Objetivo: Comparar el efecto de la música clásica y urbana para manejar la ansiedad dental en niños atendidos en una clínica universitaria, Chiclayo, 2023. Métodos: Estudio explicativo, longitudinal, experimental, con una muestra conformada por 36 participantes. Se incluyeron niños de ambos sexos de 5 a 12 años de edad, que acudieron a la clínica odontológica de la Universidad Católica Santo Toribio de Mogrovejo, los cuales fueron distribuidos de manera aleatoria en 3 grupos de estudio, correspondientes a música clásica, música urbana y grupo control. Se colocaron equipos Mp3 a cada paciente, con la finalidad de identificar el tipo musical idóneo para disminuir situaciones ansiosas, utilizando la Escala de Imagen Facial y parámetros fisiológicos, antes y después del tratamiento dental. Resultados: A pesar de que se observaron mejoras en el nivel de ansiedad presentado por los niños, no se encontraron diferencias significativas en la reducción de la misma, en el grupo de música clásica (p=0.071> 0.05) y en el grupo de música urbana (p=0.414 > 0.05). Conclusión: No se encontraron diferencias relevantes en la disminución del nivel de ansiedad dental durante la atención, al emplear música clásica y urbana; tampoco existieron mejoras significativas en la ansiedad dental al medir los parámetros filológicos de los participantes. / Objective: To compare the effect of classical and urban music on the management of dental anxiety in children attended in a university clinic, Chiclayo, 2023. Methods: Explanatory, longitudinal, experimental study with a sample of 36 patients. Children of both sexes between 5 and 12 years of age who attended the dental clinic of the Universidad Católica Santo Toribio de Mogrovejo were included and were randomly distributed into 3 study groups corresponding to classical music, urban music and a control group. Each patient was fitted with an Mp3 player with the purpose of identifying the ideal type of music to reduce dental anxiety during dental care. Anxiety was assessed using the Facial Image Scale and physiological parameters, before and after dental treatment. Results: Although improvements were observed in the level of anxiety presented by the children, no significant differences were found in the reduction of anxiety in the classical music group (p=0.071 > 0.05) or in the urban music group (p=0.414 > 0.05). Conclusions: No relevant differences were found in the reduction of the level of dental anxiety during dental care when using classical music or urban music; nor were there significant improvements in dental anxiety when measuring the physiological parameters of the participants.

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A research in how sound-delay needs to be compensated as an orchestral percussionist. Sound delay occurs when sound needs to travel from one location to another. The ionger the distance, the longer it takes for sound to arrive. Sound delay can occur when percussionists play from their position on a concert stage. Their position is usually furthest back on the stage, the backrow of the orchestra ensemble. This means that percussionists usually has the largest distance from the audience, in most settings. Observing and recording my own performance practises, reading existing written works and interviewing experienced percussionists has been the foundation for this research. By playing on multiple stations consisting of different percussion instruments in varying distances from a fellow musician in a performance practice, I could systematically observe how bodily movement changed between the varying distances in order to be on time with the colleague. The results of this research shows the complexity of sound delay compensation, and has shown that the topic includes more factors than expected. The sounding nature of the percussion instruments has, in this research, been observed to play a big part in the compensation of sound delay. / <p>Program:</p><p>"Prim" - Áskell Másson </p><p>"Shin-Kansen" - Bruno Hartl</p><p>"She who sleeps with a small blanket" - Kevin Volans</p><p>"Meditations a deux" - Ida Fahl</p><p>"Mistral" - Daniel Berg</p><p>"Cruisin`through fire" - Jackson Riffle</p><p></p><p>Colleagues:</p><p>Johannes Carlsson, percussion</p><p>Alexandru Munteanu, percussion</p><p>Tiago Rocha, percussion</p><p></p><p>Text-file no. 1: Thesis</p><p>Audio-file no. 1: Interview with Joakim Anterot</p><p>Audio-file no. 2: Interview with Mikael Nilsson</p><p>Audio-file no. 3: Interview with Roger Carlsson</p><p>Audio-file no. 4: Even Hembre`s Master-exam concert at KMH, 28th of May 2024</p><p>Video-file no. 1: Part 1 of Arne Björk`s "Symfonisk Duett" first performance</p><p>Video-file no. 2: Part 2 of Arne Björk`s "Symfonisk Duett first performance</p><p>Video-file no. 3: Part 3 of Arne Björk`s "Symfonisk Duett" first performance</p><p></p>

This subject has been chosen by the writer for the purpose of discussing these problems of performance, arising with the composition, the St. Matthew Passion, by J. S. Bach. Since Bach was a German and wrote in that language, the edition used is called the American edition. The performances in America are, with few exceptions, based upon translations which must be accurately edited so as not to obscure Bach's intentions.

When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.

This song cycle consists of ten settings, and has been divided into two parts by the composer. Each part is preceded by a short quotation in Latin which has been inserted by the composer. The two parts of the cycle are evidently meant to typify the division of a human life into the periods of youth and old age. The Latin quotations which divide the cycle into its two parts are taken from the Latin Vulgate version of the Bible, Psalm 89, verse six.

