Differences between Tempos of Step Error and Postural Sway in the Stipulated Tempo Step Test for Children and Their Relationships

Recently, to evaluate dynamic balance ability, a stipulated tempo step test has been developed, and a step error between tempo and contact time of feet has been used as an evaluation variable. The step error, postural sway, and their relationships may differ between the slow tempo (40 bpm) and fast tempo (120 bpm). This study aimed to examine the aforementioned problem with 62 participant children (30 boys and 32 girls). The step error and postural sway variables (X-axis path length, Y-axis path length, total path length, peripheral area, and rectangular area) during stepping while matching both tempos were measured. Means of one minute and three intervals (0–20 sec, 20–40 sec, and 40–60 sec) for each variable were calculated in both tempos. The results of the paired t-test showed that means of all variables were larger in the 40 bpm tempo than in the 120 bpm tempo. In the multiple comparison tests after the results of the two-way repeated measures ANOVA, the means of three intervals in all variables were larger in the 40 bpm tempo than in the 120 bpm tempo; the means of the sway variables, excluding that of the X-axis path length, in the 40 bpm tempo were larger in the 0–20 sec interval than in the 20–40 sec interval or the 40–60 sec interval. Correlations between step errors and those between the step error and sway variables of both tempos were insignificant or under moderation. The correlations between the step error and sway variables in both tempos were insignificant or significant but low, and those among sway variables were high, except between the X- and Y-axis path lengths. The relationship between both axis path lengths differed according to the tempo. In conclusion, in the case of the stipulated tempo step test targeting children, the slow tempo has a greater step error and postural sway than the fast tempo, and the sway in the early step stage is greater in the slow tempo. The relationships between step errors and between the step error and sway variables of both tempos are low; hence, the ability related to the test may differ in both tempos. The relationships among sway variables in both tempos are high, except between the X- and Y-axis path lengths.

Effect of Tempo on Temporal Expectation Driven by Rhythms in Dual-Task Performance

Temporal expectation is the ability to focus attention at a particular moment in time to optimize performance, which has been shown to be driven by regular rhythms. However, whether the rhythm-based temporal expectations rely upon automatic processing or require the involvement of controlled processing has not been clearly established. Furthermore, whether the mechanism is affected by tempo remains unknown. To investigate this research question, the present study used a dual-task procedure. In a single task, the participants were instructed to respond to a visual target preceded by a regular or an irregular visual rhythm under a fast (500 ms) or slow (3,500 ms) tempo. The dual-task simultaneously combined a working memory (WM) task. The results showed temporal expectation effects in which the participants responded faster to the regular than to the irregular conditions in a single task. Moreover, this effect persisted under dual-task interference in the fast tempo condition but was impaired in the slow tempo condition. These results revealed that rhythmic temporal expectation induced by fast tempo was dependent on automatic processing. However, compared with the faster tempo, temporal expectation driven by a slower tempo might involve more controlled processing.

Impact of Movement Tempo Distribution on Bar Velocity During a Multi-Set Bench Press Exercise

The goal of the present study was to evaluate the effect of contrast tempo movement on bar velocity changes during a multi-set bench press exercise. In randomized and counter-balanced order, participants performed three sets of the bench press exercise at 60%1RM under two testing conditions: E-E where all repetitions were performed with explosive (X/0/X/0) movement tempo; and S-E where the first two repetitions were performed with a slow tempo (5/0/X/0) while the third repetition was performed with explosive movement tempo (slow, slow, explosive). Twelve healthy men volunteered for the study (age = 30 ± 5 years; body mass = 88 ± 10 kg; bench press 1RM = 145 ± 24 kg). The three-way repeated measures ANOVA (tempo × set × repetition) showed statistically significant multi-interaction effect for peak bar velocity (p < 0.01; η2 = 0.23), yet not for mean bar velocity (p = 0.09; η2 = 0.14). The post hoc results for multi-interaction revealed that peak bar velocity in the 3rd repetition was significantly higher for E-E compared to SE only during set 1 (p < 0.001). Therefore, the distribution of movement tempo had a significant impact on peak bar velocity, but not on mean bar velocity. The decrease in peak bar velocity in the 3rd repetition during the S-E condition was observed only in the first set, while such a tendency was not observed in the second and third set.

