AOTA 2021 Standards for Continuing Competence in Occupational Therapy

Continuing competence is essential to occupational therapists and occupational therapy assistants for fulfilling their roles and abilities across experience, context, and time. It requires an ongoing process to keep up with new developments related to the profession and specialty areas throughout one’s career (i.e., early, mid-, late, change, or reentry). To build capacity, occupational therapists and occupational therapy assistants must commit to a process of self-assessment, reflecting on, in, and toward action to advance the knowledge, professional reasoning, interpersonal skills, performance skills, and ethical practice necessary to perform current and future roles and responsibilities within the profession. The American Occupational Therapy Association’s Standards for Continuing Competence serve as a foundation for analyzing the occupation in regard to continuing competence. These standards can be viewed separately and collectively and can be combined with other standards documents to gain an overarching perspective.

Multimedia Recognition of Piano Music Based on the Hidden Markov Model

Piano performance is an art with rich artistic elements and unpredictable performance skills. It is an important carrier for playing beautiful piano sounds. The generation of musical tension and expression of piano performance is a vivid display of piano performance skills. In piano performance, we should pay attention to the cultivation and flexible application of performance skills. In order to ensure the richness and artistry of piano performance, it is fully based on the artistic characteristics of piano performance. Through in-depth analysis of the principle of the hidden Markov model, it is applied to the multimedia recognition process of piano playing music. In the process of obtaining the template, the fundamental frequency of the piano playing music differs greatly, and the piano playing music appears during the performance process. For the problem of low recognition rate, this paper proposes a multimedia recognition method for piano music. Finally, the analysis of experimental results shows that the method proposed in this paper has a 16% higher recognition rate than the traditional method, and it has a certain value in the multimedia recognition of piano music.

Music Performance

Music performance involves precise motor control that is coordinated with higher order planning to convey complex structural information. In addition, music performance usually involves motor tasks that are not learned spontaneously (as in the use of the vocal apparatus), the reproduction of preestablished sequences (notated or from memory), and synchronized joint performance with one or more other musicians. Music performance also relies on a rich repertoire of musical knowledge that can be used for purposes of expressive variation and improvisation. As such, the study of music performance provides a way to explore learning, motor control, memory, and interpersonal coordination in the context of a real-world behavior. Music performance skills vary considerably in the population and reflect interactions between genetic predispositions and the effect of intensive practice. At the same time, research suggests that most individuals have the capacity to perform music through singing or learning an instrument, and in this sense music performance taps into a universal human propensity for communication and coordination with conspecifics.

Traditional Sports and Games as an Element of Intangible Cultural Heritage

Traditional sports and games have been recognized in modern times as an important segment of cultural heritage and local identity. They are an expression of creativity in the field of sports and recreation of the inhabitants in the regions where they originated. The role and importance of traditional sports and games have been especially emphasized in the last 30 years through various announcements, declarations, executive plans, and since 2010 they have been inscribed on the UNESCO list of intangible cultural heritage. They are seen as special performance skills that are preserved, as an example of good practice, a list of knowledge, a list of living guardians of heritage and a list of festivals and customs. Also, they found their place on the national lists of the former republics of SFRY. On the territory of Serbia, traditional sports and games are still not on the national list of intangible cultural heritage, although practice shows that some need to be preserved and revitalized. The paper analyses process of recognizing traditional sports and games in the world and in the former Yugoslavia as an intangible cultural heritage. Also, using survey research, it will be investigated to what extent the awareness and present knowledge on this topic is developed among visitors to various competitions in traditional sports and games in Serbia, and what are the attitudes of respondents regarding their preservation and authenticity.

