loss (NIHL) has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician's hearing loss. This study also examined professional pop/rock/jazz musicians' use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician's Questionnaire (PRJMQ) in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians' exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing.

  4. Exposure to music and noise-induced hearing loss (NIHL) among professional pop/rock/jazz musicians

    PubMed Central

    Halevi-Katz, Dana N.; Yaakobi, Erez; Putter-Katz, Hanna

    2015-01-01

    Noise-induced hearing loss (NIHL) has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician's hearing loss. This study also examined professional pop/rock/jazz musicians’ use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician's Questionnaire (PRJMQ) in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians’ exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing. PMID:25913555

  5. Improvisation as a Curricular Metaphor: Imagining Education for a Rural Creative Class

    ERIC Educational Resources Information Center

    Corbett, Michael

    2013-01-01

    Rural communities contain a largely unacknowledged innovative capacity founded on improvisational traditions. These traditions may be rooted in work practices in agriculture and other rurally-based productive activities but today they have expanded into other lifeworld locations, particularly virtual spaces that accelerate time-space compression.…

  6. Can Improvisation Be Taught?

    ERIC Educational Resources Information Center

    Peters, Gary

    2005-01-01

    The aim of this article is to reconsider the (age old) problem of relating theory to practice in art education by placing it within the largely ignored context of improvisation. In so doing it is hoped that some of the well-known "difficulties" art practitioners have when confronted with the (usually mandatory) history and theory components of…

  7. Harmonizing and Improvising in the Choral Rehearsal: A Sequential Approach

    ERIC Educational Resources Information Center

    Bell, Cindy L.

    2004-01-01

    This article challenges choral teachers to motivate their choirs to a new level of choral singing and harmonic creativity and outlines a sequential process for introducing improvisation into the daily warm-up. It argues that students can learn to harmonize and improvise by ear as part of each day's warm-up period. Sections include: (1) Chord…

  8. Improvisation and the Teaching of Literature: The Proceedings of a Symposium.

    ERIC Educational Resources Information Center

    CEMREL, Inc., St. Ann, MO.

    This report comprises transcripts of tape recordings of (1) a short improvisation session conducted by a drama coach and (2) the subsequent seminar (edited) in which the 28 participants explore the relationship of improvisation to teaching literature. Topics discussed are the objectives of literature instruction, emotional experience as an…

  9. Jazz in America: Who's Listening? NEA Draft Report.

    ERIC Educational Resources Information Center

    DeVeaux, Scott, Comp.

    This research report examines the data collected in The Survey of Public Participation in the Arts (SPPA) for 1992, funded by the National Endowment for the Arts. The study also provides a context for interpreting the data with a comparison to a similar survey of 1982. Jazz was defined as the respondents saw fit. Findings of the survey include:…

  10. Migration, Trauma, PTSD: A Gender Study in Morrison's Jazz

    ERIC Educational Resources Information Center

    Motlagh, Leila Tafreshi; Yahya, Wan Roselezam Wan

    2014-01-01

    Toni Morrison is an acknowledged master of trauma literature, however trauma theory and a gender response to trauma remain largely unaccounted for her migration literature, specifically "Jazz" (1992). In her novel, two migrant women are affected by the same trauma, a crime of passion. But they choose different reactions and coping…

  11. Humor doesn't retire: Improvisation as a health-promoting intervention for older adults.

    PubMed

    Morse, Lucy A; Xiong, Linda; Ramirez-Zohfeld, Vanessa; Anne, Seltzer; Barish, Becca; Lindquist, Lee A

    As our population ages and aging in place continues to remain a priority of older adults, identifying novel ways to promote the wellbeing of older adults and reduce isolation is of the utmost importance. The Second City is a Chicago-based comedy improvisation organization that provides training in improvisation. One of their training courses, Humor Doesn't Retire, specifically teaches adults 55 and over, on improvisation. This study sought to explore the experiences of older adults enrolled in Humor Doesn't Retire, and to characterize any benefits that older adult participants perceived following participation in the comedy improvisation course. Qualitative analysis was used to identify and describe common themes that emerged in a survey of open-ended questions regarding benefits of the improvisation course on outlook and mood as well as behavior changes. Results for perceived benefits showed main themes of increased positivity, an increased sense of comfort and ease with the unexpected, a sense of self-development and self-awareness, and a feeling of acceptance by their social group. Participants reported that these changes fed into their behaviors, and resulted in enhanced problem solving abilities, greater facility in social situations, and the tangible outcome of an expanded and closer-knit social circle. As the first study in our knowledge to examine the effect of improvisation comedy on healthy older adults, this exploratory analysis has suggested that improvisation comedy may be a mechanism by which to combat several geriatric syndromes, including depression, stress, and isolation - all of which are detrimental to older adults. Copyright © 2017 Elsevier B.V. All rights reserved.

  12. A National Survey of Music Education Majors' Confidence in Teaching Improvisation

    ERIC Educational Resources Information Center

    Bernhard, H. Christian, II.; Stringham, David A.

    2016-01-01

    The purpose of the study was to investigate undergraduate music education majors' confidence in teaching improvisation, according to the NAfME (1994) K-12 Achievement Standards. Specific research questions were: 1) How confident are music education majors in implementing the 11 improvisation achievement standards for grades K-12? 2) How confident…

  13. Improvisation and Meditation in the Academy: Parallel Ordeals, Insights, and Openings

    ERIC Educational Resources Information Center

    Sarath, Edward

    2015-01-01

    This article examines parallel challenges and avenues for progress I have observed in my efforts to introduce improvisation in classical music studies, and meditation in music and overall academic settings. Though both processes were once central in their respective knowledge traditions--improvisation in earlier eras of European classical music,…

  14. Being in the zone: physiological markers of togetherness in joint improvisation

    PubMed Central

    Noy, Lior; Levit-Binun, Nava; Golland, Yulia

    2015-01-01

    Performers improvising together describe special moments of ‘being in the zone’ – periods of high performance, synchrony, and enhanced sense of togetherness. Existing evidence suggests a possible route for attaining togetherness – interpersonal synchrony, the fine-grained sensory-motor coordination that promotes social connectedness. Here, we investigated the physiological characteristics of togetherness using a practice from theater and dance, the mirror game. Pairs of expert improvisers jointly improvised synchronized linear motion, while their motion tracks and cardiovascular activity were continuously monitored. Players also provided dynamic ratings of togetherness while watching video recordings of their games. We identified periods of togetherness using kinematic and subjective markers and assessed their physiological characteristics. The kinematic and the subjective measures of togetherness showed some agreement, with more extensive game periods being marked by the subjective than the kinematic one. Game rounds with high rates of togetherness were characterized by increased players’ cardiovascular activity, increased correlation of players’ heart rates (HRs), and increased motion intensity. By comparing motion segments with similar motion intensity, we showed that moments of togetherness in the mirror game were marked by increased players’ HRs, regardless of motion intensity. This pattern was robust for the subjectively defined periods of togetherness, while showing a marginal effect for the kinematically defined togetherness. Building upon similar findings in flow research we suggest that the observed increase of players’ HRs during togetherness periods in the mirror game might indicate the enhanced engagement and enjoyment reported by performers going into ‘the zone.’ The suggested approach, combining temporal measurements of kinematic, physiological and subjective responses, demonstrates how the dynamics of spontaneously emerging

  15. Being in the zone: physiological markers of togetherness in joint improvisation.

    PubMed

    Noy, Lior; Levit-Binun, Nava; Golland, Yulia

    2015-01-01

    Performers improvising together describe special moments of 'being in the zone' - periods of high performance, synchrony, and enhanced sense of togetherness. Existing evidence suggests a possible route for attaining togetherness - interpersonal synchrony, the fine-grained sensory-motor coordination that promotes social connectedness. Here, we investigated the physiological characteristics of togetherness using a practice from theater and dance, the mirror game. Pairs of expert improvisers jointly improvised synchronized linear motion, while their motion tracks and cardiovascular activity were continuously monitored. Players also provided dynamic ratings of togetherness while watching video recordings of their games. We identified periods of togetherness using kinematic and subjective markers and assessed their physiological characteristics. The kinematic and the subjective measures of togetherness showed some agreement, with more extensive game periods being marked by the subjective than the kinematic one. Game rounds with high rates of togetherness were characterized by increased players' cardiovascular activity, increased correlation of players' heart rates (HRs), and increased motion intensity. By comparing motion segments with similar motion intensity, we showed that moments of togetherness in the mirror game were marked by increased players' HRs, regardless of motion intensity. This pattern was robust for the subjectively defined periods of togetherness, while showing a marginal effect for the kinematically defined togetherness. Building upon similar findings in flow research we suggest that the observed increase of players' HRs during togetherness periods in the mirror game might indicate the enhanced engagement and enjoyment reported by performers going into 'the zone.' The suggested approach, combining temporal measurements of kinematic, physiological and subjective responses, demonstrates how the dynamics of spontaneously emerging dyadic states can be

  16. Contextualized Improvisation in Solfege Class

    ERIC Educational Resources Information Center

    Dos Santos, Regina Antunes Teixeira; Del Ben, Luciana

    2004-01-01

    This article presents practitioner research dealing with improvisation in solfege as a creative alternative for the development of music perception. Solfege practice, conceived as a personal construction of a melody, requires an attitude that embraces aural sensitivity to the spatial and temporal dimensions of a melodic line, identification of…

  17. Improvisation: A Complement to Curriculum

    ERIC Educational Resources Information Center

    Ronald, Green A.

    2006-01-01

    With the growth of standardized assessment benchmarks in both the public and private paradigms, testing performance matters to institutions more than ever. In an attempt to take as many hindering variables out of this process, such as test anxiety, socioeconomic influences, and latency in cognition, Improvisation: A Complement to Curriculum seeks…

  18. Detecting underwater improvised explosive threats (DUIET)

    NASA Astrophysics Data System (ADS)

    Feeley, Terry

    2010-04-01

    Improvised Explosive Devices (IEDs) have presented a major threat in the wars in Afghanistan and Iraq. These devices are powerful homemade land mines that can be small and easily hidden near roadsides. They are then remotely detonated when Coalition Forces pass by either singly or in convoys. Their rapid detection, classification and destruction is key to the safety of troops in the area. These land based bombs will have an analogue in the underwater theater especially in ports, lakes, rivers and streams. These devices may be used against Americans on American soil as an element of the global war on terrorism (GWOT) Rapid detection and classification of underwater improvised explosive devices (UIED) is critical to protecting innocent lives and maintaining the day to day flow of commerce. This paper will discuss a strategy and tool set to deal with this potential threat.

  19. Growing Mathematical Understanding through Collective Image Making, Collective Image Having, and Collective Property Noticing

    ERIC Educational Resources Information Center

    Martin, Lyndon C.; Towers, Jo

    2015-01-01

    In the research reported in this paper, we develop a theoretical perspective to describe and account for the growth of collective mathematical understanding. We discuss collective processes in mathematics, drawing in particular on theoretical work in the domains of improvisational jazz and theatre. Using examples of data from a study of elementary…

  20. Informal in Formal: The Relationship of Informal and Formal Learning in Popular and Jazz Music Master Workshops in Conservatoires

    ERIC Educational Resources Information Center

    Virkkula, Esa

    2016-01-01

    The present article will examine informal learning in popular and jazz music education in Finland and evaluate it as a part of formal upper secondary vocational musicians' training, which is typically teacher directed. It is not necessarily the best model of working in popular and jazz music learning, which has traditionally benefitted from…

  1. Reflections on Freirean Pedagogy in a Jazz Combo Lab

    ERIC Educational Resources Information Center

    Shevock, Daniel J.

    2015-01-01

    Paulo Freire was an important figure in adult education whose pedagogy has been used in music education. In this act of praxis (reflection and action upon the world in order to transform it), I share an autoethnography of my teaching of a university-level small ensemble jazz class. The purpose of this autoethnography was to examine my teaching…

  2. Exploring an Industry-Based Jazz Education Performance Training Programme

    ERIC Educational Resources Information Center

    Kerr, Derrin; Knight, Bruce Allen

    2010-01-01

    The Central Queensland Conservatorium of Music (CQCM) has maintained a partnership with Hamilton Island Enterprises (HIE) since 2002. As a part of this partnership, the Bachelor of Music (jazz & popular) students visit Hamilton Island (HI), an island resort located off the Australian east coast, four to six times annually to engage in 3 to 10…

  3. Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features.

    PubMed

    Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

    2015-01-01

    When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

  4. Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features

    PubMed Central

    Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

    2016-01-01

    When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content. PMID:26779055

  5. The Adjective Check List and Musical Creativity.

    ERIC Educational Resources Information Center

    Patnoe, Shelley

    A study was conducted to determine whether a stable set of core characteristics found to be associated with creativity in samples of creative adults would also distinguish a group of professional jazz musicians selected for excellence of improvisational ability. A second purpose of the study was to see whether such differences found between groups…

  6. An improvised mould for vaginoplasty.

    PubMed

    Viegas, T; Thomas, R; Guido, N L

    1989-07-01

    The use of a simple, improvised mould for vaginoplasty is described. It is made of rubber foam rolled over a winged infusion cannula and covered over by condoms. It offers a number of advantages over conventional moulds, the main ones being its simplicity of construction and its ease of application and removal from the neo-vagina.

  7. A Comparative Analysis of Method Books for Class Jazz Instruction

    ERIC Educational Resources Information Center

    Watson, Kevin E.

    2017-01-01

    The purpose of this study was to analyze and compare instructional topics and teaching approaches included in selected class method books for jazz pedagogy through content analysis methodology. Frequency counts for the number of pages devoted to each defined instructional content category were compiled and percentages of pages allotted to each…

  8. Design of a Virtual Player for Joint Improvisation with Humans in the Mirror Game

    PubMed Central

    Zhai, Chao; Alderisio, Francesco; Tsaneva-Atanasova, Krasimira; di Bernardo, Mario

    2016-01-01

    Joint improvisation is often observed among humans performing joint action tasks. Exploring the underlying cognitive and neural mechanisms behind the emergence of joint improvisation is an open research challenge. This paper investigates jointly improvised movements between two participants in the mirror game, a paradigmatic joint task example. First, experiments involving movement coordination of different dyads of human players are performed in order to build a human benchmark. No designation of leader and follower is given beforehand. We find that joint improvisation is characterized by the lack of a leader and high levels of movement synchronization. Then, a theoretical model is proposed to capture some features of their interaction, and a set of experiments is carried out to test and validate the model ability to reproduce the experimental observations. Furthermore, the model is used to drive a computer avatar able to successfully improvise joint motion with a human participant in real time. Finally, a convergence analysis of the proposed model is carried out to confirm its ability to reproduce joint movements between the participants. PMID:27123927

  9. Design of a Virtual Player for Joint Improvisation with Humans in the Mirror Game.

    PubMed

    Zhai, Chao; Alderisio, Francesco; Słowiński, Piotr; Tsaneva-Atanasova, Krasimira; di Bernardo, Mario

    2016-01-01

    Joint improvisation is often observed among humans performing joint action tasks. Exploring the underlying cognitive and neural mechanisms behind the emergence of joint improvisation is an open research challenge. This paper investigates jointly improvised movements between two participants in the mirror game, a paradigmatic joint task example. First, experiments involving movement coordination of different dyads of human players are performed in order to build a human benchmark. No designation of leader and follower is given beforehand. We find that joint improvisation is characterized by the lack of a leader and high levels of movement synchronization. Then, a theoretical model is proposed to capture some features of their interaction, and a set of experiments is carried out to test and validate the model ability to reproduce the experimental observations. Furthermore, the model is used to drive a computer avatar able to successfully improvise joint motion with a human participant in real time. Finally, a convergence analysis of the proposed model is carried out to confirm its ability to reproduce joint movements between the participants.

  10. Effects of jazz on postoperative pain and stress in patients undergoing elective hysterectomy.

    PubMed

    Rafer, Lorenzo; Austin, Flower; Frey, Jessica; Mulvey, Christie; Vaida, Sonia; Prozesky, Jansie

    2015-01-01

    Anesthesiologists use various medications to provide surgical patients with pain relief in the postoperative period. Other modalities, such as music, could be used in conjunction with opioids and nonsteroidal anti-inflammatory drugs (NSAIDs) to decrease pain and lower heart rate and blood pressure. Our hypothesis was that patients listening to jazz in a postanesthesia care unit (PACU) would have lower heart rates and blood pressures and reduced pain and anxiety. The study objective was to determine if listening to jazz music in the PACU, when compared to wearing noise-canceling headphones with no music playing, would decrease heart rate, blood pressure, pain, or anxiety in patients undergoing a hysterectomy. The research design was a prospective, randomized study. The study was conducted in the PACU at the Penn State Hershey Medical Center in Hershey, PA, USA. A total of 56 patients, aged 18-75 y, who were categorized as status 1 or 2 according to the American Society of Anesthesiologists (ASA) Physical Status Classification System, and who were undergoing elective laparoscopic or abdominal hysterectomies, were enrolled in the study. Patients were randomly assigned either to listen to jazz music where the beats per min (BPM) was <100 (experimental group, n = 28) or to wear noise-canceling headphones (control group, n = 28) for 30 min while in the PACU after their surgery. Heart rate was the primary outcome, and secondary outcomes included systolic and diastolic blood pressure, an anxiety score, and a pain score. All outcome measures were initially recorded at baseline upon the patient's arrival in the PACU. Heart rate and blood pressure were recorded postoperatively every 5 min for the initial 30 min that a patient was in the PACU. Pain was checked every 10 min during the 30-min period; anxiety was checked at 30 min. Heart rates of patients in the noise-cancellation group were significantly lower when compared with baseline (P < .05), at all time points. For

  11. A Brave New Campus--Marysville Getchell High School Campus 2011 MacConnell Award Winner

    ERIC Educational Resources Information Center

    Yurko, Amy

    2011-01-01

    I'll never forget my amazement when my favorite jazz vocalist, also my teacher, revealed that even as a veteran musician, she still gets nervous on the stage. "Nervous energy encourages me to take chances" she said, emphasizing that taking chances is key to the musical improvisation for which she is known to this day. I enjoy finding…

  12. 'Don't play the butter notes': jazz in medical education.

    PubMed

    Bradner, Melissa; Harper, Darryl V; Ryan, Mark H; Vanderbilt, Allison A

    2016-01-01

    Jazz has influenced world music and culture globally - attesting to its universal truths of surviving, enduring, and triumphing over tragedy. This begs the question, what can we glean in medical education from this philosophy of jazz mentoring? Despite our training to understand disease and illness in branching logic diagrams, the human experience of illness is still best understood when told as a story. Stories like music have tempos, pauses, and silences. Often they are not linear but wrap around the past, future, and back to the present, frustrating the novice and the experienced clinician in documenting the history of present illness. The first mentoring lesson Hancock discusses is from a time he felt stuck with his playing - his sound was routine. Miles Davis told him in a low husky murmur, 'Don't play the butter notes'. In medical education, 'don't play the butter notes' suggests not undervaluing the metacognition and reflective aspects of medical training that need to be fostered during the early years of clinical teaching years.

  13. Taking two to tango: fMRI analysis of improvised joint action with physical contact

    PubMed Central

    Belyk, Michel; Brown, Steven

    2018-01-01

    Many forms of joint action involve physical coupling between the participants, such as when moving a sofa together or dancing a tango. We report the results of a novel two-person functional MRI study in which trained couple dancers engaged in bimanual contact with an experimenter standing next to the bore of the magnet, and in which the two alternated between being the leader and the follower of joint improvised movements. Leading showed a general pattern of self-orientation, being associated with brain areas involved in motor planning, navigation, sequencing, action monitoring, and error correction. In contrast, following showed a far more sensory, externally-oriented pattern, revealing areas involved in somatosensation, proprioception, motion tracking, social cognition, and outcome monitoring. We also had participants perform a “mutual” condition in which the movement patterns were pre-learned and the roles were symmetric, thereby minimizing any tendency toward either leading or following. The mutual condition showed greater activity in brain areas involved in mentalizing and social reward than did leading or following. Finally, the analysis of improvisation revealed the dual importance of motor-planning and working-memory areas. We discuss these results in terms of theories of both joint action and improvisation. PMID:29324862

  14. Improvising with Material in the Higher Education Dance Technique Class: Exploration and Ownership

    ERIC Educational Resources Information Center

    Rimmer, Rachel

    2013-01-01

    In this article the author, Rachel Rimmer, explores how improvisation can facilitate skills that are transferable to other areas of dance practice, enabling different areas of study to complement each other. The experimental forum of improvisation as an alternative method of learning technique is considered, contemplating the value of this…

  15. Spontaneous Dancemaking with Beginning Improvisers: Foundational Practices in Presence, Stillness, and Problem Solving

    ERIC Educational Resources Information Center

    Martin, Nina

    2017-01-01

    Many dance artists in their first encounters with improvisational dance making begin not only to learn how to compose spontaneously, but also to gain skills for coping with the uncertainties inherent in the form. This article suggests helpful dance scores for beginning students of physical improvisation and those who teach improvisational…

  16. Implementation of structure-mapping inference by event-file binding and action planning: a model of tool-improvisation analogies.

    PubMed

    Fields, Chris

    2011-03-01

    Structure-mapping inferences are generally regarded as dependent upon relational concepts that are understood and expressible in language by subjects capable of analogical reasoning. However, tool-improvisation inferences are executed by members of a variety of non-human primate and other species. Tool improvisation requires correctly inferring the motion and force-transfer affordances of an object; hence tool improvisation requires structure mapping driven by relational properties. Observational and experimental evidence can be interpreted to indicate that structure-mapping analogies in tool improvisation are implemented by multi-step manipulation of event files by binding and action-planning mechanisms that act in a language-independent manner. A functional model of language-independent event-file manipulations that implement structure mapping in the tool-improvisation domain is developed. This model provides a mechanism by which motion and force representations commonly employed in tool-improvisation structure mappings may be sufficiently reinforced to be available to inwardly directed attention and hence conceptualization. Predictions and potential experimental tests of this model are outlined.

  17. Bilateral tension pneumothorax following equipment improvisation.

    PubMed

    Zambricki, Christine; Schmidt, Carol; Vos, Karen

    2014-02-01

    This case report describes an unexpected event that took place as a result of using improvised equipment. The patient, a 16-year-old female undergoing complex oral surgery, suffered bilateral pneumothorax following the improper use of an airway support device. During the immediate postoperative period with the patient still intubated, oxygen tubing was attached to a right angle elbow connector with the port closed and 10 L/minute oxygen flow was administered to the patient in a manner that did not allow the patient to exhale. Within seconds, pneumothorax was apparent as the patient's vital signs deteriorated, visible swelling was noted in the shoulders and neck, and there was an absence of breath sounds on auscultation. This case study has application beyond the immediate discussion of bilateral pneumothorax, serving as a caution about the unintended consequences of equipment improvisation. In addition to highlighting the hazards of providing patient care with a non-standard device, this study also provides a powerful example of the human factors that can contribute to medical errors in the healthcare setting.

  18. Improvisational Theatre as Public Pedagogy: A Case Study of "Aesthetic" Pedagogy in Leadership Development

    ERIC Educational Resources Information Center

    Katz-Buonincontro, Jen

    2011-01-01

    How does improvisational theatre promote aesthetic learning in leaders, emphasizing emotion and somatic, or sensory, knowledge? While improvisational theatre has been used in organizational settings, there is little empirical research describing the aesthetic learning process geared towards preparing educational leaders. Based on a case study of…

  19. It Don't Mean a Thing if It Ain't Got Musicality: A Music-First Method for Teaching Historically Rooted Jazz Dance

    ERIC Educational Resources Information Center

    Liebhard, Erinn

    2015-01-01

    This article proposes a method for teaching jazz dance technique according to music concepts and prioritizing deep embodiment of music. This method addresses what can be seen as a disconnect between current practices and historical understanding in jazz dance today, a gap that can be bridged with education empowering students to make innovative…

  20. Rapid and flexible creativity in musical improvisation: review and a model.

    PubMed

    Loui, Psyche

    2018-03-25

    Creativity has been defined as the ability to produce output that is novel, useful, beneficial, and desired by an audience. But what is musical creativity, and relatedly, to what extent does creativity depend on domain-general or domain-specific neural and cognitive processes? To what extent can musical creativity be taught? To answer these questions from a reductionist scientific approach, we must attempt to isolate the creative process as it pertains to music. Recent work in the neuroscience of creativity has turned to musical improvisation as a window into real-time musical creative process in the brain. Here, I provide an overview of recent research in the neuroscience of musical improvisation, especially focusing on multimodal neuroimaging studies. This research informs a model of creativity as a combination of generative and reactive processes that coordinate their functions to give rise to perpetually novel and aesthetically rewarding improvised musical output. © 2018 New York Academy of Sciences.

  1. Assessment of hearing and hearing disorders in rock/jazz musicians.

    PubMed

    Kähärit, Kim; Zachau, Gunilla; Eklöf, Mats; Sandsjö, Leif; Möller, Claes

    2003-07-01

    The aim of this study was to assess hearing and hearing disorders among rock/jazz musicians. One hundred and thirty-nine (43 women and 96 men) musicians participated. The results are based on pure-tone audiometry and questionnaire responses. According to our definition of hearing loss, tinnitus, hyperacusis, distortion and/or diplacusis as hearing disorders, we found disorders in 74%, of the rock/jazz musicians studied. Hearing loss, tinnitus and hyperacusis were most common, and the latter two were found significantly more frequently than in different reference populations. The women showed bilateral, significantly better hearing thresholds at 3-6 kHz than the men. Hyperacusis, and the combination of both hyperacusis and tinnitus, were found to be significantly more frequent among women than among men. Hearing loss and tinnitus were significantly more common among men than among women. It is important to evaluate all kinds of hearing problems (other than hearing loss) in musicians, since they represent an occupational group especially dependent on optimal, functional hearing. On the basis of our results, we suggest that hearing problems such as tinnitus, hyperacusis, distortion and/or diplacusis should, in addition to hearing loss, be defined as hearing disorders.

  2. Students Engaging in Diversity: Blogging to Learn the History of Jazz

    ERIC Educational Resources Information Center

    Stewart, Anissa Ryan; Reid, Jacqueline Marie; Stewart, Jeffrey C.

    2014-01-01

    This study examined discursive choices made by the instructor of a Black Studies course in constructing what counted as blogging and the history of jazz; how students showed evidence of meeting the course requirements, and how particular students engaged with issues of race and diversity in their blogs. The instructor required blogging to enable…

  3. Pictionary-based fMRI paradigm to study the neural correlates of spontaneous improvisation and figural creativity.

    PubMed

    Saggar, Manish; Quintin, Eve-Marie; Kienitz, Eliza; Bott, Nicholas T; Sun, Zhaochun; Hong, Wei-Chen; Chien, Yin-hsuan; Liu, Ning; Dougherty, Robert F; Royalty, Adam; Hawthorne, Grace; Reiss, Allan L

    2015-05-28

    A novel game-like and creativity-conducive fMRI paradigm is developed to assess the neural correlates of spontaneous improvisation and figural creativity in healthy adults. Participants were engaged in the word-guessing game of Pictionary(TM), using an MR-safe drawing tablet and no explicit instructions to be "creative". Using the primary contrast of drawing a given word versus drawing a control word (zigzag), we observed increased engagement of cerebellum, thalamus, left parietal cortex, right superior frontal, left prefrontal and paracingulate/cingulate regions, such that activation in the cingulate and left prefrontal cortices negatively influenced task performance. Further, using parametric fMRI analysis, increasing subjective difficulty ratings for drawing the word engaged higher activations in the left pre-frontal cortices, whereas higher expert-rated creative content in the drawings was associated with increased engagement of bilateral cerebellum. Altogether, our data suggest that cerebral-cerebellar interaction underlying implicit processing of mental representations has a facilitative effect on spontaneous improvisation and figural creativity.

  4. Pictionary-based fMRI paradigm to study the neural correlates of spontaneous improvisation and figural creativity

    PubMed Central

    Saggar, Manish; Quintin, Eve-Marie; Kienitz, Eliza; Bott, Nicholas T.; Sun, Zhaochun; Hong, Wei-Chen; Chien, Yin-hsuan; Liu, Ning; Dougherty, Robert F.; Royalty, Adam; Hawthorne, Grace; Reiss, Allan L.

    2015-01-01

    A novel game-like and creativity-conducive fMRI paradigm is developed to assess the neural correlates of spontaneous improvisation and figural creativity in healthy adults. Participants were engaged in the word-guessing game of PictionaryTM, using an MR-safe drawing tablet and no explicit instructions to be “creative”. Using the primary contrast of drawing a given word versus drawing a control word (zigzag), we observed increased engagement of cerebellum, thalamus, left parietal cortex, right superior frontal, left prefrontal and paracingulate/cingulate regions, such that activation in the cingulate and left prefrontal cortices negatively influenced task performance. Further, using parametric fMRI analysis, increasing subjective difficulty ratings for drawing the word engaged higher activations in the left pre-frontal cortices, whereas higher expert-rated creative content in the drawings was associated with increased engagement of bilateral cerebellum. Altogether, our data suggest that cerebral-cerebellar interaction underlying implicit processing of mental representations has a facilitative effect on spontaneous improvisation and figural creativity. PMID:26018874

  5. Improvised first aid techniques for terrorist attacks.

    PubMed

    Loftus, Andrew; Pynn, Harvey; Parker, Paul

    2018-06-15

    Terrorist acts occur every day around the world. Healthcare professionals are often present as bystander survivors in these situations, with none of the equipment or infrastructure they rely on in their day-to-day practice. Within several countries there has been a move to disseminate the actions to take in the event of such attacks: in the UK, Run, Hide, Tell , and in the USA, Fight Back This paper outlines how a very basic medical knowledge combined with everyday high-street items can render highly effective first aid and save lives. We discuss and summarise modern improvised techniques. These include the ABCDE approach of treating catastrophic haemorrhage before airway management, bringing together improvised techniques from the military and wilderness medicine. We explain how improvised tourniquets, wound dressings, splinting and traction devices can be fabricated using items from the high street: nappies, tampons, cling film, duct tape and tablecloths. Cervical spine immobilisation is a labour-intensive protocol that is often practised defensively. With little evidence to support the routine use of triple immobilisation, this should be replaced with a common sense dynamic approach such as the Montana neck brace. Acid or alkali attacks are also examined with simple pragmatic advice. Analgesia is discussed in the context of a prehospital setting. Pharmacy-obtained oral morphine and diclofenac suppositories can be used to treat moderate pain without relying on equipment for intravenous/intraosseous infusion in prolonged hold situations. The differentiation between concealment and cover is summarised: scene safety remains paramount. © Article author(s) (or their employer(s) unless otherwise stated in the text of the article) 2018. All rights reserved. No commercial use is permitted unless otherwise expressly granted.