SYSTEMATICAL REVIEW: PENGARUH MENDENGARKAN MUROTTAL AL QURAN TERHADAP PENURUNAN KECEMASAN PADA IBU HAMIL

Kecemasan pada masa kehamilan apabila sampai tahap kronis berdampak buruk bagi ibu ataupun bagi bayi. Pada ibu dapat menyebabkan arteri uterus berkontraksi, menurunkan blood flow plasenta dan menurunkan suplai oksigen kepada janin sehingga hal tersebut berdampak pada kondisi bayi seperti detak jantung bayi abnormal, meningkatkan kemungkinan bayi lahir prematur, bayi lahir dengan skor psikomotor yang rendah, dan meningkat kelainan pada perilaku bayi. Salah satu terapi non farmakologis adalah terapi mendengarkan murottal Al Quran. Murottal Al Quran memiliki harmoni nada yang memiliki jenis frekuensi dan panjang gelombang tertentu. Saat rangkaian gelombang tersebut sampai pada pendengaran manusia akan memengaruhi sel-sel otak untuk memulihkan keseimbangan dan koordinasi sehingga dapat menurunkan hormon stres dan mengaktifkan endorfin alami (serotonin). Berkaitan dengan hal tersebut, tujuan penelitian ini adalah mengetahui pengaruh mendengarkan murottal Alquran pada tingkat kecemasan ibu hamil. Penelitian ini merupakan penelitian yang diambil dengan metode systematical review articles (random clinical trial dan quasi experimental) pada kelima jurnal yang telah di-review. Penelitian ini akan dinilai secara PICOS untuk ditentukan sebagai kriteria eligible pada PRISMA dan disajikan dalam bentuk tabel yang sesuai yaitu Populasi (ibu hamil yang mengalami kecemasan yang diukur menggunakan berbagai macam kuesioner kecemasan), Intervention (mendengarkan murottal Al Quran), Faktor Prognostik, atau Exposure, Comparition (yang tidak diberikan paparan murottal Al Quran atau dibanding dengan jenis musik lainnya), Outcome (penurunan kecemasan ibu hamil). Hasil penelitian menunjukkan dengan mendengarkan murrotal Al Quran dalam tempo yang lambat dan suasana yang tenang dapat menurunkan tingkat kecemasan pada ibu hamil. Harmoni nada dari murottal Al Quran merupakan spiritual music, memiliki panjang audio dengan jenis frekuensi dan panjang gelombang tertentu, menghasilkan suatu getaran yang dapat memulihkan keseimbangan dan koordinasi, mengaktifkan aktivitas gelombang otak sehingga dapat mengontrol pikiran dan jiwa untuk menurunkan kecemasan. Systematical Review: The Effect of Listening to the Murottal Al-Quran on Reducing Anxiety in Pregnant WomenAnxiety during pregnancy when it reaches a chronic stage can develop into depression and stress. This is very bad for the mother and the fetus. For the mother, it can causes the contraction of placental artery and result in limiting oxygenating, reduce placental blood flow and decrease oxygen supply to the fetus. So that it has an impact on the fetus's condition. It can cause an abnormal fetal heart rate, increase the likelihood of a baby being born prematurely, a baby born with a low psychomotor score and increased abnormalities in infant behavior. One of the non-pharmacological therapies is listening to the Murottal Al Quran therapy. Murottal Al Quran has harmonic tone which has a certain type of frequency and wavelength. When the wave sequence reaches human hearing, it affects brain cells to restore balance and coordination so as to reduce stress hormones and activate natural endorphins (serotonin). The aim of this study is to determine the effect of listening to the Quranic Murottal on the anxiety level of pregnant women. This research is a study that was taken using the original research articles method (RCT and Quasi Experimental) with the research subject pregnant women who have anxiety. This research will be assessed by PICOS to be determined as an Elegibelity criterion in PRISMA and presented in an appropriate table form. The Criterion are Population (pregnant women who experience anxiety), Intervention (listening to murottal Al Quran), Prognostic Factors, or Exposure, Comparition (those who are not given exposure murottal Al Quran or compared to other types of music), Outcome (decreased anxiety of pregnant women). The results showed that listening to the murrotal Al Quran in a slow tempo, and a calm atmosphere can significantly reduce anxiety levels in pregnant women. The harmony of the tone of the murottal Al Quran is spiritual music, has an audio length with a certain type of frequency and wavelength, produces a vibration that can restore balance and coordination, activates brain wave activity so that it can control the mind and spirit to reduce anxiety.