This study has three purposes: first, to point out the stylistic elements of music that are present in the piano works of Debussy and Ravel; second, to determine how the composers have used these elements; and third, to discover the effects that have been achieved through individual uses of the elements.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca) / Les musiciens étrangers installés au Québec ont contribué à l’édification et au développement de la vie culturelle, et leur influence sur le milieu musical est loin d’être négligeable. Mais que connaît-on des conditions d’intégration socioculturelle et professionnelle de ces musiciens immigrants ? Quels obstacles rencontrent-ils, quelles stratégies développent-ils pour poursuivre leur carrière professionnelle dans un nouveau contexte social et artistique ? Cette recherche aborde un des aspects de la vie musicale québécoise à travers la problématique de l’intégration socioculturelle et professionnelle d’interprètes immigrants de musique savante occidentale (ou musique classique). S’appuyant sur le parcours de musiciens installés à Montréal depuis trente-cinq ans et moins, l’étude s’articule autour de quatre axes : l’impact de l’immigration sur les interprètes étrangers; leur processus d’intégration; l’influence du contexte socioculturel et musical sur les stratégies d’adaptation développées par ces musiciens; leurs apports au milieu musical québécois. Basée sur une approche sociomusicologique à partir d’une méthodologie mixte – étude théorique et enquête de terrain –, cette recherche se présente comme une enquête exploratoire visant à dresser un tableau général des situations rencontrées par les interprètes immigrants dans leur trajectoire d’intégration. Un cadre théorique a tout d’abord été bâti afin d’exposer, d’une part, les particularités du métier d’interprète (apprentissage et professionnalisation) et, d’autre part, les diverses étapes de l’immigration et de l’intégration et leurs spécificités. Ensuite, en replaçant dans ce cadre théorique les données recueillies sur le terrain, l’étude plus approfondie de cinq cas particuliers a permis d’appréhender la problématique à travers l’expérience des interprètes immigrants, et d’observer les stratégies qu’ils ont développées en réponse aux situations rencontrées; un de leurs plus grands défis étant de trouver un équilibre entre leurs codes culturels et musicaux et ceux de la société d’accueil. L’étude de cas s’appuie sur la mise en parallèle du cheminement d’interprètes installés à Montréal depuis trente-cinq ans et moins, l’objectif étant de mesurer les incidences des changements survenus dans le milieu musical sur le processus d’intégration socioprofessionnelle de ces musiciens. L’analyse des données recueillies révèle que ce n’est pas grâce à leur formation en musique classique que les interprètes immigrants réussissent à intégrer rapidement le milieu professionnel actuel, mais grâce à leur pratique parallèle de la musique traditionnelle de leur pays d’origine. Cette nouvelle dynamique d’adaptation, favorisée par les politiques de valorisation de la diversité culturelle, entraîne un glissement progressif de l’intérêt des organismes de soutien au développement artistique vers les musiques traditionnelles ou métissées. S’oriente-t-on vers un changement de paradigme conduisant à la perte graduelle de la prédominance du répertoire classique chez les interprètes immigrants, au profit du répertoire traditionnel ? / Foreign musicians living in Quebec contributed to build and develop cultural landscape, and their influence on the musical world is far from negligible. However, what do we know about sociocultural and professional conditions of integration for these immigrant musicians? What challenges do they encounter? What strategies do they develop to move on with their professional career in a new artistic and social context? This research addresses one of the aspects of Quebec’s musical life through the problematic of the sociocultural and professional integration of immigrant performers of (learned) Western art music (or classical music). Based on the career of musicians living in Montreal since thirty five years or less, this study revolves around four axes: the impact of immigration on immigrant performers; their integration process; the influence of the sociocultural and musical context on the adaptation strategies these musicians developed and their contribution to Quebec’s musical world. Based on a sociomusicologic approach from a mixed methodology – theoretical study and field survey - this research is presented as an exploratory survey aiming to draw a general picture of the situations encountered by the immigrant performers in their integration. A theoretical framework was first prepared in order to expose, on one hand, the peculiarities of the work of performer (learning and professionalization) and, on the other hand, the different steps of immigration and integration, as well as their specificities. Then, by placing in this theoretical framework the data collected on the field, a more in-depth study of five particular cases allowed to apprehend the problematic through the experience of immigrant performers and to observe the strategies they developed to pass by the situations they had to face; one of their greatest challenge being to find the balance between their musical and cultural codes and those of the host country. The study of cases is driven by the parallel exposure of the experience of performers living in Montreal since thirty five years or less, the objective being to measure the incidence of the changes that happened in the musical milieu onto their socioprofessional integration process. Data analysis revealed that fast professional integration of immigrant performers is rather due to the parallel practice of traditional music from their home country than to their formation in classical music. This new dynamic of adaptation, favored by policies of valorization of cultural diversity, causes a progressive shift of organisms’ interests towards traditional or mixed musical genres. Are we going forward to a change of paradigm, leading to the gradual loss of the predominance of the classical repertoire within immigrant performers, for the benefit of the traditional repertoire?