  6. An Aural Learning Project: Assimilating Jazz Education Methods for Traditional Applied Pedagogy

    ERIC Educational Resources Information Center

    Gamso, Nancy M.

    2011-01-01

    The Aural Learning Project (ALP) was developed to incorporate jazz method components into the author's classical practice and her applied woodwind lesson curriculum. The primary objective was to place a more focused pedagogical emphasis on listening and hearing than is traditionally used in the classical applied curriculum. The components of the…

  7. The Effects of Varying Ratios of Physical and Mental Practice, and Task Difficulty on Performance of a Tonal Pattern

    ERIC Educational Resources Information Center

    Cahn, Dan

    2008-01-01

    Sixty undergraduate students who had completed at least one semester of jazz improvisation were assigned to either: (a) physical practice (PP); (b) mental practice (MP); (c) combined 66 percent PP and 33 percent MP (66%PP:33%MP); and (d) combined 33 percent PP and 66 percent MP (33%PP:66%MP) groups. Subjects were to perform a 3-1-7-5 tonal pattern…

  8. Tinkering toward departure: The limits of improvisation in rural Ethiopian biomedical practices.

    PubMed

    Rieder, Stephanie

    2017-04-01

    This paper explores Ethiopian physicians' responses to tensions produced by gaps between ideals of biomedicine and realities of clinical practice in two rural Ethiopian hospitals. Physicians engage in creativity and improvisation, including relying on informal networks and practices and tinkering within diagnoses and procedures, to overcome constraints of lack of resources and limited opportunities to engage in "good medicine." These courageous, but often unsuccessful attempts to mitigate professional and personal conflicts within their medical practices represent improvisation in impossible circumstances. This paper results from ethnographic research conducted in 2013-2014 and includes participant observations and qualitative interviews in two hospitals within the same community. The inherent conflicts among globalized standards, unpredictable transnational medical networks, and innovative practices produce tenuous clinical spaces and practices that rely on a mosaic of techniques and ad hoc connections. Tinkering and improvisation often fail to mediate these conflicts, contributing to physician disenchantment and departure from the community. Copyright © 2017 Elsevier Ltd. All rights reserved.

  9. Creating the next steps to care: Maternal heath, improvisation, and Fulani women in Niamey, Niger.

    PubMed

    Burgess, Sarah

    2016-12-01

    On paper, Niger's maternal healthcare system is extensively outlined by policies which assure access to certain services and create hierarchical referral chains. In practice it remains intensely improvisational: actors in the system must frequently make up the next steps to giving and receiving care, often outside the existing policies and procedures. Although population health in Niger has improved since the recently enacted gratuité des soins policy (which guarantees free access to certain material and child health services), care on the ground is still dictated by difficult circumstances and scarce resources. Health workers often lack the required medications and supplies; nevertheless, they must find ways to deliver services. Patients seeking maternal health services are frequently dissatisfied with the care they receive and so move forward of their own volition, by negotiating with health workers or by looking for services elsewhere. This research builds on recent scholarly work on improvisation, and asks us to further look at the ways that improvisation can be informed by the identity of the actors. Examining case studies of women from the Fulani ethnic group illustrates how particular cultural differences can inform improvisation. Analysing improvisation can also have policy implications; identifying typical points of departure from the official maternal health care system can reveal points where Niger can bolster its commitment to a universally high quality of care.

  10. Teachers' Improvisation of Instructional Materials for Nigerian Home Economics Curriculum Delivery: Challenges and Strategies

    ERIC Educational Resources Information Center

    Olibie, Eyiuche Ifeoma; Nwabunwanne, Chinyere; Ezenwanne, Dorothy Nkem

    2013-01-01

    This study was designed to ascertain the challenges of improvising instructional materials by Home Economics teachers at the Upper Basic education level in Nigeria, and as a result identify strategies for enhancing improvisation. The study used survey research design based on two research questions. The sample was four hundred and thirty-one Home…

  11. Child-Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children's Musical Improvisation.

    PubMed

    Addessi, Anna Rita; Anelli, Filomena; Benghi, Diber; Friberg, Anders

    2017-01-01

    In this article children's musical improvisation is investigated through the "reflexive interaction" paradigm. We used a particular system, the MIROR-Impro, implemented in the framework of the MIROR project (EC-FP7), which is able to reply to the child playing a keyboard by a "reflexive" output, mirroring (with repetitions and variations) her/his inputs. The study was conducted in a public primary school, with 47 children, aged 6-7. The experimental design used the convergence procedure, based on three sample groups allowing us to verify if the reflexive interaction using the MIROR-Impro is necessary and/or sufficient to improve the children's abilities to improvise. The following conditions were used as independent variables: to play only the keyboard, the keyboard with the MIROR-Impro but with not-reflexive reply, the keyboard with the MIROR-Impro with reflexive reply. As dependent variables we estimated the children's ability to improvise in solos, and in duets. Each child carried out a training program consisting of 5 weekly individual 12 min sessions. The control group played the complete package of independent variables; Experimental Group 1 played the keyboard and the keyboard with the MIROR-Impro with not-reflexive reply; Experimental Group 2 played only the keyboard with the reflexive system. One week after, the children were asked to improvise a musical piece on the keyboard alone (Solo task), and in pairs with a friend (Duet task). Three independent judges assessed the Solo and the Duet tasks by means of a grid based on the TAI-Test for Ability to Improvise rating scale. The EG2, which trained only with the reflexive system, reached the highest average results and the difference with EG1, which did not used the reflexive system, is statistically significant when the children improvise in a duet. The results indicate that in the sample of participants the reflexive interaction alone could be sufficient to increase the improvisational skills, and necessary

  12. The Power of Limits and the Pleasure of Games: An Easy and Fun Piano Duo Improvisation

    ERIC Educational Resources Information Center

    Thibeault, Matthew D.

    2012-01-01

    This column presents an improvisation game designed to be played by any two musicians from beginner through professional skill level. The author argues that two aspects are critical for success: one, an understanding of the creative power of limits; and, two, the importance of framing the activity as a game. The game, based on the limit of the…

  13. Neurological problems of jazz legends.

    PubMed

    Pearl, Phillip L

    2009-08-01

    A variety of neurological problems have affected the lives of giants in the jazz genre. Cole Porter courageously remained prolific after severe leg injuries secondary to an equestrian accident, until he succumbed to osteomyelitis, amputations, depression, and phantom limb pain. George Gershwin resisted explanations for uncinate seizures and personality change and herniated from a right temporal lobe brain tumor, which was a benign cystic glioma. Thelonious Monk had erratic moods, reflected in his pianism, and was ultimately mute and withdrawn, succumbing to cerebrovascular events. Charlie Parker dealt with mood lability and drug dependence, the latter emanating from analgesics following an accident, and ultimately lived as hard as he played his famous bebop saxophone lines and arpeggios. Charles Mingus hummed his last compositions into a tape recorder as he died with motor neuron disease. Bud Powell had severe posttraumatic headaches after being struck by a police stick defending Thelonious Monk during a Harlem club raid.

  14. Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers.

    PubMed

    Manfredi, Claudia; Barbagallo, Davide; Baracca, Giovanna; Orlandi, Silvia; Bandini, Andrea; Dejonckere, Philippe H

    2015-07-01

    The obvious perceptual differences between various singing styles like Western operatic and jazz rely on specific dissimilarities in vocal technique. The present study focuses on differences in vibrato acoustics and in singer's formant as analyzed by a novel software tool, named BioVoice, based on robust high-resolution and adaptive techniques that have proven its validity on synthetic voice signals. A total of 48 professional singers were investigated (29 females; 19 males; 29 Western operatic; and 19 jazz). They were asked to sing "a cappella," but with artistic expression, a well-known musical phrase from Gershwin's Porgy and Bess, in their own style: either operatic or jazz. A specific sustained note was extracted for detailed vibrato analysis. Beside rate (s(-1)) and extent (cents), duration (seconds) and regularity were computed. Two new concepts are introduced: vibrato jitter and vibrato shimmer, by analogy with the traditional jitter and shimmer of voice signals. For the singer's formant, on the same sustained tone, the ratio of the acoustic energy in formants 1-2 to the energy in formants 3, 4, and 5 was automatically computed, providing a quality ratio (QR). Vibrato rates did not differ among groups. Extent was significantly larger in operatic singers, particularly females. Vibrato jitter and vibrato shimmer were significantly smaller in operatic singers. Duration of vibrato was also significantly longer in operatic singers. QR was significantly lower in male operatic singers. Some vibrato characteristics (extent, regularity, and duration) very clearly differentiate the Western operatic singing style from the jazz singing style. The singer's formant is typical of male operatic singers. The new software tool is well suited to provide useful feedback in a pedagogical context. Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.

  15. The Vocal Jazz Ensemble: Systemic Interactions in the Creation of Three University Programs

    ERIC Educational Resources Information Center

    Letson, Stephanie Austin

    2010-01-01

    This study examined the experiences of three vocal jazz ensemble directors who influenced the field through their successful programs at the university level. These directors, Dr. Gene Aitken, Professor Larry Lapin, and Dr. Stephen Zegree, were chosen because of their national reputations as well as their program's longevity and success. The…

  16. Improvisation in Teaching and Education--Roots and Applications

    ERIC Educational Resources Information Center

    Holdhus, Kari; Høisaeter, Sissel; Maeland, Kjellfrid; Vangsnes, Vigdis; Engelsen, Knut Steinar; Espeland, Magne; Espeland, Åsmund

    2016-01-01

    The main aim of this review article is to understand and discuss the concept of improvisation as a professional skill for teacher educators. The literature review suggests that five academic traditions are especially relevant to examine: Rhetoric, music, theatre/drama, organizational theory and education. The dialogic, open-scripted, interactive…

  17. Scale-Adaptive Group Optimization for Social Activity Planning

    DTIC Science & Technology

    2015-05-22

    1) interest in the activity topic or content, and (2) social tightness with other attendees [5,8]. For example, if a person who appreciates jazz ...music has complimentary tickets for a jazz concert in Rose Theatre, she is inclined to invite her friends or friends of friends who are also jazzists

  18. Child–Computer Interaction at the Beginner Stage of Music Learning: Effects of Reflexive Interaction on Children’s Musical Improvisation

    PubMed Central

    Addessi, Anna Rita; Anelli, Filomena; Benghi, Diber; Friberg, Anders

    2017-01-01

    In this article children’s musical improvisation is investigated through the “reflexive interaction” paradigm. We used a particular system, the MIROR-Impro, implemented in the framework of the MIROR project (EC-FP7), which is able to reply to the child playing a keyboard by a “reflexive” output, mirroring (with repetitions and variations) her/his inputs. The study was conducted in a public primary school, with 47 children, aged 6–7. The experimental design used the convergence procedure, based on three sample groups allowing us to verify if the reflexive interaction using the MIROR-Impro is necessary and/or sufficient to improve the children’s abilities to improvise. The following conditions were used as independent variables: to play only the keyboard, the keyboard with the MIROR-Impro but with not-reflexive reply, the keyboard with the MIROR-Impro with reflexive reply. As dependent variables we estimated the children’s ability to improvise in solos, and in duets. Each child carried out a training program consisting of 5 weekly individual 12 min sessions. The control group played the complete package of independent variables; Experimental Group 1 played the keyboard and the keyboard with the MIROR-Impro with not-reflexive reply; Experimental Group 2 played only the keyboard with the reflexive system. One week after, the children were asked to improvise a musical piece on the keyboard alone (Solo task), and in pairs with a friend (Duet task). Three independent judges assessed the Solo and the Duet tasks by means of a grid based on the TAI-Test for Ability to Improvise rating scale. The EG2, which trained only with the reflexive system, reached the highest average results and the difference with EG1, which did not used the reflexive system, is statistically significant when the children improvise in a duet. The results indicate that in the sample of participants the reflexive interaction alone could be sufficient to increase the improvisational

  19. A Most Rare Vision: Improvisations on "A Midsummer Night's Dream."

    ERIC Educational Resources Information Center

    Hakaim, Charles J., Jr.

    1993-01-01

    Describes one teacher's methods for introducing to secondary English students the concepts of improvisation, experimentation, and innovation. Discusses numerous techniques for fostering such skills when working with William Shakespeare's "A Midsummer Night's Dream." (HB)

  20. Freedom and Responsibility: The Aesthetics of Free Musical Improvisation and Its Educational Implications--A View from Bakhtin

    ERIC Educational Resources Information Center

    Kanellopoulos, Panagiotis A.

    2011-01-01

    This paper aims to examine how specific aspects of Bakhtin's theoretical perspective might inform our understanding of improvisation. Moreover, it outlines the possible educational implications of such a perspective. Specifically, a sketch of a Bakhtinian conception of improvisation is proposed, a sketch which emphasizes the cultivation of an…

  1. A study on Improvisation in a Musical performance using Multifractal Detrended Cross Correlation Analysis

    NASA Astrophysics Data System (ADS)

    Sanyal, Shankha; Banerjee, Archi; Patranabis, Anirban; Banerjee, Kaushik; Sengupta, Ranjan; Ghosh, Dipak

    2016-11-01

    MFDFA (the most rigorous technique to assess multifractality) was performed on four Hindustani music samples played on same 'raga' sung by the same performer. Each music sample was divided into six parts and 'multifractal spectral width' was determined for each part corresponding to the four samples. The results obtained reveal that different parts of all the four sound signals possess spectral width of widely varying values. This gives a cue of the so called 'musical improvisation' in all music samples, keeping in mind they belong to the bandish part of the same raga. Formal compositions in Hindustani raga are juxtaposed with the improvised portions, where an artist manoeuvers his/her own creativity to bring out a mood that is specific for that particular performance, which is known as 'improvisation'. Further, this observation hints at the association of different emotions even in the same bandish of the same raga performed by the same artist, this interesting observation cannot be revealed unless rigorous non-linear technique explores the nature of musical structure. In the second part, we applied MFDXA technique to explore more in-depth about 'improvisation' and association with emotion. This technique is applied to find the degree of cross-correlation (γx) between the different parts of the samples. Pronounced correlation has been observed in the middle parts of the all the four samples evident from higher values of γx ​whereas the other parts show weak correlation. This gets further support from the values of spectral width from different parts of the sample - width of those parts is significantly different from other parts. This observation is extremely new both in respect of musical structure of so called improvisation and associated emotion. The importance of this study in application area of cognitive music therapy is immense.

  2. An Improvised Eye-Pointing Communication System for Temporary Use.

    ERIC Educational Resources Information Center

    King, Thomas W.

    1990-01-01

    The construction and use of an improvised eye-pointing communication device is described. It is suggested for temporary use to establish and enhance initial communication with communication-disabled clients in situations where no other augmentative communication system or assistive technology is yet available. (Author)

  3. The Cultural-Rhetorical Role of Free Jazz: Forging an Identity in the Sixties.

    ERIC Educational Resources Information Center

    Francesconi, Robert

    The free jazz movement of the 1960s provided a rhetorical parallel in music to the verbal messages of black power and black nationalism. The use of Third World musical patterns represented an attempt to reinforce the revolutions in perceptions that black Americans held of themselves, their cultural heritage, and relationships to the rest of the…

  4. Clausewitz on Kosovo

    DTIC Science & Technology

    2000-12-16

    George Bush issued his “Christmas warning” to Miloševic.34 When the violence escalated, Washington dispatched Ambassador Richard Holbrooke to negotiate a...concede this is impossible. Richard Holbrooke said, “diplomacy, like jazz, is the constant improvisation on a theme.”102 Helmuth von Moltke wrote...Peter D. Feaver and Richard H. Kohn, “The Gap: Soldiers, Civilians, and their Mutual Misunderstanding,” The National Interest no. 61 (fall 2000): 29-37

  5. Towards a Typology of Improvisation as a Professional Teaching Skill: Implications for Pre-Service Teacher Education Programmes

    ERIC Educational Resources Information Center

    Aadland, Helga; Espeland, Magne; Arnesen, Trond Egil

    2017-01-01

    In this article we discuss the concept of improvisation as a professional teaching skill. Our professional context is teacher education and our discussion is aimed at developing a categorized understanding, or rather a tentative typology, of what professional improvisation in teaching and teacher education might be. Undertaking such a bold…

  6. The Effects of Improvisational Music Therapy on Joint Attention Behaviors in Autistic Children: A Randomized Controlled Study

    ERIC Educational Resources Information Center

    Kim, Jinah; Wigram, Tony; Gold, Christian

    2008-01-01

    The purpose of this study was to investigate the effects of improvisational music therapy on joint attention behaviors in pre-school children with autism. It was a randomized controlled study employing a single subject comparison design in two different conditions, improvisational music therapy and play sessions with toys, and using standardized…

  7. Detection and Imaging of Improvised Explosive Devices

    DTIC Science & Technology

    2014-07-10

    a currently valid OMB control number. PLEASE DO NOT RETURN YOUR FORM TO THE ABOVE ADDRESS. University of Texas at El Paso 500 West University Avenue...El Paso , TX 79968 -0587 ABSTRACT Number of Papers published in peer-reviewed journals: Number of Papers published in non peer-reviewed journals: Final...Imaging of Improvised Explosive Devices Institution: University of Texas at El Paso Department: Electrical and Computer Engineering Address: 500 W

  8. Learning and remembering strategies of novice and advanced jazz dancers for skill level appropriate dance routines.

    PubMed

    Poon, P P; Rodgers, W M

    2000-06-01

    This study examined the influence of the challenge level of to-be-learned stimulus on learning strategies in novice and advanced dancers. In Study 1, skill-level appropriate dance routines were developed for novice and advanced jazz dancers. In Study 2, 8 novice and 9 advanced female jazz dancers attempted to learn and remember the two routines in mixed model factorial design, with one between-participants factor: skill level (novice or advanced) and two within-participants factors: routine (easy or difficult) and performance (immediate or delayed). Participants were interviewed regarding the strategies used to learn and remember the routines. Results indicated that advanced performers used atypical learning strategies for insufficiently challenging stimuli, which may reflect characteristics of the stimuli rather than the performer. The qualitative data indicate a clear preference of novice and advanced performers for spatial compatibility of stimuli and response.

  9. Angelica Gets the Spirit Out: Improvisation, Epiphany and Transformation

    ERIC Educational Resources Information Center

    Pignato, Joseph

    2013-01-01

    This article presents excerpts from a case study describing Angelica Dawson, a New York State music educator. Angelica makes improvisation a central part of her curricula in ways that transcend traditional offerings prevalent in American public schools. Qualitative research methods were used to document Angelica's work over the course of an…

  10. Towards a Professionalization of Pedagogical Improvisation in Teacher Education

    ERIC Educational Resources Information Center

    Ben-Horin, Oded

    2016-01-01

    The aim of this study is to provide theoretical and practical knowledge about strategies and techniques for training primary school education pre-service teachers (PSTs) for Pedagogical Improvisation (PI). Data was collected during two iterations of cross-disciplinary art/science school interventions in Norwegian 3rd-grade classes, which provided…

  11. Lessons from Lithuania: A Pedagogical Approach in Teaching Improvisation

    ERIC Educational Resources Information Center

    Hedden, Debra

    2017-01-01

    The purpose of this study was to uncover the approach that a professor in Lithuania utilized in successfully teaching undergraduate music education majors how to improvise during a one-semester course. The research questions focused on the participant's philosophy of teaching and learning, his methods for motivating students, the learning…

  12. Patterns of Joint Improvisation in Adults with Autism Spectrum Disorder.

    PubMed

    Brezis, Rachel-Shlomit; Noy, Lior; Alony, Tali; Gotlieb, Rachel; Cohen, Rachel; Golland, Yulia; Levit-Binnun, Nava

    2017-01-01

    Recent research on autism spectrum disorders (ASDs) suggests that individuals with autism may have a basic deficit in synchronizing with others, and that this difficulty may lead to more complex social and communicative deficits. Here, we examined synchronization during an open-ended joint improvisation (JI) paradigm, called the mirror game (MG). In the MG, two players take turns leading, following, and jointly improvising motion using two handles set on parallel tracks, while their motion tracks are recorded with high temporal and spatial resolution. A series of previous studies have shown that players in the MG attain moments of highly synchronized co-confident (CC) motion, in which there is no typical kinematic pattern of leader and reactive follower. It has been suggested that during these moments players act as a coupled unit and feel high levels of connectedness. Here, we aimed to assess whether participants with ASD are capable of attaining CC, and whether their MG performance relates to broader motor and social skills. We found that participants with ASD ( n = 34) can indeed attain CC moments when playing with an expert improviser, though their performance was attenuated in several ways, compared to typically developing (TD) participants ( n = 35). Specifically, ASD participants had lower rates of CC, compared with TD participants, which was most pronounced during the following rounds. In addition, the duration of their CC segments was shorter, across all rounds. When controlling for participants' motor skills (both on the MG console, and more broadly) some of the variability in MG performance was explained, but group differences remained. ASD participants' alexithymia further correlated with their difficulty following another's lead; though other social skills did not relate to MG performance. Participants' subjective reports of the game suggest that other cognitive and emotional factors, such as attention, motivation, and reward-processing, which were not

  13. Patterns of Joint Improvisation in Adults with Autism Spectrum Disorder

    PubMed Central

    Brezis, Rachel-Shlomit; Noy, Lior; Alony, Tali; Gotlieb, Rachel; Cohen, Rachel; Golland, Yulia; Levit-Binnun, Nava

    2017-01-01

    Recent research on autism spectrum disorders (ASDs) suggests that individuals with autism may have a basic deficit in synchronizing with others, and that this difficulty may lead to more complex social and communicative deficits. Here, we examined synchronization during an open-ended joint improvisation (JI) paradigm, called the mirror game (MG). In the MG, two players take turns leading, following, and jointly improvising motion using two handles set on parallel tracks, while their motion tracks are recorded with high temporal and spatial resolution. A series of previous studies have shown that players in the MG attain moments of highly synchronized co-confident (CC) motion, in which there is no typical kinematic pattern of leader and reactive follower. It has been suggested that during these moments players act as a coupled unit and feel high levels of connectedness. Here, we aimed to assess whether participants with ASD are capable of attaining CC, and whether their MG performance relates to broader motor and social skills. We found that participants with ASD (n = 34) can indeed attain CC moments when playing with an expert improviser, though their performance was attenuated in several ways, compared to typically developing (TD) participants (n = 35). Specifically, ASD participants had lower rates of CC, compared with TD participants, which was most pronounced during the following rounds. In addition, the duration of their CC segments was shorter, across all rounds. When controlling for participants’ motor skills (both on the MG console, and more broadly) some of the variability in MG performance was explained, but group differences remained. ASD participants’ alexithymia further correlated with their difficulty following another’s lead; though other social skills did not relate to MG performance. Participants’ subjective reports of the game suggest that other cognitive and emotional factors, such as attention, motivation, and reward-processing, which

  14. Improvised external ventricular drain in neurosurgery: A Nigerian tertiary hospital experience.

    PubMed

    Ojo, O A; Asha, M A; Bankole, O B; Kanu, O O

    2015-01-01

    The most common type of hydrocephalus in developing countries is post infective hydrocephalus. Infected cerebrospinal fluid (CSF) however cannot be shunted for the reason that it will block the chamber of the ventriculo-peritoneal (VP) shunt due to its high protein content. In centers where standard external ventricular drain (EVD) sets are not available, improvised feeding tube can be used. The main focus of this study is to encourage the use of improvised feeding tube catheters for EVD when standard sets are not available to improve patients' survival. This was a prospective study. Consecutive patients with hydrocephalus that cannot be shunted immediately for high chances of shunt failure or signs of increasing intracranial pressure were recruited into the study. Other inclusion criteria were preoperative brain tumor with possibility of blocked CSF pathway and massive intraventricular hemorrhage necessitating ventricular drainage as a salvage procedure. Standard EVD set is not readily available and too expensive for most of the parents to afford. Improvised feeding tube is used to drain/divert CSF using the standard documented procedure for EVD insertion. Outcome is measured and recorded. A total of 28 patients were recruited into the study over a time frame of 2 years. There were 19 (67.9%) male and 9 (32.1%) females with a ratio of about 2:1. Age ranges varied from as low as 7 days to 66 years. The median age of the study sample was 6.5 months while the mean was 173.8 months. Duration of EVD varied from 2 days to 11 days with a median of 7 while the average was 6 days. Eventual outcome following the procedure of EVD showed that 19 (67.9%) survived and were discharged either to go home or to have VP shunt afterwards while 8 (28.6%) of the patients died. External ventricular drain can and should be done when it is necessary. Potential mortalities could be reduced by the improvised drainage using a standard feeding tube as described.

  15. Improvised external ventricular drain in neurosurgery: A Nigerian tertiary hospital experience

    PubMed Central

    Ojo, O. A.; Asha, M. A.; Bankole, O. B.; Kanu, O. O.

    2015-01-01

    Background: The most common type of hydrocephalus in developing countries is post infective hydrocephalus. Infected cerebrospinal fluid (CSF) however cannot be shunted for the reason that it will block the chamber of the ventriculo-peritoneal (VP) shunt due to its high protein content. In centers where standard external ventricular drain (EVD) sets are not available, improvised feeding tube can be used. Aim: The main focus of this study is to encourage the use of improvised feeding tube catheters for EVD when standard sets are not available to improve patients’ survival. Methodology: This was a prospective study. Consecutive patients with hydrocephalus that cannot be shunted immediately for high chances of shunt failure or signs of increasing intracranial pressure were recruited into the study. Other inclusion criteria were preoperative brain tumor with possibility of blocked CSF pathway and massive intraventricular hemorrhage necessitating ventricular drainage as a salvage procedure. Standard EVD set is not readily available and too expensive for most of the parents to afford. Improvised feeding tube is used to drain/divert CSF using the standard documented procedure for EVD insertion. Outcome is measured and recorded. Results: A total of 28 patients were recruited into the study over a time frame of 2 years. There were 19 (67.9%) male and 9 (32.1%) females with a ratio of about 2:1. Age ranges varied from as low as 7 days to 66 years. The median age of the study sample was 6.5 months while the mean was 173.8 months. Duration of EVD varied from 2 days to 11 days with a median of 7 while the average was 6 days. Eventual outcome following the procedure of EVD showed that 19 (67.9%) survived and were discharged either to go home or to have VP shunt afterwards while 8 (28.6%) of the patients died. Conclusions: External ventricular drain can and should be done when it is necessary. Potential mortalities could be reduced by the improvised drainage using a standard

  16. The art of improvisation: the working process of administrators at a Federal University Hospital.

    PubMed

    Littike, Denilda; Sodré, Francis

    2015-10-01

    The scope of this article is to analyze the working process of administrators at a Federal University Hospital (HUF). It includes research with a qualitative approach conducted through interviews with twelve administrators. The work process, the work tools and the human activity per se are understood to be under scrutiny. Work is acknowledged as a category that analyzes the management methods used by professional health workers. The HUFs are responsible for two social policies, namely education and health. The aim of the administrators' work is an organizational issue, and the administration tools used are bureaucratic and out-of-date for the current political context of hospital management. The most significant feature of this hospital administration is improvisation, which reduces the potential of the administrators in such a way that, instead of introducing innovative changes into their work process, they prefer to leave their jobs. Improvisation is caused by the production of sequential obstacles in management decision-making at this teaching hospital. In short, the transfer of administration at the HUF, from direct government administration by the University to the Brazilian Company of Hospital Services (EBSERH), was analyzed on the grounds that this would establish a "new" management model.

  17. A Preliminary Analysis of Teaching Improvisation with the Picture Exchange Communication System to Children with Autism

    PubMed Central

    Marckel, Julie M; Neef, Nancy A; Ferreri, Summer J

    2006-01-01

    Two young boys with autism who used the picture exchange communication system were taught to solve problems (improvise) by using descriptors (functions, colors, and shapes) to request desired items for which specific pictures were unavailable. The results of a multiple baseline across descriptors showed that training increased the number of improvised requests, and that these skills generalized to novel items, and across settings and listeners in the natural environment. PMID:16602390

  18. A preliminary analysis of teaching improvisation with the picture exchange communication system to children with autism.

    PubMed

    Marckel, Julie M; Neef, Nancy A; Ferreri, Summer J

    2006-01-01

    Two young boys with autism who used the picture exchange communication system were taught to solve problems (improvise) by using descriptors (functions, colors, and shapes) to request desired items for which specific pictures were unavailable. The results of a multiple baseline across descriptors showed that training increased the number of improvised requests, and that these skills generalized to novel items, and across settings and listeners in the natural environment.

  19. Using the Native American Flute in a Beginning Instrumental Classroom: The Native American Flute Can Be a Great Tool for Helping Students Learn to Improvise

    ERIC Educational Resources Information Center

    Winslow, Michael; Winslow, Hayley

    2006-01-01

    Although the National Standards include achievement standards for improvisation for elementary school students, music teachers sometimes are reluctant to pursue improvisation study with young students. First- and second-year instrumental students, often older elementary or middle school students, may have difficulty studying improvisation because…

  20. More Like Jazz than Classical: Reciprocal Interactions among Educational Researchers and Respondents

    ERIC Educational Resources Information Center

    Dance, L. Janelle; Gutierrez, Rochelle; Hermes, Mary

    2010-01-01

    In this article, educational scholars L. Janelle Dance, Rochelle Gutierrez, and Mary Hermes share insights from their lived experience as qualitative researchers trying to work in collaboration with diverse populations. They refer to these insights as "improvisations on conventional qualitative methods," reminding readers that their…

  1. Oral Communication in ESL through Improvisations, Playwriting and Rehearsals

    ERIC Educational Resources Information Center

    Gill, Chamkaur

    2013-01-01

    The application of drama strategies which focus more on meaning than on form can provide an impetus for ESL learners to be more confident about speaking, thereby increasing the quantity of their spoken English. This paper discusses existing research and the author's own experiences in an attempt to highlight the positive effects of improvisations,…

  2. "I'm Not Sure if I Can...But I Want to Sing!" Research on Singing as a Soloist through the Art of Improvising Verses

    ERIC Educational Resources Information Center

    Casals, Albert; Vilar, Merce; Ayats, Jaume

    2011-01-01

    Singing individually is both a necessary activity within the music class and an essential part of the cultural activity of improvising verses through singing. In this article we show how the introduction of this activity in the educational system of Catalonia has made it possible to obtain positive results with regard to participation in singing,…

  3. The Memory Ensemble: Improvising Connections among Performance, Disability, and Ageing

    ERIC Educational Resources Information Center

    Dunford, Christine Mary; Yoshizaki-Gibbons, Hailee M.; Morhardt, Darby

    2017-01-01

    There is a recognised need for research that illuminates mutually beneficial connections among performance, ageing, disability theory, and praxis. One such project is the Memory Ensemble™, an improvisational theatre intervention for persons with early stage Alzheimer's disease and related dementias (ADRD). This case study explores how the…

  4. Predicting the Emplacement of Improvised Explosive Devices: An Innovative Solution

    ERIC Educational Resources Information Center

    Lerner, Warren D.