Music Tempo and Perception of Time: Musically Trained vs Nontrained Individuals

In this experiment we explored the effect of music tempo on the perception of time. Musically trained and nontrained participants carried out a reproduction task with music clips of various durations and tempos. Results revealed that the reproduced durations were longer for fast-tempo music clips than for slow-tempo music clips of equal duration. In addition, short clips were more accurately reproduced compared to longer stimuli. Notably, the error in reproducing the duration of a stimulus was overall lower for musically trained than nontrained participants, but more so for short than long clips. Finally, the accuracy in estimating the duration of the music clips correlated positively with years of musical training, further suggesting that musical training is a critical variable for time estimation.

Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang

Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.

The Jaipongan Drumming Strokes in Lagu Gedé in Sundanese Gamelan

This paper aims to describe the Jaipongan drumming strokes in Lagu Gedé. Lagu Gedé is a type of song in Sundanese Karawitan that has a large embat (rhythm). This song includes a dish of drums vocals accompanied by gamelan pelog-salendro with characteristics that have tone, barrel, surupan, embat, gending, slow tempo, embat opat wilet, and bound by the standard rules. Observations were made by appreciating Jaipongan’s performances in Bandung and Karawang. Besides, the author conducts interviews with several primary informants who are directly involved in the arrangement of Jaipongan. Gedé’s point here is to look at it with a smooth, soft, slow serving. The Kiliningan genre has a specific punch motif name for Gede’s song. The name of this variation is called tepak melem. Melem has a delicious or gentle meaning. Tepak melem to accompany Sekar Gending songs in Kiliningan genre. The phenomenon that happens that Lagu Gede is served in Kiliningan dish and used to attend Jaipongan dance. When Jaipongan’s work uses Gedé’s song, it generates innovations. Gedé’s song is no longer presented with a glued drum but with a tepak diteunggeul. Diteunggeul contains the meaning of being hit hard, powerful, dynamic, and fast. This research concluded that jaipongan drumming strokes in Lagu Gedé is realized that drummers and dancers must explore many spaces because it has the freedom to work. After all, they present it in an embat opat wilet (big rhythm). This affects the widening of the number of beats, the position of kenongan, pancer, and gongan. Artists have the freedom to do creativity in working on Gede’s songs. The space of artists in their work can ultimately foster new creativity that impacts the growth and development of Sundanese karawitan.

Rhythmically Enhanced Music as Analgesic for Chronic Pain: A Pilot, Non-Controlled Observational Study