INTERPRETATION OF CHORAL WORK AS A CREATIVE COMPONENT IN THE SYSTEM OF FACTORS OF PERFORMANCE SKILLS OF THE FUTURE TEACHER - MUSICIAN

The article considers the issues of training a future music teacher, substantiates the importance of musical performance in his professional development. The views of scientists on the interpretation of the concepts of "performance", "performing skills" are analyzed. The components that determine the performance skills are highlighted. The meaning of the concepts "creation" and "creativity" is specified, their differences are defined. The phenomenon of interpretation as a type of creative activity is analyzed. Different approaches of music teachers and scholars to the interpretation of the term "interpretive skills", which are manifested in analytical work with musical text, technical and performing skills, artistic taste, the performer's own attitude to the figurative content of a musical work and reflect the level of his creative abilities. The key provisions of the theory and practice of interpretive activity of the future music teacher are indicated. The stages of creation of interpretation of a choral work are singled out and the range of tasks of each stage is defined. Analysis of a musical work is considered as one of the components of interpretation. The focus is on the formation of interpretation skills during individual lessons in the class of choral conducting. Methods and forms of work are proposed to activate the creative thinking of students to expand the musical horizons. It was found that the state of creative search deepens the performer's knowledge of the musical image, forms the skills and abilities of full-fledged work on interpretation. Emphasis is placed on the peculiarities of reading the musical text, on the development of skills and abilities in the independent analysis of a musical work. The role of personal qualities of the student and own experience in creative process is defined. The peculiarities of the formation of interpretive abilities are characterized, in particular, the sketch study of works as one of the forms of analytical-synthetic activity of the student is singled out. It was found that musical interpretation is a key aspect of the performing activity of a future musician teacher.

On the Expressive Techniques and Artistic Conception of Chinese Flute Playing Works

This paper discusses the performance of Chinese styled works from the perspective of flute playing and the related theories of music aesthetics. As for the technique of music expression, the paper thinks that it is necessary to pay attention to the shaping of music image and the expression of music emotion to realize the unity of music expression and performance skills. In terms of the presentation of meaning and rhyme, it is necessary to highlight artistic conception in the blend of scenes, and reflect the charm through the use of embellish cavity skills and the performance of spiritual temperament.

Strategies to Effectively Dock Professional Music Performance Skills Teaching and Stage Practice

Music performance major requires students to have rich experience in professional stage practice. Therefore, in the process of promoting the teaching of music performance, the effective connection between the teaching of professional music performance skills and professional stage experience practice needs to be emphasized. With professional experience in teaching practice, this article analyzes the course teaching and stage practice of music performance, suggesting several problems in the current teaching methods, and from different angles, this article suggests countermeasures to effectively dock professional skills teaching with stage practice in hope to provide practical reference for relevant professionals so as to better cultivate and improve students’ comprehensive application ability in music performance.

Learning and Remembering Musical Works

Learning pre-existing pieces of music is a very common learning goal, both among vernacular musicians, who learn from recordings, and among those who are formally educated and work from published sheet music provided by a teacher. Whether learning a piece by ear or from notation, the processes of memory involved are very similar. Because the learning of musical works is often a precursor to additional kinds of music making and performance skills, it is important for musicians to understand how human memory works. This chapter explains the processes involved in learning and remembering pieces of music. It describes the various stages and components of memory from the information processing perspective that is common in cognitive psychology. More specifically, the chapter explains how ear musicianship is foundational to other performance skills, including those that use notation. It also shows that the ability to learn and remember musical works can be improved through experience and deliberate practice.

An Examination of the Impact of a Training Programme Based on Sport Psychology for a Cohort of Contemporary Singing Students

<p>Sport psychology is well recognised and accepted as an important aspect of sports training, especially for elite athletes. Sport psychology focuses on teaching skills and methods such as goal setting and mental preparation for athletes so that they can develop their psychological abilities to the same high level as their physical abilities. Few researchers have linked sports and singing training, but it appears that many of the techniques used in sport psychology could be of value in developing singers’ practice and performance skills. This study examined the overall impact of introducing sport psychology based training into the curriculum of a cohort of tertiary level contemporary singing students, using a qualitative case study approach. Five categories from sport psychology methods were identified for the purpose of this research: deliberate practice, self-efficacy, motivation, goal setting and peak performance were introduced into the teaching of the singing programme. Analysis of the impact revealed that sport psychology methods were not easily transferable into this vocal curriculum. The outcomes showed that the participants’ level of development in terms of learning skills was at a lower level than the demands of sport psychology</p>