    2013-01-01

    In this quantitative correlational study, simulated data were employed to examine artificial-intelligence techniques or, more specifically, artificial neural networks, as they relate to the location prediction of improvised explosive devices (IEDs). An ANN model was developed to predict IED placement, based upon terrain features and objects…

  5. Improvisational Acting Exercises and Their Potential Use in Family Counseling

    ERIC Educational Resources Information Center

    Ruby, James R.; Ruby, Nanci Carol

    2009-01-01

    Expressive therapy interventions are a useful resource for counselors working with a wide range of presenting issues. This article illustrates a series of improvisational acting exercises that can be used within a family counseling context. Clear directions for specific exercises are provided, along with illustrative case examples.

  6. Postural Coordination during Socio-motor Improvisation

    PubMed Central

    Gueugnon, Mathieu; Salesse, Robin N.; Coste, Alexandre; Zhao, Zhong; Bardy, Benoît G.; Marin, Ludovic

    2016-01-01

    Human interaction often relies on socio-motor improvisation. Creating unprepared movements during social interaction is not a random process but relies on rules of synchronization. These situations do not only involve people to be coordinated, but also require the adjustment of their posture in order to maintain balance and support movements. The present study investigated posture in such a context. More precisely, we first evaluated the impact of amplitude and complexity of arm movements on posture in solo situation. Then, we assessed the impact of interpersonal coordination on posture using the mirror game in which dyads performed improvised and synchronized movements (i.e., duo situation). Posture was measured through ankle-hip coordination in medio-lateral and antero-posterior directions (ML and AP respectively). Our results revealed the spontaneous emergence of in-phase pattern in ML direction and antiphase pattern in AP direction for solo and duo situations. These two patterns respectively refer to the simultaneous flexion/extension of the ankles and the hips in the same or opposite direction. It suggests different functional roles of postural coordination patterns in each direction, with in-phase supporting task performance in ML (dynamical stability) and antiphase supporting postural control in AP (mechanical stability). Although amplitude of movement did not influence posture, movement complexity disturbed postural stability in both directions. Conversely, interpersonal coordination promoted postural stability in ML but not in AP direction. These results are discussed in terms of the difference in coupling strength between ankle-hip coordination and interpersonal coordination. PMID:27547193

  7. Postural Coordination during Socio-motor Improvisation.

    PubMed

    Gueugnon, Mathieu; Salesse, Robin N; Coste, Alexandre; Zhao, Zhong; Bardy, Benoît G; Marin, Ludovic

    2016-01-01

    Human interaction often relies on socio-motor improvisation. Creating unprepared movements during social interaction is not a random process but relies on rules of synchronization. These situations do not only involve people to be coordinated, but also require the adjustment of their posture in order to maintain balance and support movements. The present study investigated posture in such a context. More precisely, we first evaluated the impact of amplitude and complexity of arm movements on posture in solo situation. Then, we assessed the impact of interpersonal coordination on posture using the mirror game in which dyads performed improvised and synchronized movements (i.e., duo situation). Posture was measured through ankle-hip coordination in medio-lateral and antero-posterior directions (ML and AP respectively). Our results revealed the spontaneous emergence of in-phase pattern in ML direction and antiphase pattern in AP direction for solo and duo situations. These two patterns respectively refer to the simultaneous flexion/extension of the ankles and the hips in the same or opposite direction. It suggests different functional roles of postural coordination patterns in each direction, with in-phase supporting task performance in ML (dynamical stability) and antiphase supporting postural control in AP (mechanical stability). Although amplitude of movement did not influence posture, movement complexity disturbed postural stability in both directions. Conversely, interpersonal coordination promoted postural stability in ML but not in AP direction. These results are discussed in terms of the difference in coupling strength between ankle-hip coordination and interpersonal coordination.

  8. A Machine Learning Approach to Discover Rules for Expressive Performance Actions in Jazz Guitar Music.

    PubMed

    Giraldo, Sergio I; Ramirez, Rafael

    2016-01-01

    Expert musicians introduce expression in their performances by manipulating sound properties such as timing, energy, pitch, and timbre. Here, we present a data driven computational approach to induce expressive performance rule models for note duration, onset, energy, and ornamentation transformations in jazz guitar music. We extract high-level features from a set of 16 commercial audio recordings (and corresponding music scores) of jazz guitarist Grant Green in order to characterize the expression in the pieces. We apply machine learning techniques to the resulting features to learn expressive performance rule models. We (1) quantitatively evaluate the accuracy of the induced models, (2) analyse the relative importance of the considered musical features, (3) discuss some of the learnt expressive performance rules in the context of previous work, and (4) assess their generailty. The accuracies of the induced predictive models is significantly above base-line levels indicating that the audio performances and the musical features extracted contain sufficient information to automatically learn informative expressive performance patterns. Feature analysis shows that the most important musical features for predicting expressive transformations are note duration, pitch, metrical strength, phrase position, Narmour structure, and tempo and key of the piece. Similarities and differences between the induced expressive rules and the rules reported in the literature were found. Differences may be due to the fact that most previously studied performance data has consisted of classical music recordings. Finally, the rules' performer specificity/generality is assessed by applying the induced rules to performances of the same pieces performed by two other professional jazz guitar players. Results show a consistency in the ornamentation patterns between Grant Green and the other two musicians, which may be interpreted as a good indicator for generality of the ornamentation rules.

  9. A Machine Learning Approach to Discover Rules for Expressive Performance Actions in Jazz Guitar Music

    PubMed Central

    Giraldo, Sergio I.; Ramirez, Rafael

    2016-01-01

    Expert musicians introduce expression in their performances by manipulating sound properties such as timing, energy, pitch, and timbre. Here, we present a data driven computational approach to induce expressive performance rule models for note duration, onset, energy, and ornamentation transformations in jazz guitar music. We extract high-level features from a set of 16 commercial audio recordings (and corresponding music scores) of jazz guitarist Grant Green in order to characterize the expression in the pieces. We apply machine learning techniques to the resulting features to learn expressive performance rule models. We (1) quantitatively evaluate the accuracy of the induced models, (2) analyse the relative importance of the considered musical features, (3) discuss some of the learnt expressive performance rules in the context of previous work, and (4) assess their generailty. The accuracies of the induced predictive models is significantly above base-line levels indicating that the audio performances and the musical features extracted contain sufficient information to automatically learn informative expressive performance patterns. Feature analysis shows that the most important musical features for predicting expressive transformations are note duration, pitch, metrical strength, phrase position, Narmour structure, and tempo and key of the piece. Similarities and differences between the induced expressive rules and the rules reported in the literature were found. Differences may be due to the fact that most previously studied performance data has consisted of classical music recordings. Finally, the rules' performer specificity/generality is assessed by applying the induced rules to performances of the same pieces performed by two other professional jazz guitar players. Results show a consistency in the ornamentation patterns between Grant Green and the other two musicians, which may be interpreted as a good indicator for generality of the ornamentation rules

  10. Improving outcomes of hospitalized patients: the Physician Relationships, Improvising, and Sensemaking intervention protocol.

    PubMed

    Leykum, Luci K; Lanham, Holly J; Provost, Shannon M; McDaniel, Reuben R; Pugh, Jacqueline

    2014-11-26

    Our goal is to improve the safety and effectiveness of inpatient care. Rather than focus on improving process of care, we focus on the social structure within physician teams. We have developed the Physician Relationships, Improvising, and Sensemaking (PRISm) intervention to improve the way physician teams round, enabling them to better relate, make sense of their patients' conditions, and improvise in uncertain clinical situations. We are currently studying the impact of PRISm on adverse events and complications in hospitalized patients. This manuscript describes the PRISm intervention. PRISm is a structured communication tool consisting of three components: daily briefings before rounds; use of the Situation, Task, Intent, Concern, and Calibrate (STICC) framework during rounds as part of the discussion of individual patients; and debriefings after rounds. We are implementing the PRISm intervention on eight inpatient medical and surgical physician teams in the South Texas Veterans Health Care System. We are assessing PRISm impact on the way team members relate to each other, round, and discuss patients through pre- and post-implementation observations and surveys. We are also assessing PRISm impact on complications and adverse events. Finally, we are interviewing physicians regarding their experience using the intervention. Our results will allow us to begin to understand the potential impact of interventions designed to improve how providers relate to each other, improvise, and make sense of what is happening as a strategy for improving inpatient care. Our in-depth data collection will enable us to assess how relationships, improvising, and sensemaking influence patient outcomes, potentially through creating shared mental models or enhancing distributed cognition during clinical reasoning. Finally, our results will lay the groundwork for larger implementation studies to improve clinical outcomes through improving how providers, and providers, patients, and

  11. Imitation, Interaction and Imagery: Learning to Improvise Drawing with Music

    ERIC Educational Resources Information Center

    Huovinen, Erkki; Manneberg, Avigail

    2013-01-01

    This article describes a project in which undergraduate students of beginning drawing were brought together with free improvising musicians to explore interaction in collective real-time art-making. Following a series of guided rehearsals, the students were free to choose their own strategies for interactive group projects. We discuss these…

  12. Children's Improvised Vocalisations: Learning, Communication and Technology of the Self

    ERIC Educational Resources Information Center

    Knudsen, Jan Sverre

    2008-01-01

    The intention of this article is to explore, challenge and expand our understandings of children's improvised vocalisations, a fundamentally human form of expression. Based on selected examples from observation and recording in non-institutional settings, the article outlines how this phenomenon can be understood as learning and as communication.…

  13. A Technique to Introduce Keyboard Improvisation in General Music

    ERIC Educational Resources Information Center

    Wright, Jim

    2006-01-01

    All the general music books the author has seen teach the pentatonic scale, and achieve success with it, by having students play only on the piano's black keys. The trick to preventing this exercise from sounding simplistic or uninteresting is to teach improvisation in the A-flat Dorian mode. Using A-flat as the tonal center puts that center right…

  14. The neurochemistry and social flow of singing: bonding and oxytocin

    PubMed Central

    Keeler, Jason R.; Roth, Edward A.; Neuser, Brittany L.; Spitsbergen, John M.; Waters, Daniel J. M.; Vianney, John-Mary

    2015-01-01

    Music is used in healthcare to promote physical and psychological well-being. As clinical applications of music continue to expand, there is a growing need to understand the biological mechanisms by which music influences health. Here we explore the neurochemistry and social flow of group singing. Four participants from a vocal jazz ensemble were conveniently sampled to sing together in two separate performances: pre-composed and improvised. Concentrations of plasma oxytocin and adrenocorticotropic hormone (ACTH) were measured before and after each singing condition to assess levels of social affiliation, engagement and arousal. A validated assessment of flow state was administered after each singing condition to assess participants' absorption in the task. The feasibility of the research methods were assessed and initial neurochemical data was generated on group singing. Mean scores of the flow state scale indicated that participants experienced flow in both the pre-composed (M = 37.06) and improvised singing conditions (M = 34.25), with no significant difference between conditions. ACTH concentrations decreased in both conditions, significantly so in the pre-composed singing condition, which may have contributed to the social flow experience. Mean plasma oxytocin levels increased only in response to improvised singing, with no significant difference between improvised and pre-composed singing conditions observed. The results indicate that group singing reduces stress and arousal, as measured by ACTH, and induces social flow in participants. The effects of pre-composed and improvised group singing on oxytocin are less clear. Higher levels of plasma oxytocin in the improvised condition may perhaps be attributed to the social effects of improvising musically with others. Further research with a larger sample size is warranted. PMID:26441614

  15. Science and Improv: Saying "YES" to Creative Collaboration and Scintillating Communication

    NASA Astrophysics Data System (ADS)

    Wong, G. J.

    2015-12-01

    Communicating research results to a non-specialist audience can be challenging. Strategies that work well in lab group meetings, such as using acronyms and jargon, may fall flat with 7th graders or Congressional staffers. Empowering real-world audiences with our stories helps raise awareness and inform decision-making, whether it's related to family food purchases or national policy. Ideally, we scientists, engineers and researchers directly connect with our audiences, responding spontaneously and actively, distilling our messages into conversational morsels that resonate with them. One tool that I have found useful is deeply rooted in the "tao" of improvisational theater. Why improv? Improv is dancing as if no one is watching, baking from scratch, and playing jazz flute. Improv is Iron Chef, MacGyver with a license to thrill, or the game-winning play. Research is inspired improvisation. And improv can teach us a lot about how to play, how to feel comfortable and present even while flailing, and how to truly listen. Effective science communicators listen. In fact, therein lies the power of "yes …", a building block of improvisational theater. "Yes …" is both collaborative ("yes, and …") and innovative ("yes, because …"), and investment in an attitude of saying "yes …" demonstrates an intent to listen. Improv is not any one specific thing so much as a process by which we do things. Skills that strengthen communication, such as spontaneity, authenticity and connectivity, are honed through philosophies inherent in improv. This presentation highlights improv-based activities that enhance science communication with purpose, vividness, and emotion.

  16. Development of Nanothermite Projectile for Improvised Explosive Device (IED) and Vehicle-Borne Improvised Explosive Device (VBIED) Neutralization. National Institute of Justice Final Report

    DTIC Science & Technology

    2008-09-01

    projectiles containing small amounts of a reactive material. The mechanism is that limited deflagration of the ANFO creates sufficient pressure to...resulting pressurization of the container causes the container to rupture, thus producing a render-safe solution. Several free-field shots demonstrated...the ANFO creates sufficient pressure to rupture plastic or steel containers. 1 Introduction Vehicle-borne improvised explosive devices (VBIEDs) have

  17. Learning to Lead, Unscripted: Developing Affiliative Leadership through Improvisational Theatre

    ERIC Educational Resources Information Center

    Gagnon, Suzanne; Vough, Heather C.; Nickerson, Robert

    2012-01-01

    We argue that improvisational theatre training creates a compelling experience of co-creation through interaction and, as such, can be used to build a distinctive kind of leadership skills. Theories of leadership as relational, collaborative or shared are in pointed contrast to traditional notions of an individual "hero leader" who possesses the…

  18. Health information systems: failure, success and improvisation.

    PubMed

    Heeks, Richard

    2006-02-01

    The generalised assumption of health information systems (HIS) success is questioned by a few commentators in the medical informatics field. They point to widespread HIS failure. The purpose of this paper was therefore to develop a better conceptual foundation for, and practical guidance on, health information systems failure (and success). Literature and case analysis plus pilot testing of developed model. Defining HIS failure and success is complex, and the current evidence base on HIS success and failure rates was found to be weak. Nonetheless, the best current estimate is that HIS failure is an important problem. The paper therefore derives and explains the "design-reality gap" conceptual model. This is shown to be robust in explaining multiple cases of HIS success and failure, yet provides a contingency that encompasses the differences which exist in different HIS contexts. The design-reality gap model is piloted to demonstrate its value as a tool for risk assessment and mitigation on HIS projects. It also throws into question traditional, structured development methodologies, highlighting the importance of emergent change and improvisation in HIS. The design-reality gap model can be used to address the problem of HIS failure, both as a post hoc evaluative tool and as a pre hoc risk assessment and mitigation tool. It also validates a set of methods, techniques, roles and competencies needed to support the dynamic improvisations that are found to underpin cases of HIS success.

  19. The Effect of Higher Education Faculty Training in Improvisational Theatre Techniques on Student Learning and Perceptions of Engagement and Faculty Perceptions of Teaching and Learning

    ERIC Educational Resources Information Center

    Massie, DeAnna

    2017-01-01

    College instructors are content experts but ineffective at creating engaging and productive learning environments. This mixed methods study explored how improvisational theatre techniques affect college instructors' ability to increase student engagement and learning. Theoretical foundations included engagement, active learning, collaboration and…

  20. Medical improvisation training to enhance the antenatal counseling skills of neonatologists and neonatal fellows: a pilot study.

    PubMed

    Sawyer, Taylor; Fu, Belinda; Gray, Megan; Umoren, Rachel

    2017-08-01

    Neonatologists must be skilled at providing antenatal counseling to expectant parents of premature infants at the limits of viability. We conducted a medical improvisation workshop with the objective of enhancing antenatal counseling skills. Pre- and postworkshop questionnaires were collected to examine the impact of the training. A follow-up survey was distributed 3 months after the workshop to examine the impact of the training on antenatal counseling skills. Nine neonatologists and three neonatal fellows participated in the workshop. Participants reported the skills learned in the workshop could enhance the quality of antenatal counseling. On follow-up survey, 90% of subjects reported improvements in the quality of their antenatal counseling. Participation in a medical improvisation workshop resulted in enhancements of self-perceived antenatal counseling skills. Medical improvisation training may provide a feasible and effective method of communication training for neonatologists. Further research into this innovative method are needed.

  1. Audacity in Vocal Improvisation: Motivating Elementary School Students through Technology

    ERIC Educational Resources Information Center

    Sichivitsa, Veronica

    2007-01-01

    Every day, music teachers face the challenge of motivating less-confident student singers in general music classes. Teaching vocal improvisation can be a difficult task, because students are often self-conscious about their voices and too intimidated to sing in front of their peers. Technology can be an excellent motivational tool in the classroom…

  2. Maritime Improvised Explosive Devices: A Threat Based Technology Study

    DTIC Science & Technology

    2015-06-12

    Key Resources LTTE Tigers of Tamil Eelam MCM Mine Countermeasures MIED Maritime Improvised Explosive Device MMS Marine Mammal System MOTR... Tamil Eelam (LTTE) are considered experts in the maritime environment and provide the majority of historical examples of successful MIED attacks (Martin...Tigers of Tamil Eelam (LTTE) 2000 USS Sullivans (attempted) Small boat (suicide) Al Qaeda 2000 USS Cole bombing Small boat (suicide) Al Qaeda

  3. Verbal Auditory Cueing of Improvisational Dance: A Proposed Method for Training Agency in Parkinson’s Disease

    PubMed Central

    Batson, Glenna; Hugenschmidt, Christina E.; Soriano, Christina T.

    2016-01-01

    Dance is a non-pharmacological intervention that helps maintain functional independence and quality of life in people with Parkinson’s disease (PPD). Results from controlled studies on group-delivered dance for people with mild-to-moderate stage Parkinson’s have shown statistically and clinically significant improvements in gait, balance, and psychosocial factors. Tested interventions include non-partnered dance forms (ballet and modern dance) and partnered (tango). In all of these dance forms, specific movement patterns initially are learned through repetition and performed in time-to-music. Once the basic steps are mastered, students may be encouraged to improvise on the learned steps as they perform them in rhythm with the music. Here, we summarize a method of teaching improvisational dance that advances previous reported benefits of dance for people with Parkinson’s disease (PD). The method relies primarily on improvisational verbal auditory cueing with less emphasis on directed movement instruction. This method builds on the idea that daily living requires flexible, adaptive responses to real-life challenges. In PD, movement disorders not only limit mobility but also impair spontaneity of thought and action. Dance improvisation demands open and immediate interpretation of verbally delivered movement cues, potentially fostering the formation of spontaneous movement strategies. Here, we present an introduction to a proposed method, detailing its methodological specifics, and pointing to future directions. The viewpoint advances an embodied cognitive approach that has eco-validity in helping PPD meet the changing demands of daily living. PMID:26925029

  4. Creating in the Collective: Dialogue, Collaboration, and the Search for Understanding in the Jazz Small Group

    ERIC Educational Resources Information Center

    Branker, Anthony Daniel John

    2010-01-01

    What would happen if college students involved in jazz small group performance were given the opportunity to be musically independent and self-directed while working in their own collaborative space? What sorts of things would they experience? What kind of learning space would they create for themselves? The purpose of this study was to…

  5. Describing different styles of singing: a comparison of a female singer's voice source in "Classical", "Pop", "Jazz" and "Blues".

    PubMed

    Thalén, M; Sundberg, J

    2001-01-01

    The voice is apparently used in quite different manners in different styles of singing. Some of these differences concern the voice source, which varies considerably with loudness, pitch, and mode of phonation. We attempt to describe voice source differences between Classical, Pop, Jazz and Blues styles of singing as produced in a triad melody pattern by a professional female singer in soft, middle and loud phonation. An expert panel was asked to identify these triads as examples of either Classical, Pop, Jazz or Blues. The voice source was analysed by inverse filtering. Subglottal pressure Ps, closed quotient QClosed, glottal compliance (ratio between the air volume contained in a voice pulse and Ps), and the level difference between the two lowest source spectrum partials were analysed in the styles and in four modes of phonation: breathy, flow, neutral, and pressed. The same expert panel rated the degree of pressedness in the entire material. Averages across pitch were calculated for each mode and style and related to their total range of variation in the subject. The glottogram data showed a high correlation with the ratings of pressedness. Based on these correlations a pressedness factor was computed from the glottogram data. A phonation map was constructed with the axes representing mean adduction factor and mean Ps, respectively. In this map Classical was similar to flow phonation, Pop and Jazz to neutral and flow phonation, and Blues to pressed phonation.

  6. Using the Jazz Metaphor to Enhance Student Learning and Skill Development in the Marketing Research Course

    ERIC Educational Resources Information Center

    Mills, Michael Kenneth

    2010-01-01

    The marketing research course is often a very challenging one both for students and instructors. This article discusses how the jazz metaphor can aid the instructor in both facilitating students' learning of the more basic as well as the more specific skills that make up the course, in addition to contributing more to student enjoyment of the…

  7. A Duet between Science and Art: Neural Correlates of Dance Improvisation

    ERIC Educational Resources Information Center

    Savrami, Katia

    2017-01-01

    Dance Improvisation is an essential skill and tool for dancers. It is grounded in the kinesthetic experience and its constantly changing dynamic qualities through self-movement. It requires a spontaneous kinesthetic response in a spatiotemporal vigorous qualitative dynamic happening of affect and movement; a momentum that allows dancers to perform…

  8. The Use of Improvisation and Mapping To Teach a Dramatic Text.

    ERIC Educational Resources Information Center

    Aloma, Denise V.

    A practicum was developed which used improvisation and mapping strategies in the teaching of Shakespearean drama to increase comprehension and to develop a more positive attitude toward Shakespeare and drama in general. Subjects were a target group of 15 students enrolled in a ninth grade English class at a preparatory institution. Subjects, who…

  9. The detection of improvised nonmilitary peroxide based explosives using a titania nanotube array sensor.

    PubMed

    Banerjee, Subarna; Mohapatra, Susanta K; Misra, Mano; Mishra, Indu B

    2009-02-18

    There is a critical need to develop an efficient, reliable and highly selective sensor for the detection of improvised nonmilitary explosives. This paper describes the utilization of functionalized titania nanotube arrays for sensing improvised organic peroxide explosives such as triacetone triperoxide (TATP). TATP forms complexes with titania nanotube arrays (prepared by anodization and sensitized with zinc ions) and thus affects the electron state of the nanosensing device, which is signaled as a change in current of the overall nanotube material. The response is rapid and a signal of five to eight orders of magnitude is observed. These nanotube array sensors can be used as hand-held miniaturized devices as well as large scale portable units for military and homeland security applications.

  10. Core Themes in Music Therapy Clinical Improvisation: An Arts-Informed Qualitative Research Synthesis.

    PubMed

    Meadows, Anthony; Wimpenny, Katherine

    2017-07-01

    Although clinical improvisation continues to be an important focus of music therapy research and practice, less attention has been given to integrating qualitative research in this area. As a result, this knowledge base tends to be contained within specific areas of practice rather than integrated across practices and approaches. This qualitative research synthesis profiles, integrates, and re-presents qualitative research focused on the ways music therapists and clients engage in, and make meaning from, clinical improvisation. Further, as a conduit for broadening dialogues, opening up this landscape fully, and sharing our response to the analysis and interpretation process, we present an arts-informed re-presentation of this synthesis. Following an eight-step methodological sequence, 13 qualitative studies were synthesized. This included reciprocal and refutational processes associated with synthesizing the primary studies, and additional steps associated with an arts-informed representation. Three themes, professional artistry, performing self, and meaning-making, are presented. Each theme is explored and exemplified through the selected articles, and discussed within a larger theoretical framework. An artistic re-presentation of the data is also presented. Music therapists use complex frameworks through which to engage clients in, and make meaning from, improvisational experiences. Artistic representation of the findings offers an added dimension to the synthesis process, challenging our understanding of representation, and thereby advancing synthesis methodology. © the American Music Therapy Association 2017. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com

  11. The effect of improvisational music therapy on the treatment of depression: protocol for a randomised controlled trial.

    PubMed

    Erkkilä, Jaakko; Gold, Christian; Fachner, Jörg; Ala-Ruona, Esa; Punkanen, Marko; Vanhala, Mauno

    2008-06-28

    Music therapy is frequently offered to individuals suffering from depression. Despite the lack of research into the effects of music therapy on this population, anecdotal evidence suggests that the results are rather promising. The aim of this study is to examine whether improvisational, psychodynamically orientated music therapy in an individual setting helps reduce symptoms of depression and improve other health-related outcomes. In particular, attention will be given to mediator agents, such as musical expression and interaction in the sessions, as well as to the explanatory potential of EEG recordings in investigating emotion related music perception of individuals with depression. 85 adults (18-50 years of age) with depression (ICD-10: F 32 or F33) will be randomly assigned to an experimental or a control condition. All participants will receive standard care, but the experimental group will be offered biweekly sessions of improvisational music therapy over a period of 3 months. A blind assessor will measure outcomes before testing, after 3 months, and after 6 months. This study aims to fill a gap in knowledge as to whether active (improvisational) music therapy applied to people with depression improves their condition. For the first time in this context, the mediating processes, such as changes in musical expression and interaction during the course of therapy, will be objectively investigated, and it is expected that the results will provide new insights into these processes. Furthermore, the findings are expected to reveal whether music related emotional experiences, as measured by EEG, can be utilized in assessing a depressive client's improvement in the therapy. The size and the comprehensiveness of the study are sufficient for generalizing its findings to clinical practice as well as to further music therapy research. ISRCTN84185937.

  12. The effect of improvisational music therapy on the treatment of depression: protocol for a randomised controlled trial

    PubMed Central

    Erkkilä, Jaakko; Gold, Christian; Fachner, Jörg; Ala-Ruona, Esa; Punkanen, Marko; Vanhala, Mauno

    2008-01-01

    Background Music therapy is frequently offered to individuals suffering from depression. Despite the lack of research into the effects of music therapy on this population, anecdotal evidence suggests that the results are rather promising. The aim of this study is to examine whether improvisational, psychodynamically orientated music therapy in an individual setting helps reduce symptoms of depression and improve other health-related outcomes. In particular, attention will be given to mediator agents, such as musical expression and interaction in the sessions, as well as to the explanatory potential of EEG recordings in investigating emotion related music perception of individuals with depression. Methods 85 adults (18–50 years of age) with depression (ICD-10: F 32 or F33) will be randomly assigned to an experimental or a control condition. All participants will receive standard care, but the experimental group will be offered biweekly sessions of improvisational music therapy over a period of 3 months. A blind assessor will measure outcomes before testing, after 3 months, and after 6 months. Discussion This study aims to fill a gap in knowledge as to whether active (improvisational) music therapy applied to people with depression improves their condition. For the first time in this context, the mediating processes, such as changes in musical expression and interaction during the course of therapy, will be objectively investigated, and it is expected that the results will provide new insights into these processes. Furthermore, the findings are expected to reveal whether music related emotional experiences, as measured by EEG, can be utilized in assessing a depressive client's improvement in the therapy. The size and the comprehensiveness of the study are sufficient for generalizing its findings to clinical practice as well as to further music therapy research. Trial registration ISRCTN84185937 PMID:18588701

  13. Dialogic Communication in the One-to-One Improvisation Lesson: A Qualitative Study

    ERIC Educational Resources Information Center

    de Bruin, Leon R.

    2018-01-01

    This qualitative study investigates the dialogic interactions between teacher and student that enhance learning and teaching within the one-to-one music improvisation lesson. This study analyses the ways teachers elicit student actions, thoughts and processes that develop student skills, critical and creative thinking processes necessary for…

  14. Improv(ing) the Academy: Applied Improvisation as a Strategy for Educational Development

    ERIC Educational Resources Information Center

    Rossing, Jonathan P.; Hoffmann-Longtin, Krista

    2016-01-01

    Improvisational theater training (or "improv") is a strategy employed by many business leaders and educators to cultivate creativity and collaboration amid change. Drawing on improv principles such as "Yes, And…" and "Make your scene partners look good," we explore the ways in which educational developers might apply…

  15. Intra- and inter-brain synchronization during musical improvisation on the guitar.

    PubMed

    Müller, Viktor; Sänger, Johanna; Lindenberger, Ulman

    2013-01-01

    Humans interact with the environment through sensory and motor acts. Some of these interactions require synchronization among two or more individuals. Multiple-trial designs, which we have used in past work to study interbrain synchronization in the course of joint action, constrain the range of observable interactions. To overcome the limitations of multiple-trial designs, we conducted single-trial analyses of electroencephalography (EEG) signals recorded from eight pairs of guitarists engaged in musical improvisation. We identified hyper-brain networks based on a complex interplay of different frequencies. The intra-brain connections primarily involved higher frequencies (e.g., beta), whereas inter-brain connections primarily operated at lower frequencies (e.g., delta and theta). The topology of hyper-brain networks was frequency-dependent, with a tendency to become more regular at higher frequencies. We also found hyper-brain modules that included nodes (i.e., EEG electrodes) from both brains. Some of the observed network properties were related to musical roles during improvisation. Our findings replicate and extend earlier work and point to mechanisms that enable individuals to engage in temporally coordinated joint action.

  16. Intra- and Inter-Brain Synchronization during Musical Improvisation on the Guitar

    PubMed Central

    Müller, Viktor; Sänger, Johanna; Lindenberger, Ulman

    2013-01-01

    Humans interact with the environment through sensory and motor acts. Some of these interactions require synchronization among two or more individuals. Multiple-trial designs, which we have used in past work to study interbrain synchronization in the course of joint action, constrain the range of observable interactions. To overcome the limitations of multiple-trial designs, we conducted single-trial analyses of electroencephalography (EEG) signals recorded from eight pairs of guitarists engaged in musical improvisation. We identified hyper-brain networks based on a complex interplay of different frequencies. The intra-brain connections primarily involved higher frequencies (e.g., beta), whereas inter-brain connections primarily operated at lower frequencies (e.g., delta and theta). The topology of hyper-brain networks was frequency-dependent, with a tendency to become more regular at higher frequencies. We also found hyper-brain modules that included nodes (i.e., EEG electrodes) from both brains. Some of the observed network properties were related to musical roles during improvisation. Our findings replicate and extend earlier work and point to mechanisms that enable individuals to engage in temporally coordinated joint action. PMID:24040094

  17. Interprofessional communication and teambuilding using applied improvisational exercises.

    PubMed

    Campbell, Candace

    2014-01-01

    According to The Joint Commission (TJC), the most frequently cited root cause of sentinel events is ineffective communication or miscommunication (TJC, 2002, 2012). The need to improve communication among health care professionals is a high priority because of the serious consequences of poor communication for everyone involved, on both personal and corporate levels. Applied improvisational exercises (AlEs) comprise a strategy for enhancing interprofessional communication (IPC). This article asks: What are the challenges inherent in IPC and teambuilding in the health care setting, and how can AIE help bridge the communication gap?