Chronic pain changes brain connectivity, brainwaves, and volume, often resulting in disability, anxiety, and depression. Opioid pain relievers impair function, with risk of addiction. Music analgesia research suggests that music for long-term analgesia includes slow tempo, pleasantness, and self-choice. Hypothesis: individuals listening to self-chosen music with embedded beats ½ h twice a day, could show brainwave entrainment (BWE) at healthy frequencies of healthy descending pain modulatory system. BWE may change brain activity, restoring organization in DPMS altered by chronic pain. Volunteers with chronic pain >1 year participated in a study of 4 weeks of listening to one half hour of music twice a day, and four weeks of non-listening, reporting pain and analgesic use bi-weekly using visual analog scale (VAS) and 0–10 numerical pain scores (NPS), medication types, and dosage. Volunteers selected from 27 half-hour pieces of music in several genres in a mobile app. Isochronic beats were embedded in the music with tempo, key, and isochronic theta frequencies proportional, to enhance the brain’s perception of rhythmic patterns and harmonics. Mean NPS showed a 26% reduction (p = 0.018). Significantly, mean medication dosage declined by over 60% (p = 0.008). Double-blind studies, larger populations are needed in future.

THE EFFECT OF NEUROLOGICAL MUSIC THERAPY ON ORAL INTAKE IN PRETERM CHILDREN

Preterm birth is associated with increased risk of neurological, cognitive, motor or sensory impairment and behavioral problems. Music therapy appears to promote neurobehavioral outcomes and can improve brain structure functions.The aim of the study presented in the article is to analyse a potential of a special music therapy technique to shorten time to achieve full oral intake in children born extremely preterm, to (28 weeks) with bronchopulmonary dysplasia (BPD). We used the mother's singing during breastfeeding, with the slow tempo (60 beats per minute) and a recurring pattern of stressed (strong) and unstressed (weak) syllables (each second was highlighted) to help preterm babies to organize coordination of sucking swallowing and breathing. This therapeutic approach is based on the theory and methods of neurological music therapy called Patterned Sensory Enhancement (PSE). A total of 40 children were included in this Oxford pretest - posttest study design. The experimental group used the PSE intervention technique (n = 20) was compared with the control group of children (n = 20) without the specific therapy.

Specifics of the structure of the cycle and the musical form in the Concerto for Persian Ney and Orchestra «Toward That Endless Plain» by Reza Vali

The article considers the peculiarities of the structure of the cycle and the form of the Concerto for the Persian Ney with Orchestra «Toward That Endless Plain» by the modern Iranian-American composer of the XX–XXI centuries Reza Vali (b. 1952). It was found that the unusual structure and musical form of this Concert are manifested in the combination between traditional Western European principles of cycle composition with the principles of musical form each part that is characteristic of classical Iranian music. The cycle of the Concerto is three-part with additional sections. This model of a solo concerto has developed in the European musical tradition. However, due to the author’s program the structure of the cycle, in general, is extremely specific (Tavakkol, 2019: 271). It was found that the specifics of the structure of the cycle is the introduction of two additional sections, marked as “Prelude” (set out before Part I) and “Interlude” (placed between Parts II and III). It is established that each of the three parts and additional sections are set out in a peculiar form inherent in Iranian classical music: Parts I and III are composed in mosaic form, Part II is written in the form of nobats; “Prelude” and “Interlude” are created in Ternary form. It is revealed that the arched principle (the principle of symmetry) in the construction of the cycle is found between “Prelude” and “Interlude”, as well as between I and III parts. The alternation of tempo characteristics of the parts is revealed in the general composition of the cycle. The I and III parts have a slow tempo and the II part has a fast. (this kind of contrast between parts is not typical for the genre of a solo concert of Western European music). Two principles in the organization of the composition cycle and the form of individual parts are highlighted. It is proved that R. Vali’s choice of a specific composition of the cycle, the form of parts and additional sections, as well as the use of tempo of each part, is due to the concert program, which is a kind of interpretation of the meaning contained in the poem by S. Sepehri. The music of the work is closely connected with the program. All parts of the Concerto have titles in Persian and English, which are based on the postulates of mystical philosophy and Sufism. Prelude and Interlude, which are associated with images of the material world – aggression and war. In comparison with the saturated, solid sound of the Prelude and Interlude, the delicate sparsity of the three main parts of the cycle are meant to reveal the spiritual life of humanity (Tavakkol, 2020: 113–117).