  18. The Impact of Formal and Informal Learning on Students' Improvisational Processes

    ERIC Educational Resources Information Center

    Augustyniak, Sylvana

    2014-01-01

    This article, based on my PhD empirical study, was conducted in a qualitative and holistic approach. It had examined how students had used formal and informal strategies, styles and situations while improvising and composing for the research task. Eighteen research groups made up of a total of 40 males and nine females had participated in…

  19. Neurosyphilis in Anglo-American Composers and Jazz Musicians.

    PubMed

    Breitenfeld, Darko; Kust, Davor; Breitenfeld, Tomislav; Prpić, Marin; Lucijanić, Marko; Zibar, Davor; Hostić, Vedran; Franceschi, Maja; Bolanča, Ante

    2017-09-01

    Syphilis is a sexually transmitted, systemic disease caused by the spirochete bacterium Treponema pallidum. The most common mechanism of transmission is sexual intercourse. Although there are several hypotheses, the exact origin of the disease remains unknown. Newly published evidence suggests that the hypothesis supporting the theory of the American origin of the disease is the valid one. Among 1500 analyzed pathographies of composers and musicians, data on ten Anglo-American composers and jazz musicians having suffered from neurosyphilis (tertiary stage of the disease) were extracted for this report. In this group of Anglo-American composers and musicians, most of them died from progressive paralysis while still in the creative phase of life. Additionally, diagnoses of eleven other famous neurosyphilitic composers, as well as basic biographic data on ten less known composers that died from neurosyphilis-progressive paralysis are also briefly mentioned. In conclusion, neurosyphilis can cause serious neurological damage, as well as permanent disability or death, preventing further work and skill improvement.

  20. Idea Bank: I Can't Do That! Improvisation for Classically Trained Musicians

    ERIC Educational Resources Information Center

    Buonviri, Nathan

    2013-01-01

    The Partnership for 21st Century Skills lists among its top priorities for students the development of "learning and innovation skills," of which the first are "creativity and innovation." The third National Standard from the National Association for Music Education is "Improvising melodies, variations, and accompaniments." These guiding…

  1. Performance comparison of improvised prehospital blood warming techniques and a commercial blood warmer.

    PubMed

    Milligan, James; Lee, Anna; Gill, Martin; Weatherall, Andrew; Tetlow, Chloe; Garner, Alan A

    2016-08-01

    Prehospital transfusion of packed red blood cells (PRBC) may be life saving for hypovolaemic trauma patients. PRBCs should preferably be warmed prior to administration but practical prehospital devices have only recently become available. The effectiveness of purpose designed prehospital warmers compared with previously used improvised methods of warming has not previously been described. Expired units of PRBCs were randomly assigned to a warming method in a bench study. Warming methods were exposure to body heat of an investigator, leaving the blood in direct sunlight on a dark material, wrapping the giving set around gel heat pads or a commercial fluid warmer (Belmont Buddy Lite). Methods were compared with control units that were run through the fluid circuit with no active warming strategy. The mean temperature was similar for all methods on removal from the fridge (4.5°C). The mean temperatures (degrees centigrade) for all methods were higher than the control group at the end of the circuit (all P≤0.001). For each method the mean (95% CI) temperature at the end of the circuit was; body heat 17.2 (16.4-18.0), exposure to sunlight 20.2 (19.4-21.0), gel heat pads 18.8 (18.0-19.6), Buddy Lite 35.2 (34.5-36.0) and control group 14.7 (13.9-15.5). All of the warming methods significantly warmed the blood but only the Buddy Lite reliably warmed the blood to a near normal physiological level. Improvised warming methods therefore cannot be recommended. Copyright © 2016 Elsevier Ltd. All rights reserved.

  2. Emotional, Motivational and Interpersonal Responsiveness of Children with Autism in Improvisational Music Therapy

    ERIC Educational Resources Information Center

    Kim, Jinah; Wigram, Tony; Gold, Christian

    2009-01-01

    Through behavioural analysis, this study investigated the social-motivational aspects of musical interaction between the child and the therapist in improvisational music therapy by measuring emotional, motivational and interpersonal responsiveness in children with autism during joint engagement episodes. The randomized controlled study (n = 10)…

  3. The effect of improvisation-assisted desensitization, and music-assisted progressive muscle relaxation and imagery on reducing pianists' music performance anxiety.

    PubMed

    Kim, Youngshin

    2008-01-01

    The purpose of this study was to investigate the effects of two music therapy approaches, improvisation-assisted desensitization, and music-assisted progressive muscle relaxation and imagery on ameliorating the symptoms of music performance anxiety (MPA) among student pianists. Thirty female college pianists (N = 30) were randomly assigned to one of two conditions: (a) improvised music-assisted desensitization group (n = 15), or (b) music-assisted progressive muscle relaxation (PMR) and imagery group (n = 15). All participants received 6 weekly music therapy sessions according to their assigned group. Two lab performances were provided; one before and one after the 6 music therapy sessions, as the performance stimuli for MPA. All participants completed pretest and posttest measures that included four types of visual analogue scales (MPA, stress, tension, and comfort), the state portion of Spielberger's State-Trait Anxiety Inventory (STAI), and the Music Performance Anxiety Questionnaire (MPAQ) developed by Lehrer, Goldman, and Strommen (1990). Participants' finger temperatures were also measured. When results of the music-assisted PMR and imagery condition were compared from pretest to posttest, statistically significant differences occurred in 6 out of the 7 measures-MPA, tension, comfort, STAI, MPAQ, and finger temperature, indicating that the music-assisted PMR and imagery treatment was very successful in reducing MPA. For the improvisation-assisted desensitization condition, the statistically significant decreases in tension and STAI, with increases in finger temperature indicated that this approach was effective in managing MPA to some extent. When the difference scores for the two approaches were compared, there was no statistically significant difference between the two approaches for any of the seven measures. Therefore, no one treatment condition appeared more effective than the other. Although statistically significant differences were not found between

  4. Using Improvisational Exercises in General Education to Advance Creativity, Inventiveness and Innovation

    ERIC Educational Resources Information Center

    Hackbert, Peter H.

    2010-01-01

    Creativity is the process of generating something new or original that has value to an individual, a group, an organization, an industry or a society. Improvisational theater techniques are used to enhance creative thinking and action in a variety of disciplines as broad as education, theater, dance, painting, writing and music, law, business, and…

  5. Exploring the therapist's use of self: enactments, improvisation and affect in psychodynamic psychotherapy.

    PubMed

    Pagano, Christopher J

    2012-01-01

    Psychoanalytic psychotherapists, drawing upon intersubjective and attachment theories, recognize that mutual influence impacts the treatment process. Mutual influence generates enactments--emotionally intense joint creations stemming from the unconscious of both therapist and patient--which often leave both patient and therapist feeling confused and stuck. The author presents a case in which the therapist's use of improvisational role play was a critical therapeutic response to an enactment. The therapist's self-expression through the displacement of the role play 1) modeled a safe, affectively genuine engagement in relationship, 2) provided the patient with an unexpected and powerful window into the therapist's emotional world, 3) shifted the patient's fundamental belief that fathers and men are cold and unfeeling, and 4) led the patient to uncover "new" early memories and to become aware of his role as an agent of vitality and intimacy. The author concludes that using improvisation as a flexible response to rigid patterns of enactment may provide a catalyst for therapeutic change.

  6. Analysing the Effects of an Industry-Based Jazz Education Performance Training Programme on the Development of Adjunct-Professional Skills

    ERIC Educational Resources Information Center

    Kerr, Derrin; Knight, Bruce Allen

    2011-01-01

    Since 2002, The Central Queensland Conservatorium of Music (CQCM) has maintained a partnership with Hamilton Island Enterprises (HIE). Within this partnership the Bachelor of Music (Jazz & Popular) students visit Hamilton Island (HI), an island resort located off the Australian east coast, 4-6 times annually to engage in 3-10 days of…

  7. Improvised Nuclear Device Case Study

    DOE Office of Scientific and Technical Information (OSTI.GOV)

    Buddemeier, Brooke; Suski, Nancy

    2011-07-12

    Reducing the casualties of catastrophic terrorist attacks requires an understanding of weapons of mass destruction (WMD) effects, infrastructure damage, atmospheric dispersion, and health effects. The Federal Planning Guidance for Response to a Nuclear Detonation provides the strategy for response to an improvised nuclear device (IND) detonation. The supporting science developed by national laboratories and other technical organizations for this document significantly improves our understanding of the hazards posed by such an event. Detailed fallout predictions from the advanced suite of three-dimensional meteorology and plume/fallout models developed at Lawrence Livermore National Laboratory, including extensive global geographical and real-time meteorological databases tomore » support model calculations, are a key part of response planning. This presentation describes the methodology and results to date, including visualization aids developed for response organizations. These products have greatly enhanced the community planning process through first-person points of view and description of the dynamic nature of the event.« less

  8. "The 'Principal' Character": The Triad Approach and Improvisation in Teaching

    ERIC Educational Resources Information Center

    Shem-Tov, Naphtaly

    2018-01-01

    This article focuses on a teaching case, Rona, a student in the educational dance-theatre programme that adopted improvisational teaching to deal with her lack of self-confidence. This lack had denied her feeling free and teaching without inhibitions in the classroom. Rona found a way to release her lack of self-confidence by spontaneously acting…

  9. A Case Study of Diverse Multimodal Influences on Music Improvisation Using Visual Methodology

    ERIC Educational Resources Information Center

    Tomlinson, Michelle M.

    2016-01-01

    This case study employed multimodal methods and visual analysis to explore how a young multilingual student used music improvisation to form a speech rap. This student, recently arrived in Australia from Ethiopia, created piano music that was central to his music identity and that simultaneously, through dialogue with his mother, enhanced his…

  10. The effect of a senior jazz dance class on static balance in healthy women over 50 years of age: a pilot study.

    PubMed

    Wallmann, Harvey W; Gillis, Carrie B; Alpert, Patricia T; Miller, Sally K

    2009-01-01

    The purpose of this pilot study is to assess the impact of a senior jazz dance class on static balance for healthy women over 50 years of age using the NeuroCom Smart Balance Master System (Balance Master). A total of 12 healthy women aged 54-88 years completed a 15-week jazz dance class which they attended 1 time per week for 90 min per class. Balance data were collected using the Sensory Organization Test (SOT) at baseline (pre), at 7 weeks (mid), and after 15 weeks (post). An equilibrium score measuring postural sway was calculated for each of six different conditions. The composite equilibrium score (all six conditions integrated to 1 score) was used as an overall measure of balance. Repeated measures analyses of variance (ANOVAs) were used to compare the means of each participant's SOT composite equilibrium score in addition to the equilibrium score for each individual condition (1-6) across the 3 time points (pre, mid, post). There was a statistically significant difference among the means, p < .0005. Pairwise (Bonferroni) post hoc analyses revealed the following statistically significant findings for SOT composite equilibrium scores for the pre (67.33 + 10.43), mid (75.25 + 6.97), and post (79.00 + 4.97) measurements: premid (p = .008); prepost (p < .0005); midpost (p = .033). In addition, correlational statistics were used to determine any relationship between SOT scores and age. Results indicated that administration of a 15-week jazz dance class 1 time per week was beneficial in improving static balance as measured by the Balance Master SOT.

  11. Musical genre-dependent behavioural and EEG signatures of action planning. A comparison between classical and jazz pianists.

    PubMed

    Bianco, R; Novembre, G; Keller, P E; Villringer, A; Sammler, D

    2018-04-01

    It is well established that musical training induces sensorimotor plasticity. However, there are remarkable differences in how musicians train for proficient stage performance. The present EEG study outlines for the first time clear-cut neurobiological differences between classical and jazz musicians at high and low levels of action planning, revealing genre-specific cognitive strategies adopted in production. Pianists imitated chord progressions without sound that were manipulated in terms of harmony and context length to assess high-level planning of sequence-structure, and in terms of the manner of playing to assess low-level parameter specification of single acts. Jazz pianists revised incongruent harmonies faster as revealed by an earlier reprogramming negativity and beta power decrease, hence neutralising response costs, albeit at the expense of a higher number of manner errors. Classical pianists in turn experienced more conflict during incongruent harmony, as shown by theta power increase, but were more ready to implement the required manner of playing, as indicated by higher accuracy and beta power decrease. These findings demonstrate that specific demands and action focus of training lead to differential weighting of hierarchical action planning. This suggests different enduring markers impressed in the brain when a musician practices one or the other style. Copyright © 2018 Elsevier Inc. All rights reserved.

  12. An interpretative phenomenological analysis of an improvisational music therapy program for cancer patients.

    PubMed

    Pothoulaki, Maria; MacDonald, Raymond; Flowers, Paul

    2012-01-01

    Although there are an increasing number of qualitative studies investigating the benefits of music therapy interventions in cancer care settings, few studies have adopted a phenomenological approach to explore how and why such interventions work. The aim of this study was to explore the psychological processes involved in an improvisational music therapy program for cancer patients. Nine individuals took part in an improvisational music therapy program and participated in semi-structured interviews. Interpretative Phenomenological Analysis (IPA) was employed as a theoretical and methodological framework for the analysis of the interviews. Recurrent themes revealed a variety of social and psychological benefits related to the experience of music therapy, such as facilitating peer support and group interaction, increasing self-confidence, relaxation, the generation of positive feelings, stress relief and feelings of enhanced communication through music. There was also an emphasis upon the importance of social interaction and communication. This paper highlights a number of key benefits connected with music therapy for patients with cancer and the effectiveness of IPA in applied health psychology research.

  13. Clinical evaluation of improvised gauze-based negative pressure wound therapy in military wounds.

    PubMed

    Mansoor, Junaid; Ellahi, Irfan; Junaid, Zartash; Habib, Adeel; Ilyas, Uzair

    2015-10-01

    The use of negative pressure wound therapy (NPWT) in civilian and military wounds is found effective in promoting granulation tissue, decreasing exudate and improving patient comfort. The Use of gauze-based NPWT is increasing in civilian trauma cases with availability of proprietary systems using gauze as filler material rather than the traditionally used reticulated open-cell foam. Military trauma wounds differ from civilian trauma wounds in energy of impact, degree and nature of contamination as well as the hostile environments. The Use of gauze as filler material for NPWT in military trauma wounds is less well studied. This study is a retrospective analysis of use of improvised gauze-based NPWT in military trauma wounds. The whole assembly was constructed from commonly available operation theatre supplies and no proprietary system was used. Results were very encouraging and the use of this improvised method can be useful and cheap alternative to costly proprietary systems. © 2013 The Authors. International Wound Journal © 2013 Medicalhelplines.com Inc and John Wiley & Sons Ltd.

  14. "If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music.

    PubMed

    Hansen, Niels Chr; Vuust, Peter; Pearce, Marcus

    2016-01-01

    Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information-theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians' explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in predictive processing of music.

  15. The Development of Movement Synthesis Ability through the Teaching of Creative Movement and Improvisation

    ERIC Educational Resources Information Center

    Theodoraki, Kalliopi; Kampiotis, Spiridon

    2007-01-01

    The purpose of the present study was to examine whether the teaching of creative movement and improvisation can influence the development of movement synthesis ability. Movement synthesis ability refers to the production of a movement composition. Twenty-five female freshmen, physical education students, participated in the study. They created…

  16. Assessment of UWB radar for improvised explosive device detection

    NASA Astrophysics Data System (ADS)

    Kegege, Obadiah; Li, Junfei; Foltz, Heinrich

    2006-05-01

    The goal of our research is to assess the capability of ultra-wide-band (UWB) radar for detection of roadside improvised explosive devices (IEDs). Radar scattering signatures of artillery shells over a broadband frequency range, with different Tx/Rx polarizations, and at various aspect angles have been explored based on simulation and indoor measurement. Characteristics of IEDs versus clutter, wave penetration at different frequencies are also investigated. Finally, visibility of IED targets is tested on a moving cart in outdoor settings, with IED targets on ground surface, recessed, and buried underground at different distances away from the radar.

  17. Learning from the Experts: A Study of Free-Improvisation Pedagogues in University Settings

    ERIC Educational Resources Information Center

    Hickey, Maud

    2015-01-01

    There is a growing interest in alternative forms of pedagogy for students in K-12 settings. Free improvisation, a relatively new and unfamiliar genre, offers potential as an ensemble for teachers to provide in order to offer more egalitarian and creative music experiences for their students. The purpose of this multiple case study was to determine…

  18. Trocar anterior chamber maintainer: Improvised infusion technique.

    PubMed

    Agarwal, Amar; Narang, Priya; Kumar, Dhivya A; Agarwal, Ashvin

    2016-02-01

    We present an improvised technique of infusion that uses a trocar cannula as an anterior chamber maintainer (ACM). Although routinely used in posterior segment surgery, the trocar cannula has been infrequently used in complex anterior segment procedures. The trocar ACM creates a transconjunctival biplanar wound of appropriate size that is self-sealing and overcomes the shortcomings of an ACM, such as spontaneous extrusion and forced introduction into the eye from variability in the size of the corneal paracentesis incision. Constant infusion inflow through the trocar ACM is used to maintain positive intraocular pressure through a self-sealing sclerotomy incision at the limbus. No author has a financial or proprietary interest in any material or method mentioned. Copyright © 2016 ASCRS and ESCRS. Published by Elsevier Inc. All rights reserved.

  19. Common Chemicals as Precursors of Improvised Explosive Devices: The Challenges of Controlling Domestic Terrorism

    DTIC Science & Technology

    2005-09-01

    utilizing common household products that contain precursor chemicals which, when combined, become explosive. B. IMPORTANCE Improvised Explosive...legislation removing acetone or other common household products from the market. Consumer convenience is a powerful lobbying factor and law makers...as IEDs rather than common household products . 23 Oklahoma City National Memorial website, http

  20. DHS small-scale safety and thermal testing of improvised explosives-comparison of testing performance

    NASA Astrophysics Data System (ADS)

    Reynolds, J. G.; Sandstrom, M. M.; Brown, G. W.; Warner, K. F.; Phillips, J. J.; Shelley, T. J.; Reyes, J. A.; Hsu, P. C.

    2014-05-01

    One of the first steps in establishing safe handling procedures for explosives is small-scale safety and thermal (SSST) testing. To better understand the response of improvised materials or homemade explosives (HMEs) to SSST testing, 16 HME materials were compared to three standard military explosives in a proficiency-type round robin study among five laboratories-two DoD and three DOE-sponsored by DHS. The testing matrix has been designed to address problems encountered with improvised materials-powder mixtures, liquid suspensions, partially wetted solids, immiscible liquids, and reactive materials. More than 30 issues have been identified that indicate standard test methods may require modification when applied to HMEs to derive accurate sensitivity assessments needed for developing safe handling and storage practices. This paper presents a generalized comparison of the results among the testing participants, comparison of friction results from BAM (German Bundesanstalt für Materi-alprüfung) and ABL (Allegany Ballistics Laboratory) designed testing equipment, and an overview of the statistical results from the RDX (1,3,5-Trinitroperhydro-1,3,5-triazine) standard tested throughout the proficiency test.

  1. Improvised Cricothyrotomy on a Mountain Using Hiking Gear.

    PubMed

    Johnson, Clare A; Goodwine, Diana S; Passier, Ingrid

    2016-12-01

    We present a case of a 57-year-old man who fell while climbing a mountain in California and sustained severe facial trauma. Three firefighters and 2 emergency physicians witnessed the fall and resuscitated the patient. The patient ultimately required a surgical cricothyrotomy performed with a pocket knife and Platypus hydration pack. The physicians made a makeshift positive pressure airway device using the Platypus hydration pack. We believe this is the first case report describing an improvised cricothyrotomy performed in the wilderness using only hiking gear. This report also discusses indications for cricothyrotomy, the challenges of resuscitation in a low-resource environment, and special considerations in a high-altitude setting. Copyright © 2016 Wilderness Medical Society. Published by Elsevier Inc. All rights reserved.

  2. Play Well With Others: Improvisational Theater and Collaboration in the Homeland Security Environment

    DTIC Science & Technology

    2013-09-01

    AND COLLABORATION IN THE HOMELAND SECURITY ENVIRONMENT 5. FUNDING NUMBERS 6. AUTHOR(S) Andrew J. Phelps 7. PERFORMING ORGANIZATION NAME(S) AND...ADDRESS(ES) Naval Postgraduate School Monterey, CA 93943-5000 8. PERFORMING ORGANIZATION REPORT NUMBER 9. SPONSORING /MONITORING AGENCY NAME(S...collaboration is important, but we are not told how to collaborate. Improvisational theater, on the other hand, is built on collaboration among performers to

  3. Laughter is the best medicine: The Second City® improvisation as an intervention for Parkinson's disease.

    PubMed

    Bega, Danny; Palmentera, Pamela; Wagner, Abby; Hovde, Matt; Barish, Becca; Kwasny, Mary J; Simuni, Tanya

    2017-01-01

    Expressive therapies are increasingly incorporated into the management of Parkinson's disease (PD), although there are little objective data assessing their benefits. Develop and study a novel community Improvisation Theater (IT) program for PD in order to improve quality of life. A prospective, rater-blinded, modified cross-over design study of IT for PD. 22 subjects were randomized 1:1 to active-start (AS) or control-start (CS) groups, controlling for age and Hoehn and Yahr stage. Participants were recruited from the Northwestern PD and Movement Disorders Center. 60 min IT sessions were led by The Second City ® faculty weekly for 12 weeks. The primary aim was to assess feasibility, determined as 70% of participants attending at least 75% of the classes. Exploratory data were obtained comparing pre- and post-intervention outcomes using Wilcoxon signed rank test for UPDRS parts I-IV, PDQ-39, and 5 neuro-QoL measures (communication, anxiety, stigma, depression, and wellbeing). All 22 participants completed the study. 21/22 (95%) participants attended at least 80% of the classes. All participants indicated that they would recommend the class to others with PD. 21/22 participants enjoyed the class and felt it was beneficial for their symptoms. A significant improvement pre-to-post intervention was seen with the UPDRS part II ADL measure (mean -1.5, p = 0.019). A novel improvisation program can be well-attended, enjoyable, and improve ADL measures among patients with PD of varying ages and disease severity. Copyright © 2016 Elsevier Ltd. All rights reserved.

  4. Common Characteristics of Improvisational Approaches in Music Therapy for Children with Autism Spectrum Disorder: Developing Treatment Guidelines.

    PubMed

    Geretsegger, Monika; Holck, Ulla; Carpente, John A; Elefant, Cochavit; Kim, Jinah; Gold, Christian

    2015-01-01

    Improvisational methods of music therapy have been increasingly applied in the treatment of individuals with autism spectrum disorder (ASD) over the past decades in many countries worldwide. This study aimed at developing treatment guidelines based on the most important common characteristics of improvisational music therapy (IMT) with children affected by ASD as applied across various countries and theoretical backgrounds. After initial development of treatment principle items, a survey among music therapy professionals in 10 countries and focus group workshops with experienced clinicians in three countries were conducted to evaluate the items and formulate revised treatment guidelines. To check usability, a treatment fidelity assessment tool was subsequently used to rate therapy excerpts. Survey findings and feedback from the focus groups corroborated most of the initial principles for IMT in the context of children with ASD. Unique and essential principles include facilitating musical and emotional attunement, musically scaffolding the flow of interaction, and tapping into the shared history of musical interaction between child and therapist. Raters successfully used the tool to evaluate treatment adherence and competence. Summarizing an international consensus about core principles of improvisational approaches in music therapy for children with ASD, these treatment guidelines may be applied in diverse theoretical models of music therapy. They can be used to assess treatment fidelity, and may be applied to facilitate future research, clinical practice, and training. © the American Music Therapy Association 2015. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

  5. Volunteer trials of a novel improvised dry decontamination protocol for use during mass casualty incidents as part of the UK'S Initial Operational Response (IOR).

    PubMed

    Amlôt, Richard; Carter, Holly; Riddle, Lorna; Larner, Joanne; Chilcott, Robert P

    2017-01-01

    Previous studies have demonstrated that rapid evacuation, disrobing and emergency decontamination can enhance the ability of emergency services and acute hospitals to effectively manage chemically-contaminated casualties. The purpose of this human volunteer study was to further optimise such an "Initial Operational Response" by (1) identifying an appropriate method for performing improvised skin decontamination and (2) providing guidance for use by first responders and casualties. The study was performed using two readily available, absorbent materials (paper towels and incontinence pads). The decontamination effectiveness of the test materials was measured by quantifying the amount of a chemical warfare agent simulant (methyl salicylate) removed from each volunteer's forearm skin. Results from the first study demonstrated that simulant recovery was lower in all of the dry decontamination conditions when compared to matched controls, suggesting that dry decontamination serves to reduce chemical exposure. Blotting in combination with rubbing was the most effective form of decontamination. There was no difference in effectiveness between the two absorbent materials. In the following study, volunteers performed improvised dry decontamination, either with or without draft guidelines. Volunteers who received the guidance were able to carry out improvised dry decontamination more effectively, using more of the absorbent product (blue roll) to ensure that all areas of the body were decontaminated and avoiding cross-contamination of other body areas by working systematically from the head downwards. Collectively, these two studies suggest that absorbent products that are available on ambulances and in acute healthcare settings may have generic applicability for improvised dry decontamination. Wherever possible, emergency responders and healthcare workers should guide casualties through decontamination steps; in the absence of explicit guidance and instructions, improvised

  6. Prevalence, risk factors, and effects of performance-related medical disorders (PRMD) among tertiary-trained jazz pianists in Australia and the United States.

    PubMed

    Wood, Graham C

    2014-03-01

    This study explores performance-related medical disorders (PRMD) among a sample of tertiary-trained jazz pianists. Participants included both Australian and US pianists (n=214), including current and former tertiary students, professional pianists, and teachers. This mixed methods (quantitative and qualitative) exploratory and descriptive study used survey and case studies to provide baseline data for further research. Students reported a past and present period prevalence of 63% for pain and 41% for PRMD (injury attributed to practice or performance) with the forearm being the body part most affected, usually by fatigue. Diagnosis and treatment were reported as often unsatisfactory mainly due to lack of knowledge of PRMD by teachers and by professional health providers, and also to limited access to specialist PRMD services where these exist. Although teacher knowledge of PRMD is quite low, students still seek advice primarily from their teachers. The current study highlights a need to address the issue of PRMD among jazz pianists and their teachers more strategically, both in its prevention and in diagnosis and treatment.

  7. The Touch "Taboo" and the Art of Contact: An Exploration of Contact Improvisation for Prisoners

    ERIC Educational Resources Information Center

    Houston, Sara

    2009-01-01

    The article examines the experience of participating in Contact Improvisation by male prisoners. It specifically focuses on issues of touch for this participant group and how inmates can learn different ways of acting from acquiring Contact skills, contributing to their rehabilitation. The paper looks at the culture in prisons that propagates a…

  8. The Development of Rhythm at the Age of 6-11 Years: Non-Pitch Rhythmic Improvisation

    ERIC Educational Resources Information Center

    Paananen, Pirkko

    2006-01-01

    In the statistical and transcriptional analyses reported in this exploratory study, original rhythms of 6-11-year-old children (N=36) were examined. The hypotheses were based on a new model of musical development, and tested empirically using non-pitch rhythmic improvisation in a MIDI-environment. Several representational types were found in…

  9. Effects of Improvisational Music Therapy vs Enhanced Standard Care on Symptom Severity Among Children With Autism Spectrum Disorder

    PubMed Central

    Bieleninik, Łucja; Geretsegger, Monika; Mössler, Karin; Assmus, Jörg; Thompson, Grace; Gattino, Gustavo; Elefant, Cochavit; Gottfried, Tali; Igliozzi, Roberta; Muratori, Filippo; Suvini, Ferdinando; Kim, Jinah; Crawford, Mike J.; Odell-Miller, Helen; Oldfield, Amelia; Casey, Órla; Finnemann, Johanna; Carpente, John; Park, A-La; Grossi, Enzo

    2017-01-01

    Importance Music therapy may facilitate skills in areas affected by autism spectrum disorder (ASD), such as social interaction and communication. Objective To evaluate effects of improvisational music therapy on generalized social communication skills of children with ASD. Design, Setting, and Participants Assessor-blinded, randomized clinical trial, conducted in 9 countries and enrolling children aged 4 to 7 years with ASD. Children were recruited from November 2011 to November 2015, with follow-up between January 2012 and November 2016. Interventions Enhanced standard care (n = 182) vs enhanced standard care plus improvisational music therapy (n = 182), allocated in a 1:1 ratio. Enhanced standard care consisted of usual care as locally available plus parent counseling to discuss parents’ concerns and provide information about ASD. In improvisational music therapy, trained music therapists sang or played music with each child, attuned and adapted to the child’s focus of attention, to help children develop affect sharing and joint attention. Main Outcomes and Measures The primary outcome was symptom severity over 5 months, based on the Autism Diagnostic Observation Schedule (ADOS), social affect domain (range, 0-27; higher scores indicate greater severity; minimal clinically important difference, 1). Prespecified secondary outcomes included parent-rated social responsiveness. All outcomes were also assessed at 2 and 12 months. Results Among 364 participants randomized (mean age, 5.4 years; 83% boys), 314 (86%) completed the primary end point and 290 (80%) completed the last end point. Over 5 months, participants assigned to music therapy received a median of 19 music therapy, 3 parent counseling, and 36 other therapy sessions, compared with 3 parent counseling and 45 other therapy sessions for those assigned to enhanced standard care. From baseline to 5 months, mean ADOS social affect scores estimated by linear mixed-effects models decreased from 14

  10. Teaching Medical Students to Communicate With Empathy and Clarity Using Improvisation.

    PubMed

    Kaplan-Liss, Evonne; Lantz-Gefroh, Valeri; Bass, Elizabeth; Killebrew, Deirdre; Ponzio, Nicholas M; Savi, Christine; O'Connell, Christine

    2018-03-01

    Medical educators widely accept that health care providers need strong communication skills. The authors sought to develop a course incorporating improvisation to teach health professions students communication skills and build empathy. Teaching health care professionals to communicate more effectively with patients, the public, and each other is a goal of the Alan Alda Center for Communicating Science at Stony Brook University. The authors designed an interprofessional elective for medical, nursing, and dental students that differed in several respects from traditional communication training. The Communicating Science elective, which was offered by the Alda Center from 2012 to 2016, used verbal and nonverbal exercises, role-playing, and storytelling, including improvisation exercises, to teach students to communicate with empathy and clarity. In course evaluations completed by 76 students in 2012 and 2013, 100% said they would recommend the course to fellow students, saw the relevance of the course content to their careers, and desired more of the course content in their school's curriculum. As a result of this positive feedback, from 2014 to 2016, 10 hours of instruction pairing empathy and communication training was embedded in the preclinical curriculum at the Stony Brook University School of Medicine. This course could be an effective model, and one that other institutions could employ, for improving communication skills and empathy in the next generation of health care professionals. Next steps include advocating for communication skills training to be embedded throughout the curriculum of a four-year medical school program.

  11. Role of the Windlass in Improvised Tourniquet Use on a Manikin Hemorrhage Model

    DTIC Science & Technology

    2015-01-01

    windlass to better understand the role of the windlass in tightening the tourniquet strap. Methods: An experiment was designed to test the...longer bystanders, these responders gave first aid by wrapping and tightening a shirt around a limb, and these makeshift tourniquets reportedly helped...improvising tourniquets is to twist a strap with a windlass to gain mechanical advantage in tightening . However, to our knowledge, no one in Boston

  12. "If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music

    PubMed Central

    Vuust, Peter; Pearce, Marcus

    2016-01-01

    Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information-theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians’ explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in predictive processing of music. PMID:27732612

  13. Framework for Reducing Teaching Challenges Relating to Improvisation of Science Education Equipment and Materials in Schools

    ERIC Educational Resources Information Center

    Akuma, Fru Vitalis; Callaghan, Ronel

    2016-01-01

    The science education budget of many secondary schools has decreased, while shortages and environmental concerns linked to conventional Science Education Equipment and Materials (SEEMs) have emerged. Thus, in some schools, resourceful educators produce low-cost equipment from basic materials and use these so-called improvised SEEMs in practical…

  14. The Vocal Improviser-Educator: An Analysis of Selected American and Australian Educators' Influences and Pedagogical Views

    ERIC Educational Resources Information Center

    Ward-Steinman, Patrice Madura

    2014-01-01

    Thirty vocal improviser-educators from Australia (n = 15) and the United States (n = 15) were surveyed for musical background, influences and pedagogical views, and assessed for personality type using the "Myers-Briggs Type Indicator" ("MBTI"). The purpose was to both combine and compare the two groups to identify overall…

  15. Volunteer trials of a novel improvised dry decontamination protocol for use during mass casualty incidents as part of the UK’S Initial Operational Response (IOR)

    PubMed Central

    Riddle, Lorna; Larner, Joanne

    2017-01-01

    Previous studies have demonstrated that rapid evacuation, disrobing and emergency decontamination can enhance the ability of emergency services and acute hospitals to effectively manage chemically-contaminated casualties. The purpose of this human volunteer study was to further optimise such an “Initial Operational Response” by (1) identifying an appropriate method for performing improvised skin decontamination and (2) providing guidance for use by first responders and casualties. The study was performed using two readily available, absorbent materials (paper towels and incontinence pads). The decontamination effectiveness of the test materials was measured by quantifying the amount of a chemical warfare agent simulant (methyl salicylate) removed from each volunteer’s forearm skin. Results from the first study demonstrated that simulant recovery was lower in all of the dry decontamination conditions when compared to matched controls, suggesting that dry decontamination serves to reduce chemical exposure. Blotting in combination with rubbing was the most effective form of decontamination. There was no difference in effectiveness between the two absorbent materials. In the following study, volunteers performed improvised dry decontamination, either with or without draft guidelines. Volunteers who received the guidance were able to carry out improvised dry decontamination more effectively, using more of the absorbent product (blue roll) to ensure that all areas of the body were decontaminated and avoiding cross-contamination of other body areas by working systematically from the head downwards. Collectively, these two studies suggest that absorbent products that are available on ambulances and in acute healthcare settings may have generic applicability for improvised dry decontamination. Wherever possible, emergency responders and healthcare workers should guide casualties through decontamination steps; in the absence of explicit guidance and instructions

  16. Jazz, guitar, and neurosurgery: the Pat Martino case report.

    PubMed

    Galarza, Marcelo; Isaac, Claire; Pellicer, Olga; Mayes, Andrew; Broks, Paul; Montaldi, Daniela; Denby, Christine; Simeone, Frederick

    2014-01-01

    We present the case of a professional jazz guitarist with temporal lobe epilepsy secondary to an arteriovenous cerebral malformation. The patient underwent a left temporal lobectomy in 1980. After surgery, he presented with severe retrograde amnesia and complete loss of musical interest and capabilities. The patient's musical abilities recovered over time, and he regained his previous virtuoso status. In 2007, his medical history, neuropsychologic functions, and structural magnetic resonance imaging study were examined and revealed a remarkable degree of recovery of memory and musical abilities in the context of extensive temporal lobe resection. The neuropsychologic findings and neuroanatomic features of the magnetic resonance imaging study were analyzed to try to understand the high degree of recovery of both long-term memory and musical processing abilities in this musician. This case reveals the possibility of an unusual degree of cerebral plasticity and reorganization. Additionally, it emphasizes the question of musical virtuosity. This report shows that the musical capabilities of professional musicians, in specific cases, can completely recover even when much of the left temporal lobe has been removed. Copyright © 2014 Elsevier Inc. All rights reserved.

  17. Effects of Partner's Improvisational Resistance Training on dancers' muscular strength.

    PubMed

    Vetter, Rheba E; Dorgo, Sandor

    2009-05-01

    The purpose of this study was to observe the effects of Partner's Improvisational Resistance Training (PIRT) on muscular strength, body circumference, and body fat percentage in 10 female college-age dancers in comparison with 8 female dancers in a control group. The PIRT program, based on the concepts of manual resistance training, is the application of contact improvisation in a systematic strength development program, which proposes a way of contextualizing muscular strength development within the dance class. The program lasted 8 weeks, meeting 3 times weekly for 60-minute sessions. The muscular strength pre- and posttests included 1-repetition maximum (1RM) for leg extension, leg flexion, leg press, bench press, lat pulldown, back extension, and modified sit-up. Hydrostatic weighing for body composition and circumference measures on the waist, hip, shoulder, upper arm, and thigh were made pre- and posttest analyses. There were no significant pretest differences between the groups for age, height, body weight, body fat percentage, any of the circumference measures, or 5 of the 7 muscular strength measures. At posttest, neither group showed significant changes in total body weight, body fat percentage, or lean body weight. The experimental group showed significant decrements in the waist and hip circumference measures, and all other body circumference changes were nonsignificant. The experimental group showed significant changes from pretest to posttest for all seven 1RM strength measures and greater absolute and relative strength improvements in 5 measures compared with the control group. Thus, the 8-week PIRT program for female dancers was found effective in improving overall muscular strength and decreasing circumference in the waist-hip region, but it did not elicit significant changes in body composition.

  18. A Preliminary Analysis of Teaching Improvisation with the Picture Exchange Communication System to Children with Autism

    ERIC Educational Resources Information Center

    Marckel, Julie M.; Neef, Nancy A.; Ferreri, Summer J.

    2006-01-01

    Two young boys with autism who used the picture exchange communication system were taught to solve problems (improvise) by using descriptors (functions, colors, and shapes) to request desired items for which specific pictures were unavailable. The results of a multiple baseline across descriptors showed that training increased the number of…

  19. Constancy and Variability: Dialogic Literacy Events as Sites for Improvisation in Two 3rd-Grade Classrooms

    ERIC Educational Resources Information Center

    Jordan, Michelle E.; Santori, Diane

    2015-01-01

    This multisite study investigates dialogic literacy events that revolved around narrative and informational texts in two 3rd-grade classrooms. The authors offer a metaphor of musical improvisation to contemplate dialogic literacy events as part of the repertoire of teaching and learning experiences. In literacy learning, where there is much…

  20. Group Playing by Ear in Higher Education: The Processes That Support Imitation, Invention and Group Improvisation

    ERIC Educational Resources Information Center

    Varvarigou, Maria

    2017-01-01

    This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students' aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes…

  1. Beam test results of a monolithic pixel sensor in the 0.18 μm tower-jazz technology with high resistivity epitaxial layer

    NASA Astrophysics Data System (ADS)

    Mattiazzo, S.; Aimo, I.; Baudot, J.; Bedda, C.; La Rocca, P.; Perez, A.; Riggi, F.; Spiriti, E.

    2015-10-01

    The ALICE experiment at CERN will undergo a major upgrade in the second Long LHC Shutdown in the years 2018-2019; this upgrade includes the full replacement of the Inner Tracking System (ITS), deploying seven layers of Monolithic Active Pixel Sensors (MAPS). For the development of the new ALICE ITS, the Tower-Jazz 0.18 μm CMOS imaging sensor process has been chosen as it is possible to use full CMOS in the pixel and different silicon wafers (including high resistivity epitaxial layers). A large test campaign has been carried out on several small prototype chips, designed to optimize the pixel sensor layout and the front-end electronics. Results match the target requirements both in terms of performance and of radiation hardness. Following this development, the first full scale chips have been designed, submitted and are currently under test, with promising results. A telescope composed of 4 planes of Mimosa-28 and 2 planes of Mimosa-18 chips is under development at the DAFNE Beam Test Facility (BTF) at the INFN Laboratori Nazionali di Frascati (LNF) in Italy with the final goal to perform a comparative test of the full scale prototypes. The telescope has been recently used to test a Mimosa-22THRb chip (a monolithic pixel sensor built in the 0.18 μm Tower-Jazz process) and we foresee to perform tests on the full scale chips for the ALICE ITS upgrade at the beginning of 2015. In this contribution we will describe some first measurements of spatial resolution, fake hit rate and detection efficiency of the Mimosa-22THRb chip obtained at the BTF facility in June 2014 with an electron beam of 500 MeV.

  2. The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First through Sixth Grade

    ERIC Educational Resources Information Center

    Guilbault, Denise Marie

    2009-01-01

    The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations…

  3. Evolving Regulatory Processes Used by Students and Experts in the Acquiring of Improvisational Skills: A Qualitative Study

    ERIC Educational Resources Information Center

    de Bruin, Leon R.

    2018-01-01

    The way an improviser practices is a vital and significant aspect to a musician's means and capacities of expression. Expert music performers utilize extensive self-regulatory processes involving planning, strategic development, and systemized approaches to learning and reflective practice. Scholars posit that these processes are constructivist…

  4. Pre-Service Teachers' Problems of Improvisation of Instructional Materials in Social Studies in Ekiti State University

    ERIC Educational Resources Information Center

    Abdu-Raheem, B. O.; Oluwagbohunmi, M. F.

    2015-01-01

    This study examined problems of improvisation of instructional materials in Social Studies by pre-service teachers in Ekiti State University. The population for the study comprised all Social Studies pre-service teachers in the Faculty of Education. The sample consisted of 90 Social Studies pre-service teachers selected from 200, 300 and 400…

  5. Variation of methods in small-scale safety and thermal testing of improvised explosives

    DOE PAGES

    Sandstrom, Mary M.; Brown, Geoffrey W.; Preston, Daniel N.; ...

    2014-09-29

    Here, one of the first steps in establishing safe handling procedures for explosives is small-scale safety and thermal (SSST) testing. To better understand the response of homemade or improvised explosives (HMEs) to SSST testing, 16 HME materials were compared to 3 standard military explosives in a proficiency-type round robin study among five laboratories, two U.S. Department of Defense and three U.S. Department of Energy, sponsored by the Department of Homeland Security, Science & Technology Directorate, Explosives Division.

  6. Analytical Characterization of Erythritol Tetranitrate, an Improvised Explosive.

    PubMed

    Matyáš, Robert; Lyčka, Antonín; Jirásko, Robert; Jakový, Zdeněk; Maixner, Jaroslav; Mišková, Linda; Künzel, Martin

    2016-05-01

    Erythritol tetranitrate (ETN), an ester of nitric acid and erythritol, is a solid crystalline explosive with high explosive performance. Although it has never been used in any industrial or military application, it has become one of the most prepared and misused improvise explosives. In this study, several analytical techniques were explored to facilitate analysis in forensic laboratories. FTIR and Raman spectrometry measurements expand existing data and bring more detailed assignment of bands through the parallel study of erythritol [(15) N4 ] tetranitrate. In the case of powder diffraction, recently published data were verified, and (1) H, (13) C, and (15) N NMR spectra are discussed in detail. The technique of electrospray ionization tandem mass spectrometry was successfully used for the analysis of ETN. Described methods allow fast, versatile, and reliable detection or analysis of samples containing erythritol tetranitrate in forensic laboratories. © 2016 American Academy of Forensic Sciences.

  7. Solvent-Free Off-On Detection of the Improvised Explosive Triacetone Triperoxide (TATP) with Fluorogenic Materials.

    PubMed

    Calvo-Gredilla, Patricia; García-Calvo, José; Cuevas, José V; Torroba, Tomás; Pablos, Jesús-Luis; García, Félix C; García, José-Miguel; Zink-Lorre, Nathalie; Font-Sanchis, Enrique; Sastre-Santos, Ángela; Fernández-Lázaro, Fernando

    2017-10-09

    A fluorogenic perylenediimide-functionalized polyacrylate capable of generating color and fluorescence changes in the presence of triacetone triperoxide TATP), an improvised explosive used in terrorist attacks, under solvent-free, solid-state conditions has been developed. The material works by accumulating volatile TATP until it reaches a threshold; therefore, triggering colorimetric and fluorescent responses. © 2017 Wiley-VCH Verlag GmbH & Co. KGaA, Weinheim.

  8. Drama Education in New Zealand: A Coming of Age? A Conceptualisation of the Development and Practice of Drama in the Curriculum as a Structured Improvisation, with New Zealand's Experience as a Case Study

    ERIC Educational Resources Information Center

    Greenwood, Janinka

    2009-01-01

    I propose a conceptualisation of drama in school education as improvisation within a framework that has a number of fixed but changing structures. I examine how the "drama in schooling" practice of one country, New Zealand, might be seen as a group improvisation in which, through dramatic negotiation, participants evolve their goals,…

  9. Department of Homeland Security (DHS) Proficiency Testing on Small-Scale Safety and Thermal Testing of Improvised Explosives

    NASA Astrophysics Data System (ADS)

    Reynolds, John; Sandstrom, Mary; Brown, Geoffrey; Warner, Kirstin; Phillips, Jason; Shelley, Timothy; Reyes, Jose; Hsu, Peter

    2013-06-01

    One of the first steps in establishing safe handling procedures for explosives is small-scale safety and thermal (SSST) testing. To better understand the response of improvised materials or HMEs to SSST testing, 18 HME materials were compared to 3 standard military explosives in a proficiency-type round robin study among five laboratories--2 DoD and 3 DOE--sponsored by DHS. The testing matrix has been designed to address problems encountered with improvised materials--powder mixtures, liquid suspensions, partially wetted solids, immiscible liquids, and reactive materials. Over 30 issues have been identified that indicate standard test methods may require modification when applied to HMEs to derive accurate sensitivity assessments needed for development safe handling and storage practices. This presentation will discuss experimental difficulties encountered when testing these problematic samples, show inter-laboratory testing results, show some statistical interpretation of the results, and highlight some of the testing issues. Some of the work was performed under the auspices of the U.S. Department of Energy by Lawrence Livermore National Laboratory under Contract DE-AC52-07NA27344. LLNL-ABS-617519 (721812).

  10. A single, improvised "Kassam" rocket explosion can cause a mass casualty incident: a potential threat for future international terrorism?

    PubMed

    Schwartz, D; Ostfeld, I; Bar-Dayan, Y

    2009-04-01

    Over 2000 improvised rockets (called "Kassam" rockets) have been targeted at the south of Israel from the Gaza strip since 2001. Most of them have injured relatively few people. The first known case of a multicasualty incident (MCI) caused by the landing of a single, improvised rocket is described. The event is described according to the disastrous incidents systematic analysis through components, interactions and results methodology (DISAST-CIR). The rocket hit a military training tent camp in the south of Israel at 01:18 hours. At that time, all soldiers were in bed and were not using any protective gear. A total of 76 soldiers was injured (three severe, eight moderate and 65 mild). The most prevalent types of injuries were upper extremity (33%) and lower extremity (30%) trauma, tinnitus (30%) and acute stress reactions (32%). A total of 67 casualties was evacuated to the nearest level two hospital, Barzilai, in a two-phase distribution characterised by different patterns of injury severity and type. All urgent casualties arrived at hospitals within 1 h 24 minutes, whereas most stress casualties arrived in the later phase. Seven casualties were secondarily transported to level one trauma centres. 42 of the casualties were hospitalised and 17 needed urgent surgery. None has died. A single low-tech mortar with poor accuracy and small warhead (estimated weight of 10 kg only) can cause a large-scale MCI. As international terrorist organisations can easily gain access to improvised rockets, the latter may become a threat in many countries. Emergency systems should thus be prepared for that adverse possibility.

  11. Multilateral haptics-based immersive teleoperation for improvised explosive device disposal

    NASA Astrophysics Data System (ADS)

    Erickson, David; Lacheray, Hervé; Daly, John

    2013-05-01

    Of great interest to police and military organizations is the development of effective improvised explosive device (IED) disposal (IEDD) technology to aid in activities such as mine field clearing, and bomb disposal. At the same time minimizing risk to personnel. This paper presents new results in the research and development of a next generation mobile immersive teleoperated explosive ordnance disposal system. This system incorporates elements of 3D vision, multilateral teleoperation for high transparency haptic feedback, immersive augmented reality operator control interfaces, and a realistic hardware-in-the-loop (HIL) 3D simulation environment incorporating vehicle and manipulator dynamics for both operator training and algorithm development. In the past year, new algorithms have been developed to facilitate incorporating commercial off-the-shelf (COTS) robotic hardware into the teleoperation system. In particular, a real-time numerical inverse position kinematics algorithm that can be applied to a wide range of manipulators has been implemented, an inertial measurement unit (IMU) attitude stabilization system for manipulators has been developed and experimentally validated, and a voice­operated manipulator control system has been developed and integrated into the operator control station. The integration of these components into a vehicle simulation environment with half-car vehicle dynamics has also been successfully carried out. A physical half-car plant is currently being constructed for HIL integration with the simulation environment.

  12. The signature-based radiation-scanning approach to standoff detection of improvised explosive devices.

    PubMed

    Brewer, R L; Dunn, W L; Heider, S; Matthew, C; Yang, X

    2012-07-01

    The signature-based radiation-scanning technique for detection of improvised explosive devices is described. The technique seeks to detect nitrogen-rich chemical explosives present in a target. The technology compares a set of "signatures" obtained from a test target to a collection of "templates", sets of signatures for a target that contain an explosive in a specific configuration. Interrogation of nitrogen-rich fertilizer samples, which serve as surrogates for explosives, is shown experimentally to be able to discriminate samples of 3.8L and larger. Copyright © 2011 Elsevier Ltd. All rights reserved.

  13. Multi-arm multilateral haptics-based immersive tele-robotic system (HITS) for improvised explosive device disposal

    NASA Astrophysics Data System (ADS)

    Erickson, David; Lacheray, Hervé; Lai, Gilbert; Haddadi, Amir

    2014-06-01

    This paper presents the latest advancements of the Haptics-based Immersive Tele-robotic System (HITS) project, a next generation Improvised Explosive Device (IED) disposal (IEDD) robotic interface containing an immersive telepresence environment for a remotely-controlled three-articulated-robotic-arm system. While the haptic feedback enhances the operator's perception of the remote environment, a third teleoperated dexterous arm, equipped with multiple vision sensors and cameras, provides stereo vision with proper visual cues, and a 3D photo-realistic model of the potential IED. This decentralized system combines various capabilities including stable and scaled motion, singularity avoidance, cross-coupled hybrid control, active collision detection and avoidance, compliance control and constrained motion to provide a safe and intuitive control environment for the operators. Experimental results and validation of the current system are presented through various essential IEDD tasks. This project demonstrates that a two-armed anthropomorphic Explosive Ordnance Disposal (EOD) robot interface can achieve complex neutralization techniques against realistic IEDs without the operator approaching at any time.

  14. Sustaining Eleven Years of Counter-Improvised Explosive Device Relevancy for Tomorrow’s War

    DTIC Science & Technology

    2013-04-30

    llo ~01 Defense, Wa~ HHodQ.al’lllf’s s.-., ~for ~end ~!0704-01!!8i, ! ~!$,.,..,_. C!rllit~ SlAt l; lOC ,~, VA ZUQ:l- QQZ II!~ ll1auld be""’’"" !hat...USCENTCOM) AREA OF RESPONSIBILITY (AOR) LN SUPPORT OF OPERATIONS IRAQI AND ENDURING FREEDOM SUBJECT: Counter-Improvised Explosive Device (C- LEO ...not mitigated. they will continue to endanger successful accomplishment of the USCENTCOM mission. Therefore, due to the enemy’s continuous use of lEOs

  15. Effects of Improvisational Music Therapy vs Enhanced Standard Care on Symptom Severity Among Children With Autism Spectrum Disorder: The TIME-A Randomized Clinical Trial.

    PubMed

    Bieleninik, Lucja; Geretsegger, Monika; Mössler, Karin; Assmus, Jörg; Thompson, Grace; Gattino, Gustavo; Elefant, Cochavit; Gottfried, Tali; Igliozzi, Roberta; Muratori, Filippo; Suvini, Ferdinando; Kim, Jinah; Crawford, Mike J; Odell-Miller, Helen; Oldfield, Amelia; Casey, Órla; Finnemann, Johanna; Carpente, John; Park, A-La; Grossi, Enzo; Gold, Christian

    2017-08-08

    Music therapy may facilitate skills in areas affected by autism spectrum disorder (ASD), such as social interaction and communication. To evaluate effects of improvisational music therapy on generalized social communication skills of children with ASD. Assessor-blinded, randomized clinical trial, conducted in 9 countries and enrolling children aged 4 to 7 years with ASD. Children were recruited from November 2011 to November 2015, with follow-up between January 2012 and November 2016. Enhanced standard care (n = 182) vs enhanced standard care plus improvisational music therapy (n = 182), allocated in a 1:1 ratio. Enhanced standard care consisted of usual care as locally available plus parent counseling to discuss parents' concerns and provide information about ASD. In improvisational music therapy, trained music therapists sang or played music with each child, attuned and adapted to the child's focus of attention, to help children develop affect sharing and joint attention. The primary outcome was symptom severity over 5 months, based on the Autism Diagnostic Observation Schedule (ADOS), social affect domain (range, 0-27; higher scores indicate greater severity; minimal clinically important difference, 1). Prespecified secondary outcomes included parent-rated social responsiveness. All outcomes were also assessed at 2 and 12 months. Among 364 participants randomized (mean age, 5.4 years; 83% boys), 314 (86%) completed the primary end point and 290 (80%) completed the last end point. Over 5 months, participants assigned to music therapy received a median of 19 music therapy, 3 parent counseling, and 36 other therapy sessions, compared with 3 parent counseling and 45 other therapy sessions for those assigned to enhanced standard care. From baseline to 5 months, mean ADOS social affect scores estimated by linear mixed-effects models decreased from 14.08 to 13.23 in the music therapy group and from 13.49 to 12.58 in the standard care group (mean difference, 0

  16. Replication of elite music performance enhancement following alpha/theta neurofeedback and application to novice performance and improvisation with SMR benefits.

    PubMed

    Gruzelier, J H; Holmes, P; Hirst, L; Bulpin, K; Rahman, S; van Run, C; Leach, J

    2014-01-01

    Alpha/theta (A/T) and sensory-motor rhythm (SMR) neurofeedback were compared in university instrumentalists who were novice singers with regard to prepared and improvised instrumental and vocal performance in three music domains: creativity/musicality, technique and communication/presentation. Only A/T training enhanced advanced playing seen in all three domains by expert assessors and validated by correlations with learning indices, strongest with Creativity/Musicality as shown by Egner and Gruzelier (2003). Here A/T gains extended to novice performance - prepared vocal, improvised vocal and instrumental - and were recognised by a lay audience who judged the prepared folk songs. SMR learning correlated positively with Technical Competence and Communication in novice performance, in keeping with SMR neurofeedback's known impact on lower-order processes such as attention, working memory and psychomotor skills. The importance of validation through learning indices was emphasised in the interpretation of neurofeedback outcome. Copyright © 2013 Elsevier B.V. All rights reserved.

  17. Monolithic pixel development in TowerJazz 180 nm CMOS for the outer pixel layers in the ATLAS experiment

    NASA Astrophysics Data System (ADS)

    Berdalovic, I.; Bates, R.; Buttar, C.; Cardella, R.; Egidos Plaja, N.; Hemperek, T.; Hiti, B.; van Hoorne, J. W.; Kugathasan, T.; Mandic, I.; Maneuski, D.; Marin Tobon, C. A.; Moustakas, K.; Musa, L.; Pernegger, H.; Riedler, P.; Riegel, C.; Schaefer, D.; Schioppa, E. J.; Sharma, A.; Snoeys, W.; Solans Sanchez, C.; Wang, T.; Wermes, N.

    2018-01-01

    The upgrade of the ATLAS tracking detector (ITk) for the High-Luminosity Large Hadron Collider at CERN requires the development of novel radiation hard silicon sensor technologies. Latest developments in CMOS sensor processing offer the possibility of combining high-resistivity substrates with on-chip high-voltage biasing to achieve a large depleted active sensor volume. We have characterised depleted monolithic active pixel sensors (DMAPS), which were produced in a novel modified imaging process implemented in the TowerJazz 180 nm CMOS process in the framework of the monolithic sensor development for the ALICE experiment. Sensors fabricated in this modified process feature full depletion of the sensitive layer, a sensor capacitance of only a few fF and radiation tolerance up to 1015 neq/cm2. This paper summarises the measurements of charge collection properties in beam tests and in the laboratory using radioactive sources and edge TCT. The results of these measurements show significantly improved radiation hardness obtained for sensors manufactured using the modified process. This has opened the way to the design of two large scale demonstrators for the ATLAS ITk. To achieve a design compatible with the requirements of the outer pixel layers of the tracker, a charge sensitive front-end taking 500 nA from a 1.8 V supply is combined with a fast digital readout architecture. The low-power front-end with a 25 ns time resolution exploits the low sensor capacitance to reduce noise and analogue power, while the implemented readout architectures minimise power by reducing the digital activity.

  18. Breaking Sound Barriers: New Perspectives on Effective Big Band Development and Rehearsal

    ERIC Educational Resources Information Center

    Greig, Jeremy; Lowe, Geoffrey

    2014-01-01

    Jazz big band is a common extra-curricular musical activity in Western Australian secondary schools. Jazz big band offers important fundamentals that can help expand a student's musical understanding. However, the teaching of conventions associated with big band jazz has often been haphazard and can be daunting and frightening, especially for…

  19. Individuality and togetherness in joint improvised motion.

    PubMed

    Hart, Yuval; Noy, Lior; Feniger-Schaal, Rinat; Mayo, Avraham E; Alon, Uri

    2014-01-01

    Actors, dancers and musicians that improvise together report special moments of togetherness: high performance and synchrony, seemingly without a leader and a follower. Togetherness seems to conflict with individuality- the idiosyncratic character of each person's performance. To understand the relation of individuality and togetherness, we employed the mirror game paradigm in which two players are asked to mirror each other and create interesting synchronized motion, with and without a designated leader. The mirror game enables quantitative characterization of moments of togetherness in which complex motion is generated with high synchrony. We find that each person as a leader does basic strokes of motion with a characteristic signature, in terms of the shape of their velocity profile between two stopping events. In moments of togetherness both players change their signature to a universal stroke shape. This universal velocity profile resembles a half-period of a sine wave, and is therefore symmetric and maximally smooth. Thus, instead of converging to an intermediate motion signature, or having one player dominate, players seem to shift their basic motion signatures to a shape that is altogether different from their individually preferred shapes; the resulting motion may be easier to predict and to agree on. The players then build complex motion by using such smooth elementary strokes.

  20. Individuality and Togetherness in Joint Improvised Motion

    PubMed Central

    Feniger-Schaal, Rinat; Mayo, Avraham E.; Alon, Uri

    2014-01-01

    Actors, dancers and musicians that improvise together report special moments of togetherness: high performance and synchrony, seemingly without a leader and a follower. Togetherness seems to conflict with individuality- the idiosyncratic character of each person's performance. To understand the relation of individuality and togetherness, we employed the mirror game paradigm in which two players are asked to mirror each other and create interesting synchronized motion, with and without a designated leader. The mirror game enables quantitative characterization of moments of togetherness in which complex motion is generated with high synchrony. We find that each person as a leader does basic strokes of motion with a characteristic signature, in terms of the shape of their velocity profile between two stopping events. In moments of togetherness both players change their signature to a universal stroke shape. This universal velocity profile resembles a half-period of a sine wave, and is therefore symmetric and maximally smooth. Thus, instead of converging to an intermediate motion signature, or having one player dominate, players seem to shift their basic motion signatures to a shape that is altogether different from their individually preferred shapes; the resulting motion may be easier to predict and to agree on. The players then build complex motion by using such smooth elementary strokes. PMID:24533054

  1. The Effects of a Single Electronic Music Improvisation Session on the Pain of Adults with Sickle Cell Disease: A Mixed Methods Pilot Study.

    PubMed

    Rodgers-Melnick, Samuel N; Matthie, Nadine; Jenerette, Coretta; Griest Pell, Tara J; Lane, Deforia; Fu, Pingfu; Margevicius, Seunghee; Little, Jane A

    2018-06-07

    Adults with sickle cell disease (SCD) experience acute pain that is multidimensional. Despite recent improvements in treatment, pain management remains a significant challenge for these individuals. Music therapy interventions have the potential to address several dimensions of SCD pain, but they require systematic investigation. This study investigated feasibility and preliminary efficacy of a single-session electronic music improvisation with a music therapist to diminish pain intensity and improve pain relief and mood in adults with SCD. Using a three-group mixed methods intervention design, we randomized 60 adults with SCD to standard care plus one of three 20-minute study conditions: 1) electronic music improvisation with a music therapist (MT); 2) recorded music listening (ML); or 3) no intervention (control). Measures of pain intensity (VASPI), pain relief (VASPR), and mood (VASMOOD) were assessed before and after the study conditions, with a subset of MT and ML participants interviewed after measure completion. Compared to control, MT produced significant improvements in VASPI (odds ratio (OR) = 5.12, P = 0.035) and VASMOOD (OR = 11.60, P = 0.005). ML produced significant improvements in VASMOOD compared to control (OR = 5.76, P = 0.040). Qualitatively, there were two prominent themes directly related to music: 1) ML and MT offered many positive and few negative effects; and 2) music therapists provided comfort beyond the music. Preliminary findings were promising and support the need for additional studies evaluating improvisational music therapy interventions for acute pain management in adults with SCD.

  2. Stock-outs, uncertainty and improvisation in access to healthcare in war-torn Northern Uganda.

    PubMed

    Muyinda, Herbert; Mugisha, James

    2015-12-01

    Stock-outs, also known as shortages or complete absence of a particular inventory, in public health facilities have become a hallmark in Uganda's health system making the notions of persistent doubt in access to healthcare - uncertainty, and doing more with less - 'improvisation', very pronounced. The situation becomes more critical in post-conflict areas with an over whelming burden of preexisting and conflict-related ailments amidst weak health systems. Particularly in the war-torn Northern Uganda, the intersection between the effects of violent conflict and shortage of medications is striking. There are problems getting the right type of medications to the right people at the right time, causing persistent shortages and uncertainty in access to healthcare. With reference to patients on Antiretroviral Therapy (ART), we present temporal trends in access to healthcare in the context of medication shortages in conflict-affected areas. We examine uncertainties in access to care, and how patients, medical practitioners, and the state - the key actors in the domain of supplying and utilizing medicines, respond. Our observation is that, while improvisation is a feature of biomedicine and facilitates problem solving in daily life, it is largely contextual. Given the rapidly evolving contexts and social and professional sensitivities that characterize war affected areas, there is a need for deliberate healthcare programs tailored to the unique needs of people and to the shaping of appropriate policies in post-conflict settings, which call for more North-South collaboration on equal terms. Copyright © 2015 Elsevier Ltd. All rights reserved.

  3. Planning for the worst in Washington State: initial response planning for improvised nuclear device explosions.

    PubMed

    Poeton, Richard W; Glines, Wayne M; McBaugh, Debra

    2009-01-01

    Since 11 September 2001, improvised nuclear devices have become recognized as an important radiological threat requiring emergency response planning. Although Protective Action Guidance is well established for fixed nuclear facilities, correspondingly well-developed guidance does not exist for nuclear explosions. The Washington State Department of Health has developed preplanned Protective Action Recommendations for improvised nuclear device explosions. These recommendations recognize the need for advice to the public soon after such an event, before significant data are available. They can be used before significant outside support is available locally, and reference observable effects so people can use them if communications were disabled. The recommendations focus on early actions (24-48 h) and place priority on actions to avoid deterministic health effects due to residual fallout. Specific emphasis is placed on determining recommendations for evacuation, as well as the extent of the area for sheltering. The key recommendations developed for an initial public response are: (1) if there is ready access to robust shelter such as an underground basement or interior spaces in a multi-story structure, immediate sheltering in these areas is the best action, regardless of location; (2) if robust shelter is not available, and if fallout is observed in the area, then evacuation is the best general recommendation for locations within 16 km (10 miles) of the explosion; and (3) beyond 16 km (10 miles), the generally recommended protective action is to shelter in the best-protected location which is readily available.

  4. Active music therapy in the rehabilitation of severe brain injured patients during coma recovery.

    PubMed

    Formisano, R; Vinicola, V; Penta, F; Matteis, M; Brunelli, S; Weckel, J W

    2001-01-01

    Active improvised music therapy may offer an adjuvant from of treatment in the early rehabilitation of severe brain-injured patients. Active music therapy consists of musical improvisation between patient and therapist by singing or by playing different musical instruments, according to the vital functions, the neurological conditions and the motor abilities of the patients. We studied 34 severe brain-injured patients with a mean coma duration of 52 days +/- 37.21 and a mean interval from coma onset to the beginning of rehabilitation of 154 days on average. Our preliminary results show a significant improvement of the collaboration of the severe brain-injured patients and a reduction of undesired behaviours such as inertia (reduced psychomotor initiative) or psychomotor agitation.

  5. Rapid screening and identification of improvised explosive and hazardous precursor materials by Raman spectroscopy

    NASA Astrophysics Data System (ADS)

    Stokes, Robert J.; Smith, W. Ewen; Foulger, Brian; Lewis, Colin

    2008-10-01

    A low cost technique is reported for the rapid screening of containers for materials that potentially could be used for terrorist activities. For peroxide based samples it is demonstrated that full characterisation can be achieved in a continuous curve fitting monitoring mode acquiring up to 10 spectra per second. This clearly demonstrates the potential for a Raman based method to be incorporated into a check-point whilst retaining fast throughput. A number of precursor compounds to nerve agents and peroxide and nitrate based improvised explosive materials have been studied. The potential strengths and weaknesses of using Raman for multiple target identification are discussed with regard to the common vibrations associated with each group of agents. Within this context we also introduce the use of fast Raman line mapping into the trace analysis of multiple component targets. The method presented is suited to volatile or light sensitive samples (such as derived peroxides) and can be employed on a variety of surfaces. As speed and throughput are traded against spectral bandwidth categorising threat compounds into groups based on common functionalities allows the full potential for multiplexed targeting to be realised.

  6. The effects of parent-implemented PECS training on improvisation of mands by children with autism.

    PubMed

    Ben Chaabane, Delia B; Alber-Morgan, Sheila R; DeBar, Ruth M

    2009-01-01

    The present study examined the extent to which mothers were able to train their children, 2 boys with autism, to exchange novel pictures to request items using the picture exchange communication system (PECS). Generalization probes assessing each child's ability to mand for untrained items were conducted throughout conditions. Using a multiple baseline design, results demonstrated that both children improvised by using alternative symbols when the corresponding symbol was unavailable across all symbol categories (colors, shapes, and functions) and that parents can teach their children to use novel pictorial response forms.

  7. THE EFFECTS OF PARENT-IMPLEMENTED PECS TRAINING ON IMPROVISATION OF MANDS BY CHILDREN WITH AUTISM

    PubMed Central

    Chaabane, Delia B. Ben; Alber-Morgan, Sheila R; DeBar, Ruth M

    2009-01-01

    The present study examined the extent to which mothers were able to train their children, 2 boys with autism, to exchange novel pictures to request items using the picture exchange communication system (PECS). Generalization probes assessing each child's ability to mand for untrained items were conducted throughout conditions. Using a multiple baseline design, results demonstrated that both children improvised by using alternative symbols when the corresponding symbol was unavailable across all symbol categories (colors, shapes, and functions) and that parents can teach their children to use novel pictorial response forms. PMID:20190927

  8. Effect of Improvised Instructional Materials on Students' Achievement in Geometry at the Upper Basic Education Level in Makurdi Metropolis, Benue State, Nigeria

    ERIC Educational Resources Information Center

    Iji, C. O.; Ogbole, P. O.; Uka, N. K.

    2014-01-01

    Among all approaches aimed at reducing poor mathematics achievement among the students, adoption of appropriate methods of teaching appears to be more rewarding. In this study, improvised instructional materials were used to ascertain students' geometry achievement at the upper basic education one. Two research questions were asked with associated…

  9. A principle of organization which facilitates broad Lamarckian-like adaptations by improvisation.

    PubMed

    Soen, Yoav; Knafo, Maor; Elgart, Michael

    2015-12-02

    During the lifetime of an organism, every individual encounters many combinations of diverse changes in the somatic genome, epigenome and microbiome. This gives rise to many novel combinations of internal failures which are unique to each individual. How any individual can tolerate this high load of new, individual-specific scenarios of failure is not clear. While stress-induced plasticity and hidden variation have been proposed as potential mechanisms of tolerance, the main conceptual problem remains unaddressed, namely: how largely non-beneficial random variation can be rapidly and safely organized into net benefits to every individual. We propose an organizational principle which explains how every individual can alleviate a high load of novel stressful scenarios using many random variations in flexible and inherently less harmful traits. Random changes which happen to reduce stress, benefit the organism and decrease the drive for additional changes. This adaptation (termed 'Adaptive Improvisation') can be further enhanced, propagated, stabilized and memorized when beneficial changes reinforce themselves by auto-regulatory mechanisms. This principle implicates stress not only in driving diverse variations in cells tissues and organs, but also in organizing these variations into adaptive outcomes. Specific (but not exclusive) examples include stress reduction by rapid exchange of mobile genetic elements (or exosomes) in unicellular, and rapid changes in the symbiotic microorganisms of animals. In all cases, adaptive changes can be transmitted across generations, allowing rapid improvement and assimilation in a few generations. We provide testable predictions derived from the hypothesis. The hypothesis raises a critical, but thus far overlooked adaptation problem and explains how random variation can self-organize to confer a wide range of individual-specific adaptations beyond the existing outcomes of natural selection. It portrays gene regulation as an

  10. Recent developments using TowerJazz SiGe BiCMOS platform for mmWave and THz applications

    NASA Astrophysics Data System (ADS)

    Kar-Roy, Arjun; Howard, David; Preisler, Edward J.; Racanelli, Marco

    2013-05-01

    In this paper, we report on the highest speed 240GHz/340GHz FT/FMAX NPN which is now available for product designs in the SBC18H4 process variant of TowerJazz's mature 0.18μm SBC18 silicon germanium (SiGe) BiCMOS technology platform. NFMIN of ~2dB at 50GHz has been obtained with these NPNs. We also describe the integration of earlier generation NPNs with FT/FMAX of 240GHz/280GHz into SBC13H3, a 0.13μm SiGe BiCMOS technology platform. Next, we detail the integration of the deep silicon via (DSV), through silicon via (TSV), high-resistivity substrate, sub-field stitching and hybrid-stitching capability into the 0.18μm SBC18 technology platform to enable higher performance and highly integrated product designs. The integration of SBC18H3 into a thick-film SOI substrate, with essentially unchanged FT and FMAX, is also described. We also report on recent circuit demonstrations using the SBC18H3 platform: (1) a 4-element phased-array 70-100GHz broadband transmit and receive chip with flat saturated power greater than 5dBm and conversion gain of 33dB; (2) a fully integrated W-band 9-element phase-controllable array with responsivity of 800MV/W and receiver NETD is 0.45K with 20ms integration time; (3) a 16-element 4x4 phased-array transmitter with scanning in both the E- and H-planes with maximum EIRP of 23-25 dBm at 100-110GHz; (4) a power efficient 200GHz VCO with -7.25dBm output power and tuning range of 3.5%; and (5) a 320GHz 16-element imaging receiver array with responsivity of 18KV/W at 315GHz, a 3dB bandwidth of 25GHz and a low NEP of 34pW/Hz1/2. Wafer-scale large-die implementation of the phased-arrays and mmWave imagers using stitching in TowerJazz SBC18 process are also discussed.

  11. Keep Fit. Suggested Fitness Activities for Forms 1-4 Girls.

    ERIC Educational Resources Information Center

    Dinataci, S.

    This booklet is designed for teachers who conduct physical education programs and who coach sports in schools where modern training equipment is not available. Most of the equipment described or shown in this booklet can be improvised. The activities are designed for girls in grades seven through ten. The following activities are covered in the…

  12. Ocular injuries from improvised explosive devices

    PubMed Central

    Erdurman, F C; Hurmeric, V; Gokce, G; Durukan, A H; Sobaci, G; Altinsoy, H I

    2011-01-01

    Purpose To document the characteristics, treatments, and anatomical and functional outcomes of patients with ocular trauma from improvised explosive devices (IEDs). Methods Retrospective review of ocular injuries caused by IEDs, admitted to our tertiary referral centre. Results In total, sixty-one eyes of the 39 patients with an average age of 24 years (range, 20–42 years) were included in the study. In total, 49 (80%) eyes of the patients had open-globe and 12 (20%) had closed-globe injury. In eyes with open-globe injury, intraocular foreign body (IOFB) injury was the most frequently encountered type of injury, observed in 76% of eyes. Evisceration or enucleation was required as a primary surgical intervention in 17 (28%) of the eyes. Twenty-two (36%) eyes had no light perception at presentation. Patients were followed up for an average of 6 months (range, 4–34 months). At the last follow-up, 26 (43%) of 61 eyes had no light perception. Postoperative proliferative vitreoretinopathy (PVR) developed in 12 (50%) of the 24 eyes that underwent vitreoretinal surgery, and four of these eyes became phthisical. There were no cases of endophthalmitis. The presence of open-globe injury and presenting visual acuity worse than 5/200 were significantly associated with poor visual outcome (<5/200, P<0.05). In eyes with open-globe injury, the presence of an IOFB was not associated with poor visual outcome (P>0.05). Conclusion Ocular injuries from IEDs are highly associated with severe ocular damage requiring extensive surgical repair or evisceration/enucleation. Postoperative PVR is a common cause of poor anatomical and visual outcome. PMID:21852806

  13. Can improvised somatic dance reduce acute pain for young people in hospital?

    PubMed

    Dowler, Lisa

    2016-11-08

    Aim This study explores the effects of improvised somatic dance (ISD) on children and young people experiencing acute pain following orthopaedic or cardiac surgery, or post-acquired brain injury. Methods The study involved 25 children and young people and adopted a mixed methods approach. This included a descriptive qualitative approach to help the participants and witnesses verbalise their experience of ISD, and pain scores were assessed before and after ISD using validated pain assessment tools. Data were analysed using descriptive statistical analysis. Findings A total of 92% of participants experienced a reduction in pain, with 80% experiencing a >50% reduction. There was an improved sense of well-being for all. Conclusion Although not a replacement for pharmacological treatments, a multidimensional, child-centred and inclusive approach with ISD can be a useful complementary, non-pharmacological method of pain management in children and young people.

  14. Content based image retrieval for matching images of improvised explosive devices in which snake initialization is viewed as an inverse problem

    NASA Astrophysics Data System (ADS)

    Acton, Scott T.; Gilliam, Andrew D.; Li, Bing; Rossi, Adam

    2008-02-01

    Improvised explosive devices (IEDs) are common and lethal instruments of terrorism, and linking a terrorist entity to a specific device remains a difficult task. In the effort to identify persons associated with a given IED, we have implemented a specialized content based image retrieval system to search and classify IED imagery. The system makes two contributions to the art. First, we introduce a shape-based matching technique exploiting shape, color, and texture (wavelet) information, based on novel vector field convolution active contours and a novel active contour initialization method which treats coarse segmentation as an inverse problem. Second, we introduce a unique graph theoretic approach to match annotated printed circuit board images for which no schematic or connectivity information is available. The shape-based image retrieval method, in conjunction with the graph theoretic tool, provides an efficacious system for matching IED images. For circuit imagery, the basic retrieval mechanism has a precision of 82.1% and the graph based method has a precision of 98.1%. As of the fall of 2007, the working system has processed over 400,000 case images.

  15. Kidnapping in Taiwan: the significance of geographic proximity, improvisation, and fluidity.

    PubMed

    Yang, Shu-Lung; Wu, Bohsiu; Huang, Shih-Long

    2007-06-01

    Kidnapping had been rare in Taiwan until recently. Several high-profile cases in the late 1990s, victimizing both Taiwanese citizens and foreigners, startled the island state. This study is the first systematic examination of the social dynamics involved in kidnapping. Data came from court cases, questionnaires, and in-depth interviews from incarcerated inmates. Results showed that kidnappers' financial crises and friendships with ringleaders were two primary motives. Most kidnapping cases involved a small number of offenders who form an ad hoc kidnapping group. Victims were not randomly chosen and share a geographic tie with the offenders. The process of kidnapping is idiosyncratic in nature, as most kidnappers improvised their plans. The negotiation phase in kidnapping is done hastily, and the amount of ransom is often a compromised result of offenders' needs, victim's family's financial status, timing, and the offenders' perception of risks. Ways to prevent kidnapping are also discussed in this article.

  16. Race, Ethnicity and Participation in the Arts: Patterns of Participation by Black, Hispanic and White Americans in Selected Activities from the 1982 and 1985 Surveys of Public Participation in the Arts.

    ERIC Educational Resources Information Center

    DiMaggio, Paul; Ostrower, Francie

    This report utilizes data from the 1982 and 1985 Surveys of Public Participation in the Arts to describe differences in patterns of participation in selected arts related activities by Black, Hispanic, and White respondents. Arts participation by Whites is greatest for all selected activities, except for Black attendance at jazz music activities.…

  17. Improvised explosive devices: pathophysiology, injury profiles and current medical management.

    PubMed

    Ramasamy, A; Hill, A M; Clasper, J C

    2009-12-01

    The improvised explosive device (IED), in all its forms, has become the most significant threat to troops operating in Afghanistan and Iraq. These devices range from rudimentary home made explosives to sophisticated weapon systems containing high-grade explosives. Within this broad definition they may be classified as roadside explosives and blast mines, explosive formed pojectile (EFP) devices and suicide bombings. Each of these groups causeinjury through a number of different mechanisms and can result in vastly different injury profiles. The "Global War on Terror" has meant that incidents which were previously exclusively seen in conflict areas, can occur anywhere, and clinicians who are involved in emergency trauma care may be required to manage casualties from similar terrorist attacks. An understanding of the types of devices and their pathophysiological effects is necessary to allow proper planning of mass casualty events and to allow appropriate management of the complex poly-trauma casualties they invariably cause. The aim of this review article is to firstly describe the physics and injury profile from these different devices and secondly to present the current clinical evidence that underpins their medical management.

  18. Investigative studies into the recovery of DNA from improvised explosive device containers.

    PubMed

    Hoffmann, Shane G; Stallworth, Shawn E; Foran, David R

    2012-05-01

    Apprehending those who utilize improvised explosive devices (IEDs) is a national priority owing to their use both domestically and abroad. IEDs are often concealed in bags, boxes, or backpacks to prevent their detection. Given this, the goal of the research presented was to identify IED handlers through postblast DNA recovery from IED containers. Study participants were asked to use backpacks for 11 days, after which they served as containers for pipe bombs. Eleven postdeflagration backpack regions likely to be handled were swabbed and analyzed via mini-short tandem repeats (miniSTRs) and alleles were called blind. An experimental consensus method was examined in which profiles from all regions were considered, to help identify spurious drop-in/out. Results were correct for all loci, except one that remained ambiguous. The results show that recovering DNA from IED containers is a viable approach for aiding in the identification of those who may have been involved in an IED event. © 2011 American Academy of Forensic Sciences.

  19. The 'ripple effect': Towards researching improvisational music therapy in dementia care homes.

    PubMed

    Pavlicevic, Mercédès; Tsiris, Giorgos; Wood, Stuart; Powell, Harriet; Graham, Janet; Sanderson, Richard; Millman, Rachel; Gibson, Jane

    2015-09-01

    Increased interest in, and demand for, music therapy provision for persons with dementia prompted this study's exploration of music therapists' strategies for creating musical communities in dementia care settings, considering the needs and resources of people affected by dementia. Focus group discussions and detailed iterative study of improvisational music therapy work by six experienced practitioners clarify the contextual immediacy and socio-musical complexities of music therapy in dementia care homes. Music therapy's 'ripple effect', with resonances from micro (person-to-person musicking), to meso (musicking beyond 'session time') and macro level (within the care home and beyond), implies that all who are part of the dementia care ecology need opportunities for flourishing, shared participation, and for expanded self-identities; beyond 'staff', 'residents', or 'being in distress'. On such basis, managers and funders might consider an extended brief for music therapists' roles, to include generating and maintaining musical wellbeing throughout residential care settings. © The Author(s) 2013.

  20. Disciplined Improvisation: Characteristics of Inquiry in Mindfulness-Based Teaching.

    PubMed

    Crane, Rebecca S; Stanley, Steven; Rooney, Michael; Bartley, Trish; Cooper, Lucinda; Mardula, Jody

    Evidence for the effectiveness of mindfulness-based stress reduction (MBSR) and mindfulness-based cognitive therapy (MBCT) is rapidly growing as interest in this field expands. By contrast, there are few empirical analyses of the pedagogy of MBSR and MBCT. Development of the evidence base concerning the teaching of MBCT or MBSR would support the integrity of the approach in the context of rapid expansion. This paper describes an applied conversation analysis (CA) of the characteristics of inquiry in the MBSR and MBCT teaching process. Audio-recordings of three 8-week MBCT and MBSR classes, with 24, 12, and 6 participants, were transcribed and systematically examined. The study focused on the teacher-led interactive inquiry which takes place in each session after a guided meditation practice. The study describes and analyzes three practices within the inquiry process that can be identified in sequences of talk: turn-taking talk involving questions and reformulations; the development of participant skills in a particular way of describing experience; and talk that constructs intersubjective connection and affiliation within the group. CA enables fine-grained analysis of the interactional work of mindfulness-based inquiry. Inquiry is a process of disciplined improvisation which is both highly specific to the conditions of the moment it took place in and uses repeated and recognizable patterns of interaction.

  1. Lessons Learned on Stage: How Improv Can Improve Science Communication

    NASA Astrophysics Data System (ADS)

    Wong, G. J.; Kohn, C.; McPeek, M. A.; Serrell, N.

    2014-12-01

    A challenge facing STEM graduate students is the daunting task of communicating their research to a non-specialist audience. Strategies that work well in lab group meetings, such as using acronyms and jargon, do not work in the real world. Ideally, scientists should directly connect with any audience, responding spontaneously and actively, distilling their messages into conversational morsels that resonate with that audience. Scientists should listen. This presentation highlights a 10-week, interdisciplinary graduate course at Dartmouth College that teaches methods for communicating science with clarity, vividness, and emotion. The course was developed in partnership with Stony Brook University's Alan Alda Center for Communicating Science, and emphasizes story-telling, two-way communication, active listening, and so much more. Effective message development and communication skills - spontaneity, authenticity, and connectivity - are honed through improvisational theater exercises. One might ask, "why improv?" As a co-developer/co-instructor of this graduate course and a Ph.D. candidate in Earth Sciences, my response is, "why not improv?" Improv is acting without a script. It is also underground rap battles, baking from scratch, and playing jazz flute. Improv is Macguyver. Improv is not any one particular thing so much as it is a process through which we do things. Improv can teach us a lot: how to play, how to feel comfortable and present even while flailing, and how to truly listen.

  2. Injuries from roadside improvised explosive devices.

    PubMed

    Ramasamy, Arul; Harrisson, Stuart E; Clasper, Jon C; Stewart, Michael P M

    2008-10-01

    After the invasion of Iraq in April 2003, coalition forces have remained in the country in a bid to maintain stability and support the local security forces. The improvised explosive device (IED) has been widely used by the insurgents and is the leading cause of death and injury among Coalition troops in the region. From January 2006, data were prospectively collected on 100 consecutive casualties who were either injured or killed in hostile action. Mechanism of injury, new Injury Severity Score (NISS), The International Classification of Disease-9th edition diagnosis, anatomic pattern of wounding, and operative management were recorded in a trauma registry. The weapon incident reports were analyzed to ascertain the type of IED employed. Of the 100 casualties injured in hostile action, 53 casualties were injured by IEDs in 23 incidents (mean 2.3 casualties per incident). Twenty-one of 23 (91.3%) of the IEDs employed were explosive formed projectile (EFP) type. Twelve casualties (22.6%) were either killed or died of wounds. Median NISS score of survivors was 3 (range, 1-50). All fatalities sustained unsurvivable injuries with a NISS score of 75. Primary blast injuries were seen in only 2 (3.8%) and thermal injuries in 8 casualties (15.1%). Twenty (48.7%) of survivors underwent surgery by British surgeons in the field hospital. At 18 months follow, all but one of the United Kingdom Service personnel had returned to military employment. The injury profile seen with EFP-IEDs does not follow the traditional pattern of injuries seen with conventional high explosives. Primary blast injuries were uncommon despite all casualties being in close proximity to the explosion. When the EFP-IED is detonated, the EFP produced results in catastrophic injuries to casualties caught in its path, but causes relatively minor injuries to personnel sited adjacent to its trajectory. Improvements in vehicle protection may prevent the EFP from entering the passenger compartments and thereby

  3. Physical, physicochemical and nutritional characteristics of Bhoja chaul, a traditional ready-to-eat dry heat parboiled rice product processed by an improvised soaking technique.

    PubMed

    Dutta, Himjyoti; Mahanta, Charu Lata; Singh, Vasudeva; Das, Barnali Baruah; Rahman, Narzu

    2016-01-15

    Bhoja chaul is a traditional whole rice product processed by the dry heat parboiling technique of low amylose/waxy paddy that is eaten after soaking in water and requires no cooking. The essential steps in Bhoja chaul making are soaking paddy in water, roasting with sand, drying and milling. In this study, the product was prepared from a low amylose variety and a waxy rice variety by an improvised laboratory scale technique. Bhoja chaul prepared in the laboratory by this technique was studied for physical, physicochemical, and textural properties. Improvised method shortened the processing time and gave a product with good textural characteristics. Shape of the rice kernels became bolder on processing. RVA studies and DSC endotherms suggested molecular damage and amylose-lipid complex formation by the linear B-chains of amylopectin, respectively. X-ray diffractography indicated formation of partial B-type pattern. Shifting of the crystalline region of the XRD curve towards lower values of Bragg's angle was attributed to the overall increase in inter-planar spacing of the crystalline lamellae. Resistant starch was negligible. Bhoja chaul may be useful for children and people with poor state of digestibility. Copyright © 2014 Elsevier Ltd. All rights reserved.

  4. In-vehicle extremity injuries from improvised explosive devices: current and future foci

    PubMed Central

    Ramasamy, Arul; Masouros, Spyros D.; Newell, Nicolas; Hill, Adam M.; Proud, William G.; Brown, Katherine A.; Bull, Anthony M. J.; Clasper, Jon C.

    2011-01-01

    The conflicts in Iraq and Afghanistan have been epitomized by the insurgents' use of the improvised explosive device against vehicle-borne security forces. These weapons, capable of causing multiple severely injured casualties in a single incident, pose the most prevalent single threat to Coalition troops operating in the region. Improvements in personal protection and medical care have resulted in increasing numbers of casualties surviving with complex lower limb injuries, often leading to long-term disability. Thus, there exists an urgent requirement to investigate and mitigate against the mechanism of extremity injury caused by these devices. This will necessitate an ontological approach, linking molecular, cellular and tissue interaction to physiological dysfunction. This can only be achieved via a collaborative approach between clinicians, natural scientists and engineers, combining physical and numerical modelling tools with clinical data from the battlefield. In this article, we compile existing knowledge on the effects of explosions on skeletal injury, review and critique relevant experimental and computational research related to lower limb injury and damage and propose research foci required to drive the development of future mitigation technologies. PMID:21149353

  5. Haptics-based immersive telerobotic system for improvised explosive device disposal: Are two hands better than one?

    NASA Astrophysics Data System (ADS)

    Erickson, David; Lacheray, Hervé; Lambert, Jason Michel; Mantegh, Iraj; Crymble, Derry; Daly, John; Zhao, Yan

    2012-06-01

    State-of-the-art robotic explosive ordnance disposal robotics have not, in general, adopted recent advances in control technology and man-machine interfaces and lag many years behind academia. This paper describes the Haptics-based Immersive Telerobotic System project investigating an immersive telepresence envrionment incorporating advanced vehicle control systems, Augmented immersive sensory feedback, dynamic 3D visual information, and haptic feedback for explosive ordnance disposal operators. The project aim is to provide operatiors a more sophisticated interface and expand sensory input to perform complex tasks to defeat improvised explosive devices successfully. The introduction of haptics and immersive teleprescence has the potential to shift the way teleprescence systems work for explosive ordnance disposal tasks or more widely for first responders scenarios involving remote unmanned ground vehicles.

  6. Using unmanned aerial vehicle-borne magnetic sensors to detect and locate improvised explosive devices and unexploded ordnance

    NASA Astrophysics Data System (ADS)

    Trammell, Hoke S., III; Perry, Alexander R.; Kumar, Sankaran; Czipott, Peter V.; Whitecotton, Brian R.; McManus, Tobin J.; Walsh, David O.

    2005-05-01

    Magnetic sensors configured as a tensor magnetic gradiometer not only detect magnetic targets, but also determine their location and their magnetic moment. Magnetic moment information can be used to characterize and classify objects. Unexploded ordnance (UXO) and thus many types of improvised explosive device (IED) contain steel, and thus can be detected magnetically. Suitable unmanned aerial vehicle (UAV) platforms, both gliders and powered craft, can enable coverage of a search area much more rapidly than surveys using, for instance, total-field magnetometers. We present data from gradiometer passes over different shells using a gradiometer mounted on a moving cart. We also provide detection range and speed estimates for aerial detection by a UAV.

  7. Music therapy modulates fronto-temporal activity in rest-EEG in depressed clients.

    PubMed

    Fachner, Jörg; Gold, Christian; Erkkilä, Jaakko

    2013-04-01

    Fronto-temporal areas process shared elements of speech and music. Improvisational psychodynamic music therapy (MT) utilizes verbal and musical reflection on emotions and images arising from clinical improvisation. Music listening is shifting frontal alpha asymmetries (FAA) in depression, and increases frontal midline theta (FMT). In a two-armed randomized controlled trial (RCT) with 79 depressed clients (with comorbid anxiety), we compared standard care (SC) versus MT added to SC at intake and after 3 months. We found that MT significantly reduced depression and anxiety symptoms. The purpose of this study is to test whether or not MT has an impact on anterior fronto-temporal resting state alpha and theta oscillations. Correlations between anterior EEG, Montgomery-Åsberg Depression Rating Scale (MADRS) and the Hospital Anxiety and Depression Scale-Anxiety Subscale (HADS-A), power spectral analysis (topography, means, asymmetry) and normative EEG database comparisons were explored. After 3 month of MT, lasting changes in resting EEG were observed, i.e., significant absolute power increases at left fronto-temporal alpha, but most distinct for theta (also at left fronto-central and right temporoparietal leads). MT differed to SC at F7-F8 (z scored FAA, p < .03) and T3-T4 (theta, p < .005) asymmetry scores, pointing towards decreased relative left-sided brain activity after MT; pre/post increased FMT and decreased HADS-A scores (r = .42, p < .05) indicate reduced anxiety after MT. Verbal reflection and improvising on emotions in MT may induce neural reorganization in fronto-temporal areas. Alpha and theta changes in fronto-temporal and temporoparietal areas indicate MT action and treatment effects on cortical activity in depression, suggesting an impact of MT on anxiety reduction.

  8. Randomised controlled trial of improvisational music therapy's effectiveness for children with autism spectrum disorders (TIME-A): study protocol.

    PubMed

    Geretsegger, Monika; Holck, Ulla; Gold, Christian

    2012-01-05

    Previous research has suggested that music therapy may facilitate skills in areas typically affected by autism spectrum disorders such as social interaction and communication. However, generalisability of previous findings has been restricted, as studies were limited in either methodological accuracy or the clinical relevance of their approach. The aim of this study is to determine effects of improvisational music therapy on social communication skills of children with autism spectrum disorders. An additional aim of the study is to examine if variation in dose of treatment (i.e., number of music therapy sessions per week) affects outcome of therapy, and to determine cost-effectiveness. Children aged between 4;0 and 6;11 years who are diagnosed with autism spectrum disorder will be randomly assigned to one of three conditions. Parents of all participants will receive three sessions of parent counselling (at 0, 2, and 5 months). In addition, children randomised to the two intervention groups will be offered individual, improvisational music therapy over a period of five months, either one session (low-intensity) or three sessions (high-intensity) per week. Generalised effects of music therapy will be measured using standardised scales completed by blinded assessors (Autism Diagnostic Observation Schedule, ADOS) and parents (Social Responsiveness Scale, SRS) before and 2, 5, and 12 months after randomisation. Cost effectiveness will be calculated as man years. A group sequential design with first interim look at N = 235 will ensure both power and efficiency. Responding to the need for more rigorously designed trials examining the effectiveness of music therapy in autism spectrum disorders, this pragmatic trial sets out to generate findings that will be well generalisable to clinical practice. Addressing the issue of dose variation, this study's results will also provide information on the relevance of session frequency for therapy outcome. Current Controlled Trials

  9. Randomised controlled trial of improvisational music therapy's effectiveness for children with autism spectrum disorders (TIME-A): study protocol

    PubMed Central

    2012-01-01

    Background Previous research has suggested that music therapy may facilitate skills in areas typically affected by autism spectrum disorders such as social interaction and communication. However, generalisability of previous findings has been restricted, as studies were limited in either methodological accuracy or the clinical relevance of their approach. The aim of this study is to determine effects of improvisational music therapy on social communication skills of children with autism spectrum disorders. An additional aim of the study is to examine if variation in dose of treatment (i.e., number of music therapy sessions per week) affects outcome of therapy, and to determine cost-effectiveness. Methods/Design Children aged between 4;0 and 6;11 years who are diagnosed with autism spectrum disorder will be randomly assigned to one of three conditions. Parents of all participants will receive three sessions of parent counselling (at 0, 2, and 5 months). In addition, children randomised to the two intervention groups will be offered individual, improvisational music therapy over a period of five months, either one session (low-intensity) or three sessions (high-intensity) per week. Generalised effects of music therapy will be measured using standardised scales completed by blinded assessors (Autism Diagnostic Observation Schedule, ADOS) and parents (Social Responsiveness Scale, SRS) before and 2, 5, and 12 months after randomisation. Cost effectiveness will be calculated as man years. A group sequential design with first interim look at N = 235 will ensure both power and efficiency. Discussion Responding to the need for more rigorously designed trials examining the effectiveness of music therapy in autism spectrum disorders, this pragmatic trial sets out to generate findings that will be well generalisable to clinical practice. Addressing the issue of dose variation, this study's results will also provide information on the relevance of session frequency for therapy

  10. An experimental study addressing the use of geoforensic analysis for the exploitation of improvised explosive devices (IEDs).

    PubMed

    Wilks, Beth; Morgan, Ruth M; Rose, Neil L

    2017-09-01

    The use of geoforensic analysis in criminal investigations is continuing to develop, with the diversification of analytical techniques, many of which are semi-automated, facilitating prompt analysis of large sample sets at a relatively low cost. Whilst micro-scale geoforensic analysis has been shown to assist criminal investigations including homicide (Concheri et al., 2011 [1]), wildlife crime (Morgan et al., 2006 [2]), illicit drug distribution (Stanley, 1992 [3]), and burglary (Mildenhall, 2006 [4]), its application to the pressing international security threat posed by Improvised Explosive Devices (IEDs) is yet to be considered. This experimental study simulated an IED supply chain from the sourcing of raw materials through to device emplacement. Mineralogy, quartz grain surface texture analysis (QGSTA) and particle size analysis (PSA) were used to assess whether environmental materials were transferred and subsequently persisted on the different components of three pressure plate IEDs. The research also addressed whether these samples were comprised of material from single or multiple geographical provenances that represented supply chain activity nodes. The simulation demonstrated that material derived from multiple activity nodes, was transferred and persisted on device components. The results from the mineralogy and QGSTA illustrated the value these techniques offer for the analysis of mixed provenance samples. The results from the PSA, which produces a bulk signature of the sample, failed to distinguish multiple provenances. The study also considered how the environmental material recovered could be used to generate information regarding the geographical locations the device had been in contact with, in an intelligence style investigation, and demonstrated that geoforensic analysis has the potential to be of value to international counter-IED efforts. It is a tool that may be used to prevent the distribution of large quantities of devices, by aiding the

  11. Exploitation of Ubiquitous Wi-Fi Devices as Building Blocks for Improvised Motion Detection Systems.

    PubMed

    Soldovieri, Francesco; Gennarelli, Gianluca

    2016-02-27

    This article deals with a feasibility study on the detection of human movements in indoor scenarios based on radio signal strength variations. The sensing principle exploits the fact that the human body interacts with wireless signals, introducing variations of the radiowave fields due to shadowing and multipath phenomena. As a result, human motion can be inferred from fluctuations of radiowave power collected by a receiving terminal. In this paper, we investigate the potentialities of widely available wireless communication devices in order to develop an improvised motion detection system (IMDS). Experimental tests are performed in an indoor environment by using a smartphone as a Wi-Fi access point and a laptop with dedicated software as a receiver. Simple detection strategies tailored for real-time operation are implemented to process the received signal strength measurements. The achieved results confirm the potentialities of the simple system here proposed to reliably detect human motion in operational conditions.

  12. Canine human scent identifications with post-blast debris collected from improvised explosive devices.

    PubMed

    Curran, Allison M; Prada, Paola A; Furton, Kenneth G

    2010-06-15

    In this study it is demonstrated that human odor collected from items recovered at a post-blast scene can be evaluated using human scent specific canine teams to locate and identify individuals who have been in contact with the improvised explosive device (IED) components and/or the delivery vehicle. The purpose of the experiments presented here was to document human scent survivability in both peroxide-based explosions as well as simulated roadside IEDs utilizing double-blind field trials. Human odor was collected from post-blast device and vehicle components. Human scent specific canine teams were then deployed at the blast scene and in locations removed from the blast scene to validate that human odor remains in sufficient quantities for reliable canine detection and identification. Human scent specific canines have shown the ability to identify individuals who have been in contact with IEDs using post-blast debris with an average success from site response of 82.2% verifying that this technology has great potential in criminal, investigative, and military applications. (c) 2010 Elsevier Ireland Ltd. All rights reserved.

  13. Identification of the Emplacement of Improvised Explosive Devices by Experienced Mission Payload Operators.

    PubMed

    McNeese, Nathan J; Cooke, Nancy J; Branaghan, Russell; Knobloch, Ashley; Taylor, Amanda

    2017-04-01

    Improvised Explosive Devices (IEDs) have become one of the deadliest threats to military personnel, resulting in over 50% of American combat casualties in Iraq and Afghanistan. Identification of IED emplacement is conducted by mission payload operators (MPOs). Yet, experienced MPOs are limited in number, making MPO training a critical intervention. In this article, we implement a Cognitive Engineering Based on Expert Skill methodology to better understand how experienced MPOs identify the emplacement of IEDs for the purposes of improving training. First, expert knowledge was elicited through interviews and questionnaires to identify the types of perceptual cues used and how these cues are cognitively processed. Results indicate that there are many different static and dynamic cues that interact with each other over time and space. Using data from the interviews and questionnaires, an empirically grounded framework is presented that explains the cognitive process of IED emplacement detection. Using the overall findings and the framework, IED emplacement training scenarios were developed and built into a simulation. Copyright © 2016 Elsevier Ltd. All rights reserved.

  14. Evaluation of the medical records system in an upcoming teaching hospital-a project for improvisation.

    PubMed

    Kumar, B Deepak; Kumari, C M Vinaya; Sharada, M S; Mangala, M S

    2012-08-01

    The medical records system of an upcoming teaching hospital in a developing nation was evaluated for its accessibility, completeness, physician satisfaction, presence of any lacunae, suggestion of necessary steps for improvisation and to emphasize the importance of Medical records system in education and research work. The salient aspects of the medical records department were evaluated based on a questionnaire which was evaluated by a team of 40 participants-30 doctors, 5 personnel from Medical Records Department and 5 from staff of Hospital administration. Most of the physicians (65%) were partly satisfied with the existing medical record system. 92.5% were of the opinion that upgradation of the present system is necessary. The need of the hour in the present teaching hospital is the implementation of a hospital-wide patient registration and medical records re-engineering process in the form of electronic medical records system and regular review by the audit commission.

  15. Working memory benefits creative insight, musical improvisation, and original ideation through maintained task-focused attention.

    PubMed

    De Dreu, Carsten K W; Nijstad, Bernard A; Baas, Matthijs; Wolsink, Inge; Roskes, Marieke

    2012-05-01

    Anecdotes from creative eminences suggest that executive control plays an important role in creativity, but scientific evidence is sparse. Invoking the Dual Pathway to Creativity Model, the authors hypothesize that working memory capacity (WMC) relates to creative performance because it enables persistent, focused, and systematic combining of elements and possibilities (persistence). Study 1 indeed showed that under cognitive load, participants performed worse on a creative insight task. Study 2 revealed positive associations between time-on-task and creativity among individuals high but not low in WMC, even after controlling for general intelligence. Study 3 revealed that across trials, semiprofessional cellists performed increasingly more creative improvisations when they had high rather than low WMC. Study 4 showed that WMC predicts original ideation because it allows persistent (rather than flexible) processing. The authors conclude that WMC benefits creativity because it enables the individual to maintain attention focused on the task and prevents undesirable mind wandering.

  16. Improvised explosive device-related lower genitourinary trauma in current overseas combat operations.

    PubMed

    Banti, Matthew; Walter, Jack; Hudak, Steven; Soderdahl, Douglas

    2016-01-01

    The use of improvised explosive devices (IEDs) has had a profound effect on battlefield trauma in the 21st century. Historically, wounds to the genitourinary (GU) structures have been less common than extremity and penetrating abdominal trauma in combat operations. GU injury incidence, severity, and associated injuries secondary to the use of this weapon in Operations Iraqi and Enduring Freedom has not been described. Data from the Department of Defense Trauma Registry was reviewed for combat-related GU injuries in Operations Iraqi and Enduring Freedom from 2001 to 2011. All wounded US armed service members are included in this database. Subjects were selected by a query of current procedural terminology and DRG International Classification of Diseases-9th Rev. codes related to traumatic injury of the penis, scrotum, testicles, and urethra. A retrospective chart review was performed for each patient to identify the date of injury, the mechanism of injury, and the associated traumatic wounds. Subjects' follow-up records were reviewed until present time or separation from active duty. A total of 501 soldiers sustained lower GU trauma, with a total of 729 injuries. Of these casualties, 448 (89%) were wounded by IEDs. Dismounted injuries (87%) made up more of the cohort than did vehicular. Specific trauma sites include 149 (20%) penile, 260 (36%) testicular, 284 (39%) scrotal, and 36 (5%) urethral injuries. The 180 limb amputations (36%) and 86 fractures (17%) were the most encountered concomitant skeletal wounds among service members with GU injuries. This is the first review of all lower GU trauma sustained by all US armed service members in current overseas combat operations. Combat-related lower GU trauma is primarily caused by IEDs in the spectrum of complex dismounted blast injuries. The mechanism primarily results in multisystem injury, with isolated GU involvement being uncommon. Continued evaluation of long-term sequelae, including sexual, urinary, and

  17. Reconstruction of improvised explosive device blast loading to personnel in the open

    NASA Astrophysics Data System (ADS)

    Wiri, Suthee; Needham, Charles

    2016-05-01

    Significant advances in reconstructing attacks by improvised explosive devices (IEDs) and other blast events are reported. A high-fidelity three-dimensional computational fluid dynamics tool, called Second-order Hydrodynamic Automatic Mesh Refinement Code, was used for the analysis. Computer-aided design models for subjects or vehicles in the scene accurately represent geometries of objects in the blast field. A wide range of scenario types and blast exposure levels were reconstructed including free field blast, enclosed space of vehicle cabin, IED attack on a vehicle, buried charges, recoilless rifle operation, rocket-propelled grenade attack and missile attack with single subject or multiple subject exposure to pressure levels from ˜ 27.6 kPa (˜ 4 psi) to greater than 690 kPa (>100 psi). To create a full 3D pressure time-resolved reconstruction of a blast event for injury and blast exposure analysis, a combination of intelligence data and Blast Gauge data can be used to reconstruct an actual in-theatre blast event. The methodology to reconstruct an event and the "lessons learned" from multiple reconstructions in open space are presented. The analysis uses records of blast pressure at discrete points, and the output is a spatial and temporal blast load distribution for all personnel involved.

  18. The Brain Network Underpinning Novel Melody Creation.

    PubMed

    Adhikari, Bhim M; Norgaard, Martin; Quinn, Kristen M; Ampudia, Jenine; Squirek, Justin; Dhamala, Mukesh

    2016-12-01

    Musical improvisation offers an excellent experimental paradigm for the study of real-time human creativity. It involves moment-to-moment decision-making, monitoring of one's performance, and utilizing external feedback to spontaneously create new melodies or variations on a melody. Recent neuroimaging studies have begun to study the brain activity during musical improvisation, aiming to unlock the mystery of human creativity. What brain resources come together and how these are utilized during musical improvisation are not well understood. To help answer these questions, we recorded electroencephalography (EEG) signals from 19 experienced musicians while they played or imagined short isochronous learned melodies and improvised on those learned melodies. These four conditions (Play-Prelearned, Play-Improvised, Imagine-Prelearned, Imagine-Improvised) were randomly interspersed in a total of 300 trials per participant. From the sensor-level EEG, we found that there were power differences in the alpha (8-12 Hz) and beta (13-30 Hz) bands in separate clusters of frontal, parietal, temporal, and occipital electrodes. Using EEG source localization and dipole modeling methods for task-related signals, we identified the locations and network activities of five sources: the left superior frontal gyrus (L SFG), supplementary motor area (SMA), left inferior parietal lobule (L IPL), right dorsolateral prefrontal cortex, and right superior temporal gyrus. During improvisation, the network activity between L SFG, SMA, and L IPL was significantly less than during the prelearned conditions. Our results support the general idea that attenuated cognitive control facilitates the production of creative output.

  19. Angulated Stents-A Novel Stent Improvisation to Manage Difficult Post-tuberculosis Bronchial Stenosis.

    PubMed

    Tay, Chee Kiang; Jeong, Byeong-Ho; Kim, Hojoong

    2017-10-18

    Post-tuberculosis bronchostenosis (PTBS), a complication of endobronchial tuberculosis is currently treated by bronchial stenting. However, in cases of angulated bronchial stenoses, difficulty is often encountered in stent insertion and maintenance, resulting in stent migration, granulation tissue overgrowth, and restenosis. To accommodate the angulated alignment of the stenosis, we devised an "angulated stent"-a novel improvisation of the conventional stent via splicing and suturing to achieve a resultant angulated shape. A retrospective review was undertaken to evaluate the performance of this stent. Among 283 PTBS patients who underwent interventional bronchoscopy at our center from 2004 to 2014, 21 were treated with at least one angulated stent. Clinical outcomes, including the stenting duration were investigated. After a median follow-up of 26 months, stent removal was successful in 7 (33.3%) out of 21 patients. In patients managed with angulated stents, the median duration to stent change or eventual removal was longer than those treated with straight tube stents (392 days vs. 86 days; p < 0.05). Angulated stents are a feasible treatment option in patients with angulated PTBS by reducing complications and prolonging the stent-changing interval.

  20. Understanding physiology by acting out concepts.

    PubMed

    Yucha, C B

    1995-12-01

    Typically, classes in anatomy and physiology are taught via lecture and visual aids. This seems to work well for students who are primarily auditory and visual learners but not for those who learn better through kinesthetic experiences. This is the first report describing the use of improvisation to act out physiological concepts within an anatomy and physiology course. Improvisational techniques encourage active participation and allow students to personally interact with and experience difficult concepts in the classroom. In this paper, sensory modality preferences for learning will be discussed briefly. Improvisational techniques will be described, and examples of improvisations useful to convey intricate physiological concepts will be provided. Last, student responses to the use of improvisational techniques in an anatomy and physiology course will be reported.

  1. Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation.

    PubMed

    Kimmel, Michael; Hristova, Dayana; Kussmaul, Kerstin

    2018-05-23

    Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization , although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. Our answer is that dancers produce a stream of momentary micro-intentions that say “yes, and”, or “no, but” to short-lived micro-affordances, which allows both individuals to skillfully continue, elaborate, tweak, or redirect the collective movement dynamics. Both dancers can invite emergence as part of their playful exploration, while simultaneously bringing to bear global constraints, such as dance scores, and guide the collective dynamics with a set of specialized skills we shall term emergence management .

  2. Feasibility of culvert IED detection using thermal neutron activation

    NASA Astrophysics Data System (ADS)

    Faust, Anthony A.; McFee, John E.; Clifford, Edward T. H.; Andrews, Hugh Robert; Mosquera, Cristian; Roberts, William C.

    2012-06-01

    Bulk explosives hidden in culverts pose a serious threat to the Canadian and allied armies. Culverts provide an opportunity to conceal insurgent activity, avoid the need for detectable surface disturbances, and limit the applicability of conventional sub-surface sensing techniques. Further, in spite of the large masses of explosives that can be employed, the large sensor{target separation makes detection of the bulk explosive content challeng- ing. Defence R&D Canada { Sueld and Bubble Technology Industries have been developing thermal neutron activation (TNA) sensors for detection of buried bulk explosives for over 15 years. The next generation TNA sensor, known as TNA2, incorporates a number of improvements that allow for increased sensor-to-target dis- tances, making it potentially feasible to detect large improvised explosive devices (IEDs) in culverts using TNA. Experiments to determine the ability of TNA2 to detect improvised explosive devices in culverts are described, and the resulting signal levels observed for relevant quantities of explosives are presented. Observations conrm that bulk explosives detection using TNA against a culvert-IED is possible, with large charges posing a detection challenge at least as dicult as that of a deeply buried anti-tank landmine. Because of the prototype nature of the TNA sensor used, it is not yet possible to make denitive statements about the absolute sensitivity or detection time. Further investigation is warranted.

  3. Identical fracture patterns in combat vehicle blast injuries due to improvised explosive devices; a case series

    PubMed Central

    2012-01-01

    Background In November 2008, a surgical team from the Red Cross Hospital Beverwijk, the Netherlands, was deployed in Afghanistan for three months to attend in the army hospital of Kandahar. During their stay, four incidents of armored personnel carriers encountering an improvised explosive device were assessed. In each incident, two soldiers were involved, whose injuries were strikingly similar. Case presentation The described cases comprise paired thoracic vertebral fractures, radial neck fractures, calcaneal fractures and talar fractures. Moreover, the different types of blast injury are mentioned and related to the injuries described in our series. Acknowledging the different blast mechanisms is important for understanding possible injury patterns. Conclusion From this case series, as well as the existing literature on injury patterns caused by blast injuries, it seems appropriate to pay extra attention to bodily areas that were injured in other occupants of the same vehicle. Obviously, the additional surveillance for specific injuries should be complementary to the regular trauma work-up (e.g., ATLS). PMID:23051981

  4. Radiation hardness and timing studies of a monolithic TowerJazz pixel design for the new ATLAS Inner Tracker

    NASA Astrophysics Data System (ADS)

    Riegel, C.; Backhaus, M.; Van Hoorne, J. W.; Kugathasan, T.; Musa, L.; Pernegger, H.; Riedler, P.; Schaefer, D.; Snoeys, W.; Wagner, W.

    2017-01-01

    A part of the upcoming HL-LHC upgrade of the ATLAS Detector is the construction of a new Inner Tracker. This upgrade opens new possibilities, but also presents challenges in terms of occupancy and radiation tolerance. For the pixel detector inside the inner tracker, hybrid modules containing passive silicon sensors and connected readout chips are presently used, but require expensive assembly techniques like fine-pitch bump bonding. Silicon devices fabricated in standard commercial CMOS technologies, which include part or all of the readout chain, are also investigated offering a reduced cost as they are cheaper per unit area than traditional silicon detectors. If they contain the full readout chain, as for a fully monolithic approach, there is no need for the expensive flip-chip assembly, resulting in a further cost reduction and material savings. In the outer pixel layers of the ATLAS Inner Tracker, the pixel sensors must withstand non-ionising energy losses of up to 1015 n/cm2 and offer a timing resolution of 25 ns or less. This paper presents test results obtained on a monolithic test chip, the TowerJazz 180nm Investigator, towards these specifications. The presented program of radiation hardness and timing studies has been launched to investigate this technology's potential for the new ATLAS Inner Tracker.

  5. A comparison of multiple behavior models in a simulation of the aftermath of an improvised nuclear detonation

    PubMed Central

    Parikh, Nidhi; Hayatnagarkar, Harshal G.; Beckman, Richard J.; Marathe, Madhav V.; Swarup, Samarth

    2016-01-01

    We describe a large-scale simulation of the aftermath of a hypothetical 10kT improvised nuclear detonation at ground level, near the White House in Washington DC. We take a synthetic information approach, where multiple data sets are combined to construct a synthesized representation of the population of the region with accurate demographics, as well as four infrastructures: transportation, healthcare, communication, and power. In this article, we focus on the model of agents and their behavior, which is represented using the options framework. Six different behavioral options are modeled: household reconstitution, evacuation, healthcare-seeking, worry, shelter-seeking, and aiding & assisting others. Agent decision-making takes into account their health status, information about family members, information about the event, and their local environment. We combine these behavioral options into five different behavior models of increasing complexity and do a number of simulations to compare the models. PMID:27909393

  6. Effects of a short duration, high dose contact improvisation dance workshop on Parkinson disease: a pilot study.

    PubMed

    Marchant, David; Sylvester, Jennifer L; Earhart, Gammon M

    2010-10-01

    This study explored the feasibility and possible benefits of contact improvisation (CI) as an exercise intervention for individuals with PD. This was an uncontrolled pilot study. Eleven people with PD (H&Y=2.4 ± 0.4) participated in a workshop of 10 1.5-h CI classes over 2 weeks, dancing with previously trained student CI dancers. Measures of disease severity, balance, functional mobility, and gait were compared 1 week before and after the workshop. Participants demonstrated improvements on the Unified Parkinson Disease Rating Scale-Motor Subsection and Berg balance scores, along with increased swing and decreased stance percentages during walking. Backward step length also increased. Participants expressed a high level of enjoyment and interest in taking future CI classes. This pilot study supports the feasibility of CI as an intervention to address mobility limitations associated with PD. Copyright © 2010 Elsevier Ltd. All rights reserved.

  7. Verticality and containment in song and improvisation: an application of schema theory to Nordoff-Robbins music therapy.

    PubMed

    Aigen, Kenneth

    2009-01-01

    This study illustrates the use of a new musicological method for analyzing music in music therapy. It examines two pieces of clinical music through the constructs of schema theory. It begins with an argument for enhanced musical analysis in music therapy as a means of elevating the status of explanation in music therapy. Schema theory is introduced as a means of integrating musical with clinical concerns. Some basic ideas in schema theory are explained and the schemas of VERTICALITY and CONTAINER are presented as central ones in the analysis of music. Two transcriptions-one of a composed song and one of an improvisation-are examined in detail to illustrate how decisions in the temporal, melodic, and harmonic dimensions of the music are linked to specific clinical goals. The article concludes with a discussion of the implications of this type of musicological analysis for explanatory theory in music therapy.

  8. A comparison of multiple behavior models in a simulation of the aftermath of an improvised nuclear detonation.

    PubMed

    Parikh, Nidhi; Hayatnagarkar, Harshal G; Beckman, Richard J; Marathe, Madhav V; Swarup, Samarth

    2016-11-01

    We describe a large-scale simulation of the aftermath of a hypothetical 10kT improvised nuclear detonation at ground level, near the White House in Washington DC. We take a synthetic information approach, where multiple data sets are combined to construct a synthesized representation of the population of the region with accurate demographics, as well as four infrastructures: transportation, healthcare, communication, and power. In this article, we focus on the model of agents and their behavior, which is represented using the options framework. Six different behavioral options are modeled: household reconstitution, evacuation, healthcare-seeking, worry, shelter-seeking, and aiding & assisting others. Agent decision-making takes into account their health status, information about family members, information about the event, and their local environment. We combine these behavioral options into five different behavior models of increasing complexity and do a number of simulations to compare the models.

  9. Interactive Whiteboards and All That Jazz: Analysing Classroom Activity with Interactive Technologies

    ERIC Educational Resources Information Center

    Tanner, Howard; Beauchamp, Gary; Jones, Sonia; Kennewell, Steve

    2010-01-01

    The term "orchestration", has been used to describe the teacher's role in activity settings incorporating interactive technologies. This musical analogy suggests pre-planned manipulation of events to generate "performance" leading to learning. However, in two recent projects we have observed how effective teaching and learning…

  10. A simulation study of fast neutron interrogation for standoff detection of improvised explosive devices

    NASA Astrophysics Data System (ADS)

    Heider, S. A.; Dunn, W. L.

    2015-11-01

    The signature-based radiation-scanning technique utilizes radiation detector responses, called "signatures," and compares these to "templates" in order to differentiate targets that contain certain materials, such as explosives or drugs, from those that do not. Our investigations are aimed at the detection of nitrogen-rich explosives contained in improvised explosive devices. We use the term "clutter" to refer to any non-explosive materials with which the interrogating radiation may interact between source and detector. To deal with the many target types and clutter configurations that may be encountered in the field, the use of "artificial templates" is proposed. The MCNP code was used to simulate 14.1 MeV neutron source beams incident on one type of target containing various clutter and sample materials. Signatures due to inelastic-scatter and prompt-capture gamma rays from hydrogen, carbon, nitrogen, and oxygen and two scattered neutron signatures were considered. Targets containing explosive materials in the presence of clutter were able to be identified from targets that contained only non-explosive ("inert") materials. This study demonstrates that a finite number of artificial templates is sufficient for IED detection with fairly good sensitivity and specificity.

  11. Urea nitrate, an exceptionally easy-to-make improvised explosive: studies towards trace characterization.

    PubMed

    Tamiri, Tsippy; Rozin, Rinat; Lemberger, Nitay; Almog, Joseph

    2009-09-01

    Urea nitrate is a powerful improvised explosive, frequently used by terrorists in the Israeli arena. It was also used in the first World Trade Center bombing in New York in February 1993. It is difficult to identify urea nitrate in post-explosion debris, since only a very small fraction survives the blast. Also, in the presence of water, it readily decomposes to its original components, urea and nitric acid. It is suspected that post-blast debris of urea nitrate can be confused with ammonium nitrate, the main solid product of urea nitrate thermal decomposition. In a comprehensive study towards identification of urea nitrate in post-blast traces, a spectrophotometric technique for quantitative determination of urea nitrate was developed, and conditions were found for extraction and separation of un-exploded traces of urea nitrate with minimal decomposition. Nevertheless, out of 28 samples collected from a series of three controlled firings of urea nitrate charges, only one gave the typical adduct ion by liquid chromatography/mass spectrometry analysis. We found that urea nitrate can be extracted from solid mixtures to organic solvents by using Crown ethers as "host compounds." The adducts thus formed are solid, crystalline compounds that can be characterized by microanalysis and spectroscopic techniques.

  12. Propellant's differentiation using FTIR-photoacoustic detection for forensic studies of improvised explosive devices.

    PubMed

    Álvarez, Ángela; Yáñez, Jorge; Contreras, David; Saavedra, Renato; Sáez, Pedro; Amarasiriwardena, Dulasiri

    2017-11-01

    The use of propellant for making improvised explosive devices (IED) is an incipient criminal practice. Propellant can be used as initiator in explosive mixtures along with other components such as coal, ammonium nitrate, sulfur, etc. The identification of the propellant's brand used in homemade explosives can provide additional forensic information of this evidence. In this work, four of the most common propellant brands were characterized by Fourier-transform infrared photoacoustic spectroscopy (FTIR-PAS) which is a non-destructive micro-analytical technique. Spectra shows characteristic signals of typical compounds in the propellants, such as nitrocellulose, nitroglycerin, guanidine, diphenylamine, etc. The differentiation of propellant components was achieved by using FTIR-PAS combined with chemometric methods of classification. Principal component analysis (PCA) and soft independent modelling of class analogy (SIMCA) were used to achieve an effective differentiation and classification (100%) of propellant brands. Furthermore, propellant brand differentiation was also assessed using partial least squares discriminant analyses (PLS-DA) by leave one out cross (∼97%) and external (∼100%) validation method. Our results show the ability of FTIR-PAS combined with chemometric analysis to identify and differentiate propellant brands in different explosive formulations of IED. Copyright © 2017 Elsevier B.V. All rights reserved.

  13. The Rhetorical Dimensions of Black Music Past and Present.

    ERIC Educational Resources Information Center

    Baker, David N.

    Examination of lyrics of the blues and jazz forms of black music indicates their importance as communication. Contemporary styles can be divided into five overlapping categories: (1) "mainstream," the post-"bebop" style and soul jazz; (2) jazz influenced by other ethnic music; (3) the avant-garde jazz, which is often…

  14. Utrophin Up-Regulation by an Artificial Transcription Factor in Transgenic Mice

    PubMed Central

    Mattei, Elisabetta; Corbi, Nicoletta; Di Certo, Maria Grazia; Strimpakos, Georgios; Severini, Cinzia; Onori, Annalisa; Desantis, Agata; Libri, Valentina; Buontempo, Serena; Floridi, Aristide; Fanciulli, Maurizio; Baban, Dilair; Davies, Kay E.; Passananti, Claudio

    2007-01-01

    Duchenne Muscular Dystrophy (DMD) is a severe muscle degenerative disease, due to absence of dystrophin. There is currently no effective treatment for DMD. Our aim is to up-regulate the expression level of the dystrophin related gene utrophin in DMD, complementing in this way the lack of dystrophin functions. To this end we designed and engineered several synthetic zinc finger based transcription factors. In particular, we have previously shown that the artificial three zinc finger protein named Jazz, fused with the appropriate effector domain, is able to drive the transcription of a test gene from the utrophin promoter “A”. Here we report on the characterization of Vp16-Jazz-transgenic mice that specifically over-express the utrophin gene at the muscular level. A Chromatin Immunoprecipitation assay (ChIP) demonstrated the effective access/binding of the Jazz protein to active chromatin in mouse muscle and Vp16-Jazz was shown to be able to up-regulate endogenous utrophin gene expression by immunohistochemistry, western blot analyses and real-time PCR. To our knowledge, this is the first example of a transgenic mouse expressing an artificial gene coding for a zinc finger based transcription factor. The achievement of Vp16-Jazz transgenic mice validates the strategy of transcriptional targeting of endogenous genes and could represent an exclusive animal model for use in drug discovery and therapeutics. PMID:17712422

  15. Development and Performance of an Ultrawideband Stepped-Frequency Radar for Landmine and Improvised Explosive Device (IED) Detection

    NASA Astrophysics Data System (ADS)

    Phelan, Brian R.; Gallagher, Kyle A.; Sherbondy, Kelly D.; Ranney, Kenneth I.; Narayanan, Ram M.

    2014-11-01

    Under support from the Army Research Laboratory's Partnerships in Research Transition program, a stepped-frequency radar (SFR) is currently under development, which allows for manipulation of the radiated spectrum while still maintaining an effective ultra-wide bandwidth. The SFR is a vehicle-mounted forward-looking ground-penetrating radar designed for high-resolution detection of buried landmines and improvised explosive devices. The SFR can be configured to precisely excise prohibited or interfering frequency bands and also possesses frequency-hopping capabilities. This paper discusses the expected performance features of the SFR as derived from laboratory testing and characterization. Ghosts and artifacts appearing in the range profile arise from gaps in the operating band when the system is configured to omit specific frequencies. An analysis of these effects is discussed and our current solution is presented. Future prospects for the SFR are also discussed, including data collection campaigns at the Army's Adelphi Laboratory Center and the Countermine Test Site.

  16. Jazz it Up! A Variety of Techniques, Exercises, and Games Can Improve Students' Rhythm, Articulation, and Improvisation

    ERIC Educational Resources Information Center

    Perlmutter, Adam

    2013-01-01

    ensembles for performance. Sometimes the race to the stage can result in suboptimal playing, a rhythm section that does not quite gel, or soloists who "blow and hope"--that is, fail to put in the appropriate amount of thought before and during their…

  17. Improvisation versus guideline concordance in surgical antibiotic prophylaxis: a qualitative study.

    PubMed

    Broom, Jennifer; Broom, Alex; Kirby, Emma; Post, Jeffrey J

    2018-05-28

    Surgical antibiotic prophylaxis (SAP) is a common area of antimicrobial misuse. The aim of this study was to explore the social dynamics that influence the use of SAP. 20 surgeons and anaesthetists from a tertiary referral hospital in Australia participated in semi-structured interviews focusing on experiences and perspectives on SAP prescribing. Interview data were analysed using the framework approach. Systematic analysis of the participants' account of the social factors influencing SAP revealed four themes. First, antibiotic prophylaxis is treated as a low priority with the competing demands of the operating theatre environment. Second, whilst guidelines have increased in prominence in recent years, there exists a lack of confidence in their ability to protect the surgeon from responsibility for infectious complications (thus driving SAP over-prescribing). Third, non-concordance prolonged duration of SAP is perceived to be driven by benevolence for the individual patient. Finally, improvisation with novel SAP strategies is reported as ubiquitous, and acknowledged to confer a sense of reassurance to the surgeon despite potential non-concordance with guidelines or clinical efficacy. Surgical-specific concerns have thus far not been meaningfully integrated into antimicrobial stewardship (AMS) programmes, including important dynamics of confidence, trust and mitigating fear of adverse infective events. Surgeons require specific forms of AMS support to enact optimisation, including support for strong collaborative ownership of the surgical risk of infection, and intra-specialty (within surgical specialties) and inter-specialty (between surgery, anaesthetics and infectious diseases) intervention strategies to establish endorsement of and address barriers to guideline implementation.

  18. Blast Injuries: From Improvised Explosive Device Blasts to the Boston Marathon Bombing.

    PubMed

    Singh, Ajay K; Ditkofsky, Noah G; York, John D; Abujudeh, Hani H; Avery, Laura A; Brunner, John F; Sodickson, Aaron D; Lev, Michael H

    2016-01-01

    Although most trauma centers have experience with the imaging and management of gunshot wounds, in most regions blast wounds such as the ones encountered in terrorist attacks with the use of improvised explosive devices (IEDs) are infrequently encountered outside the battlefield. As global terrorism becomes a greater concern, it is important that radiologists, particularly those working in urban trauma centers, be aware of the mechanisms of injury and the spectrum of primary, secondary, tertiary, and quaternary blast injury patterns. Primary blast injuries are caused by barotrauma from the initial increased pressure of the explosive detonation and the rarefaction of the atmosphere immediately afterward. Secondary blast injuries are caused by debris carried by the blast wind and most often result in penetrating trauma from small shrapnel. Tertiary blast injuries are caused by the physical displacement of the victim and the wide variety of blunt or penetrating trauma sustained as a result of the patient impacting immovable objects such as surrounding cars, walls, or fences. Quaternary blast injuries include all other injuries, such as burns, crush injuries, and inhalational injuries. Radiography is considered the initial imaging modality for assessment of shrapnel and fractures. Computed tomography is the optimal test to assess penetrating chest, abdominal, and head trauma. The mechanism of blast injuries and the imaging experience of the victims of the Boston Marathon bombing are detailed, as well as musculoskeletal, neurologic, gastrointestinal, and pulmonary injury patterns from blast injuries. ©RSNA, 2016.

  19. Harlem. ArtsEdge Curricula, Lessons and Activities.

    ERIC Educational Resources Information Center

    John F. Kennedy Center for the Performing Arts, Washington, DC.

    This curriculum unit for Grades 3-4 (adaptable for higher or lower grades) introduces students to Harlem, starting with black migration from Africa and from the American South to the North, to the Harlem Renaissance (including jazz musicians, visual artists, writers, and poets), and on to aspects of daily Harlem life (then and now), such as family…

  20. Accelerator-Based Biological Irradiation Facility Simulating Neutron Exposure from an Improvised Nuclear Device.

    PubMed

    Xu, Yanping; Randers-Pehrson, Gerhard; Turner, Helen C; Marino, Stephen A; Geard, Charles R; Brenner, David J; Garty, Guy

    2015-10-01

    We describe here an accelerator-based neutron irradiation facility, intended to expose blood or small animals to neutron fields mimicking those from an improvised nuclear device at relevant distances from the epicenter. Neutrons are generated by a mixed proton/deuteron beam on a thick beryllium target, generating a broad spectrum of neutron energies that match those estimated for the Hiroshima bomb at 1.5 km from ground zero. This spectrum, dominated by neutron energies between 0.2 and 9 MeV, is significantly different from the standard reactor fission spectrum, as the initial bomb spectrum changes when the neutrons are transported through air. The neutron and gamma dose rates were measured using a custom tissue-equivalent gas ionization chamber and a compensated Geiger-Mueller dosimeter, respectively. Neutron spectra were evaluated by unfolding measurements using a proton-recoil proportional counter and a liquid scintillator detector. As an illustration of the potential use of this facility we present micronucleus yields in single divided, cytokinesis-blocked human peripheral lymphocytes up to 1.5 Gy demonstrating 3- to 5-fold enhancement over equivalent X-ray doses. This facility is currently in routine use, irradiating both mice and human blood samples for evaluation of neutron-specific biodosimetry assays. Future studies will focus on dose reconstruction in realistic mixed neutron/photon fields.

  1. Accelerator-Based Biological Irradiation Facility Simulating Neutron Exposure from an Improvised Nuclear Device

    PubMed Central

    Xu, Yanping; Randers-Pehrson, Gerhard; Turner, Helen C.; Marino, Stephen A.; Geard, Charles R.; Brenner, David J.; Garty, Guy

    2015-01-01

    We describe here an accelerator-based neutron irradiation facility, intended to expose blood or small animals to neutron fields mimicking those from an improvised nuclear device at relevant distances from the epicenter. Neutrons are generated by a mixed proton/deuteron beam on a thick beryllium target, generating a broad spectrum of neutron energies that match those estimated for the Hiroshima bomb at 1.5 km from ground zero. This spectrum, dominated by neutron energies between 0.2 and 9 MeV, is significantly different from the standard reactor fission spectrum, as the initial bomb spectrum changes when the neutrons are transported through air. The neutron and gamma dose rates were measured using a custom tissue-equivalent gas ionization chamber and a compensated Geiger-Mueller dosimeter, respectively. Neutron spectra were evaluated by unfolding measurements using a proton-recoil proportional counter and a liquid scintillator detector. As an illustration of the potential use of this facility we present micronucleus yields in single divided, cytokinesis-blocked human peripheral lymphocytes up to 1.5 Gy demonstrating 3- to 5-fold enhancement over equivalent X-ray doses. This facility is currently in routine use, irradiating both mice and human blood samples for evaluation of neutron-specific biodosimetry assays. Future studies will focus on dose reconstruction in realistic mixed neutron/photon fields. PMID:26414507

  2. The influence of music and stress on musicians' hearing

    NASA Astrophysics Data System (ADS)

    Kähäri, Kim; Zachau, Gunilla; Eklöf, Mats; Möller, Claes

    2004-10-01

    Hearing and hearing disorders among classical and rock/jazz musicians was investigated. Pure tone audiometry was done in 140 classical and 139 rock/jazz musicians. The rock/jazz musicians answered a questionnaire concerning hearing disorders and psychosocial exposure. All results were compared to age appropriate reference materials. Hearing thresholds showed a notch configuration in both classical and rock/jazz musicians indicating the inclusion of high sound levels but an overall well-preserved hearing thresholds. Female musicians had significantly better hearing thresholds in the high-frequency area than males. Rock/jazz musicians showed slight worse hearing thresholds as compared to classical musicians. When assessing hearing disorders, a large number of rock/jazz musicians suffered from different hearing disorders (74%). Hearing loss, tinnitus and hyperacusis were the most common disorders and were significantly more frequent in comparison with different reference populations. Among classical musicians, no extended negative progress of the pure tone hearing threshold values was found in spite of the continued 16 years of musical noise exposure. In rock/jazz musicians, there was no relationships between psychosocial factors at work and hearing disorders. The rock/jazz musicians reported low stress and high degree of energy. On the average, the rock/jazz musicians reported higher control, lower stress and higher energy than a reference material of white-collar workers.

  3. "Contacting" the Fundamentals: A New Paradigm for Pedagogy

    ERIC Educational Resources Information Center

    Munjee, Tara

    2012-01-01

    Contact improvisation can serve as a way to access new understandings of Bartenieff Fundamentals. Inherent elements of contact improvisation such as thinking and feeling bodily in the moment, sensitivity to activated weight along with weight sharing and bearing, flow, whole-body organization, and immediacy of embodied presence provide fertile…

  4. Pressures of Wilderness Improvised Wound Irrigation Techniques: How Do They Compare?

    PubMed

    Luck, John B; Campagne, Danielle; Falcón Banchs, Roberto; Montoya, Jason; Spano, Susanne J

    2016-12-01

    Compare the pressures measured by improvised irrigation techniques to a commercial device and to prior reports. Devices tested included a commercial 500-mL compressible plastic bottle with splash guard, a 10-mL syringe, a 10-mL syringe with a 14-ga angiocatheter (with needle removed), a 50-mL Sawyer syringe, a plastic bag punctured with a 14-ga needle, a plastic bottle with cap punctured by a 14-ga needle, a plastic bottle with sports top, and a bladder-style hydration system. Each device was leveled on a support, manually compressed, and aimed toward a piece of glass. A high-speed camera placed behind the glass recorded the height of the stream upon impact at its highest and lowest point. Measurements were recorded 5 times for each device. Pressures in pounds per square inch (psi) were calculated. The syringe and angiocatheter pressures measured the highest pressures (16-49 psi). The 50-mL syringe (7-11 psi), 14-ga punctured water bottle (7-25 psi), and water bottle with sports top (3-7 psi) all measured at or above the commercial device (4-5 psi). Only the bladder-style hydration system (1-2 psi) and plastic bag with 14-ga needle puncture (2-3 psi) did not reach pressures generated by the commercial device. Pressures are consistent with those previously reported. All systems using compressible water bottles and all syringe-based systems provided pressures at or exceeding a commercial wound irrigation device. A 14-ga punctured plastic bag and bladder-style hydration pack failed to generate similar irrigation pressures. Copyright © 2016 Wilderness Medical Society. All rights reserved.

  5. Detection of vehicle-based improvised explosives using ultra-trace detection equipment

    NASA Astrophysics Data System (ADS)

    Fisher, Mark; Sikes, John; Prather, Mark; Wichert, Clint

    2005-05-01

    Vehicle-borne improvised explosive devices (VBIEDs) have become the weapon of choice for insurgents in Iraq. At the same time, these devices are becoming increasingly sophisticated and effective. VBIEDs can be difficult to detect during visual inspection of vehicles. This is especially true when explosives have been hidden behind a vehicle"s panels, inside seat cushions, under floorboards, or behind cargo. Even though the explosive may not be visible, vapors of explosive emanating from the device are often present in the vehicle, but the current generation of trace detection equipment has not been sensitive enough to detect these low concentrations of vapor. This paper presents initial test results using the Nomadics Fido sensor for detection of VBIEDs. The sensor is a small, explosives detector with unprecedented levels of sensitivity for detection of nitroaromatic explosives. Fido utilizes fluorescence quenching of novel polymer materials to detect traces of explosive vapor emanating from targets containing explosives. These materials, developed by collaborators at the Massachusetts Institute of Technology (MIT), amplify the quenching response that occurs when molecules of explosive bind to films of the polymer. These materials have enabled development of sensors with performance approaching that of canines trained to detect explosives. The ability of the sensor to detect explosives in vehicles and on persons who have recently been in close proximity to explosives has recently been demonstrated. In these tests, simulated targets were quickly and easily detected using a Fido sensor in conjunction with both direct vapor and swipe sampling methods. The results of these tests suggest that chemical vapor sensing has utility as a means of screening vehicles for explosives at checkpoints and on patrols.

  6. Metabolic Dysregulation after Neutron Exposures Expected from an Improvised Nuclear Device.

    PubMed

    Laiakis, Evagelia C; Wang, Yi-Wen; Young, Erik F; Harken, Andrew D; Xu, Yanping; Smilenov, Lubomir; Garty, Guy Y; Brenner, David J; Fornace, Albert J

    2017-07-01

    The increased threat of terrorism across the globe has raised fears that certain groups will acquire and use radioactive materials to inflict maximum damage. In the event that an improvised nuclear device (IND) is detonated, a potentially large population of victims will require assessment for radiation exposure. While photons will contribute to a major portion of the dose, neutrons may be responsible for the severity of the biologic effects and cellular responses. We investigated differences in response between these two radiation types by using metabolomics and lipidomics to identify biomarkers in urine and blood of wild-type C57BL/6 male mice. Identification of metabolites was based on a 1 Gy dose of radiation. Compared to X rays, a neutron spectrum similar to that encountered in Hiroshima at 1-1.5 km from the epicenter induced a severe metabolic dysregulation, with perturbations in amino acid metabolism and fatty acid β-oxidation being the predominant ones. Urinary metabolites were able to discriminate between neutron and X rays on day 1 as well as day 7 postirradiation, while serum markers showed such discrimination only on day 1. Free fatty acids from omega-6 and omega-3 pathways were also decreased with 1 Gy of neutrons, implicating cell membrane dysfunction and impaired phospholipid metabolism, which should otherwise lead to release of those molecules in circulation. While a precise relative biological effectiveness value could not be calculated from this study, the results are consistent with other published studies showing higher levels of damage from neutrons, demonstrated here by increased metabolic dysregulation. Metabolomics can therefore aid in identifying global perturbations in blood and urine, and effectively distinguishing between neutron and photon exposures.

  7. Headspace theater: an innovative method for experiential learning of psychiatric symptomatology using modified role-playing and improvisational theater techniques.

    PubMed

    Ballon, Bruce C; Silver, Ivan; Fidler, Donald

    2007-01-01

    Headspace Theater has been developed to allow small group learning of psychiatric conditions by creating role-play situations in which participants are placed in a scenario that simulates the experience of the condition. The authors conducted a literature review of role-playing techniques, interactive teaching, and experiential education, and performed consultations with experts in improvisational theater, live-action role-playing, and cognitive psychology (constructivism). Participants have universally rated the Headspace Theater experience positively. They affirmed that the simulations evoke emotions and cognitive distortions that create a window into the experience of a patient suffering from psychiatric symptoms. Several participants have also disseminated the techniques and scenarios to their local teaching setting. Headspace Theater may serve as a useful tool for helping various learners to experientially understand what a person may encounter when under the influence of a mental health condition, and thus help shape attitudes and increase empathy toward such people.

  8. Food approach conditioning and discrimination learning using sound cues in benthic sharks.

    PubMed

    Vila Pouca, Catarina; Brown, Culum

    2018-07-01

    The marine environment is filled with biotic and abiotic sounds. Some of these sounds predict important events that influence fitness while others are unimportant. Individuals can learn specific sound cues and 'soundscapes' and use them for vital activities such as foraging, predator avoidance, communication and orientation. Most research with sounds in elasmobranchs has focused on hearing thresholds and attractiveness to sound sources, but very little is known about their abilities to learn about sounds, especially in benthic species. Here we investigated if juvenile Port Jackson sharks could learn to associate a musical stimulus with a food reward, discriminate between two distinct musical stimuli, and whether individual personality traits were linked to cognitive performance. Five out of eight sharks were successfully conditioned to associate a jazz song with a food reward delivered in a specific corner of the tank. We observed repeatable individual differences in activity and boldness in all eight sharks, but these personality traits were not linked to the learning performance assays we examined. These sharks were later trained in a discrimination task, where they had to distinguish between the same jazz and a novel classical music song, and swim to opposite corners of the tank according to the stimulus played. The sharks' performance to the jazz stimulus declined to chance levels in the discrimination task. Interestingly, some sharks developed a strong side bias to the right, which in some cases was not the correct side for the jazz stimulus.

  9. Creative Activities for String Students.

    ERIC Educational Resources Information Center

    Stabley, Nola Campbell

    2001-01-01

    Discusses how to teach improvisation, creativity, and movement to beginning music classroom students. Includes background information on teaching each concept and lesson plans to be used with beginning string students. Provides rhythm patterns, exercises, and an assignment used in the lessons. (CMK)

  10. Microbial bebop: creating music from complex dynamics in microbial ecology.

    PubMed

    Larsen, Peter; Gilbert, Jack

    2013-01-01

    In order for society to make effective policy decisions on complex and far-reaching subjects, such as appropriate responses to global climate change, scientists must effectively communicate complex results to the non-scientifically specialized public. However, there are few ways however to transform highly complicated scientific data into formats that are engaging to the general community. Taking inspiration from patterns observed in nature and from some of the principles of jazz bebop improvisation, we have generated Microbial Bebop, a method by which microbial environmental data are transformed into music. Microbial Bebop uses meter, pitch, duration, and harmony to highlight the relationships between multiple data types in complex biological datasets. We use a comprehensive microbial ecology, time course dataset collected at the L4 marine monitoring station in the Western English Channel as an example of microbial ecological data that can be transformed into music. Four compositions were generated (www.bio.anl.gov/MicrobialBebop.htm.) from L4 Station data using Microbial Bebop. Each composition, though deriving from the same dataset, is created to highlight different relationships between environmental conditions and microbial community structure. The approach presented here can be applied to a wide variety of complex biological datasets.

  11. Metabolic Dysregulation after Neutron Exposures Expected from an Improvised Nuclear Device

    PubMed Central

    Laiakis, Evagelia C.; Wang, Yi-Wen; Young, Erik F.; Harken, Andrew D.; Xu, Yanping; Smilenov, Lubomir; Garty, Guy Y.; Brenner, David J.; Fornace, Albert J.

    2017-01-01

    The increased threat of terrorism across the globe has raised fears that certain groups will acquire and use radioactive materials to inflict maximum damage. In the event that an improvised nuclear device (IND) is detonated, a potentially large population of victims will require assessment for radiation exposure. While photons will contribute to a major portion of the dose, neutrons may be responsible for the severity of the biologic effects and cellular responses. We investigated differences in response between these two radiation types by using metabolomics and lipidomics to identify biomarkers in urine and blood of wild-type C57BL/6 male mice. Identification of metabolites was based on a 1 Gy dose of radiation. Compared to X rays, a neutron spectrum similar to that encountered in Hiroshima at 1–1.5 km from the epicenter induced a severe metabolic dysregulation, with perturbations in amino acid metabolism and fatty acid β-oxidation being the predominant ones. Urinary metabolites were able to discriminate between neutron and X rays on day 1 as well as day 7 postirradiation, while serum markers showed such discrimination only on day 1. Free fatty acids from omega-6 and omega-3 pathways were also decreased with 1 Gy of neutrons, implicating cell membrane dysfunction and impaired phospholipid metabolism, which should otherwise lead to release of those molecules in circulation. While a precise relative biological effectiveness value could not be calculated from this study, the results are consistent with other published studies showing higher levels of damage from neutrons, demonstrated here by increased metabolic dysregulation. Metabolomics can therefore aid in identifying global perturbations in blood and urine, and effectively distinguishing between neutron and photon exposures. PMID:28475424

  12. Front end optimization for the monolithic active pixel sensor of the ALICE Inner Tracking System upgrade

    NASA Astrophysics Data System (ADS)

    Kim, D.; Aglieri Rinella, G.; Cavicchioli, C.; Chanlek, N.; Collu, A.; Degerli, Y.; Dorokhov, A.; Flouzat, C.; Gajanana, D.; Gao, C.; Guilloux, F.; Hillemanns, H.; Hristozkov, S.; Junique, A.; Keil, M.; Kofarago, M.; Kugathasan, T.; Kwon, Y.; Lattuca, A.; Mager, M.; Sielewicz, K. M.; Marin Tobon, C. A.; Marras, D.; Martinengo, P.; Mazza, G.; Mugnier, H.; Musa, L.; Pham, T. H.; Puggioni, C.; Reidt, F.; Riedler, P.; Rousset, J.; Siddhanta, S.; Snoeys, W.; Song, M.; Usai, G.; Van Hoorne, J. W.; Yang, P.

    2016-02-01

    ALICE plans to replace its Inner Tracking System during the second long shut down of the LHC in 2019 with a new 10 m2 tracker constructed entirely with monolithic active pixel sensors. The TowerJazz 180 nm CMOS imaging Sensor process has been selected to produce the sensor as it offers a deep pwell allowing full CMOS in-pixel circuitry and different starting materials. First full-scale prototypes have been fabricated and tested. Radiation tolerance has also been verified. In this paper the development of the charge sensitive front end and in particular its optimization for uniformity of charge threshold and time response will be presented.

  13. Giving The Duke His Due.

    ERIC Educational Resources Information Center

    Roach, Ronald

    1999-01-01

    The centennial year of Edward K. "Duke" Ellington's birth has inspired many American colleges and universities to convene tribute concerts and conferences. However, few schools offer majors in jazz-related studies; those that do often maintain strict separation between jazz and classical music instruction. Many in the jazz-education…

  14. Brain Activation in Motor Sequence Learning Is Related to the Level of Native Cortical Excitability

    PubMed Central

    Lissek, Silke; Vallana, Guido S.; Güntürkün, Onur; Dinse, Hubert; Tegenthoff, Martin

    2013-01-01

    Cortical excitability may be subject to changes through training and learning. Motor training can increase cortical excitability in motor cortex, and facilitation of motor cortical excitability has been shown to be positively correlated with improvements in performance in simple motor tasks. Thus cortical excitability may tentatively be considered as a marker of learning and use-dependent plasticity. Previous studies focused on changes in cortical excitability brought about by learning processes, however, the relation between native levels of cortical excitability on the one hand and brain activation and behavioral parameters on the other is as yet unknown. In the present study we investigated the role of differential native motor cortical excitability for learning a motor sequencing task with regard to post-training changes in excitability, behavioral performance and involvement of brain regions. Our motor task required our participants to reproduce and improvise over a pre-learned motor sequence. Over both task conditions, participants with low cortical excitability (CElo) showed significantly higher BOLD activation in task-relevant brain regions than participants with high cortical excitability (CEhi). In contrast, CElo and CEhi groups did not exhibit differences in percentage of correct responses and improvisation level. Moreover, cortical excitability did not change significantly after learning and training in either group, with the exception of a significant decrease in facilitatory excitability in the CEhi group. The present data suggest that the native, unmanipulated level of cortical excitability is related to brain activation intensity, but not to performance quality. The higher BOLD mean signal intensity during the motor task might reflect a compensatory mechanism in CElo participants. PMID:23613956

  15. Learning Science Communication Skills Using Improvisation, Video Recordings, and Practice, Practice, Practice †

    PubMed Central

    Ponzio, Nicholas M.; Alder, Janet; Nucci, Mary; Dannenfelser, David; Hilton, Holly; Linardopoulos, Nikolaos; Lutz, Carol

    2018-01-01

    Doctoral students in science disciplines spend countless hours learning how to conduct cutting-edge research but very little time learning to communicate the nature and significance of their science to people outside their field. To narrow this disparity, we created an unusual course titled Communicating Science for doctoral science trainees at Rutgers University. Our goal was to help students develop an advanced ability to communicate their research clearly and accurately and to emphasize its value and significance to diverse audiences. Course design included classroom instruction supplemented with improvisation, video recordings, and ample opportunity for students to practice and receive immediate, constructive feedback in a supportive environment. A multidisciplinary faculty with expertise in science, education, communication, and theater arts taught this course. PhD students came from diverse scientific disciplines, ranging from biology and chemistry to civil engineering. Students also completed a capstone project in which they worked with a professional in the academic or private sector to explore a possible career aspiration. Assessment was in the form of feedback on students’ oral and poster presentations, and written abstracts about their research. Student evaluations and comments about course format and content were mostly positive and also provided input for ways to improve the course. We discovered that the diversity of scientific backgrounds among our students enhanced their ability to learn how to communicate their science to others outside their disciplines. We are leveraging the success of our initial course offering to reach other student and faculty groups at Rutgers. PMID:29904514

  16. An initial evaluation of stable isotopic characterisation of post-blast plastic debris from improvised explosive devices.

    PubMed

    Quirk, Anthony T; Bellerby, John M; Carter, James F; Thomas, Fay A; Hill, Jenny C

    2009-06-01

    A number of two-way radios, similar to those which have been employed to initiate Improvised Explosive Devices (IEDs), were acquired from a commercial supplier and grouped into four pairs. Samples of plastic material were collected from five distinct regions of each radio and analysed by Infrared and Raman spectroscopy to identify the nature of the material. One radio of each pair was then subjected to detonation with a commercially available plastic explosive. The combination of radio and explosive was considered to be representative of the components of an IED. Following detonation, fragments were recovered and, where possible, identified as specific sampling points of the radio. A combination of delta2H and delta13C stable isotopic analysis of material from each of the five sampling points was found to provide a pattern which was characteristic of a given radio and provided a means to associate pairs of radios. When few fragments were recovered, no positive association could be made between the fragments and the paired, undamaged radio. This was attributed, in part, to manufacturing variation in the radios. However, when three or more post-blast fragments were recovered it was possible to associate these with the paired, undamaged radio with a high degree of certainty.

  17. Audiovisual integration of emotional signals from music improvisation does not depend on temporal correspondence.

    PubMed

    Petrini, Karin; McAleer, Phil; Pollick, Frank

    2010-04-06

    In the present study we applied a paradigm often used in face-voice affect perception to solo music improvisation to examine how the emotional valence of sound and gesture are integrated when perceiving an emotion. Three brief excerpts expressing emotion produced by a drummer and three by a saxophonist were selected. From these bimodal congruent displays the audio-only, visual-only, and audiovisually incongruent conditions (obtained by combining the two signals both within and between instruments) were derived. In Experiment 1 twenty musical novices judged the perceived emotion and rated the strength of each emotion. The results indicate that sound dominated the visual signal in the perception of affective expression, though this was more evident for the saxophone. In Experiment 2 a further sixteen musical novices were asked to either pay attention to the musicians' movements or to the sound when judging the perceived emotions. The results showed no effect of visual information when judging the sound. On the contrary, when judging the emotional content of the visual information, a worsening in performance was obtained for the incongruent condition that combined different emotional auditory and visual information for the same instrument. The effect of emotionally discordant information thus became evident only when the auditory and visual signals belonged to the same categorical event despite their temporal mismatch. This suggests that the integration of emotional information may be reinforced by its semantic attributes but might be independent from temporal features. Copyright 2010 Elsevier B.V. All rights reserved.

  18. Adaptive Devices for Aquatic Activities.

    ERIC Educational Resources Information Center

    Bradtke, Jane Silverman

    1979-01-01

    The article describes commercial as well as improvised and homemade equipment for teaching physically handicapped persons to swim. Descriptions address equipment for entering the pool (such as pool lifts, a transfer board, and a ramp); aids in the instructional process (kick boards, arm floats); and assorted games and materials (such as ropes,…

  19. Prostate Cancer Research Training Program

    DTIC Science & Technology

    2012-05-01

    ach Friday and Saturda y night from 6:30 to 9:3 0 pm on the downtown Pedestrian Mall. Iowa City Jazz Festival – A free, three -day jazz concert...featuring lo cal, regional, and national jazz groups during the July 4 th celebration. The festiva l will be held on the Pentacrest on the campus of

  20. Reversing the gaze: constructing European race discourse as modern witchcraft practice.

    PubMed

    Perkinson, James W

    2004-01-01

    In keeping with the challenge of (African American) historian of religions Charles Long to develop a mode of postcolonial encounter that is a process of mutual hermeneusis, I am proposing in this article to think "race" in terms of "indigenous ritual." At the very least it is an effort to relativize the western scientific paradigm and the universalizing humanities discourses that have nestled close to that paradigm. It is not an attempt to repudiate such an episteme but, rather-to borrow a jazz term-to "swing" it, to put it in antiphonal and improvisational circulation. More specifically, this article will trace a thought experiment, probing the historical emergence of white supremacist practice as a kind of modernist embodiment of "witchcraft discourse," which functions-in the institutional grammar it has left on deposit in contemporary social practice and the "intention to consume" (the substance of others) that it "rationalizes"-very much like the "primitive superstitions" it seeks to name and repudiate in positing its own rationalizing superiority. In such an enterprise, witchcraft, I am arguing, can be "good to think with" as a mode of communicative action, signifying with a kind of "boomerang effect" in the intercultural space of rupture between the West and the rest.