Chronobiological Factors Related to Sleep and Neuropsychiatric Symptoms in Persons Living With Dementia

Circadian rhythm disturbances (CRD) are commonly seen in people living with dementia. A clear understanding of the role of CRD in dementia etiology will be beneficial by exploring the exogenous factors (externally influence the duration of sleep hours, such as light/dark cycles) and endogenous factors (internal biological rhythm, such as diurnal cortisol pattern). This symposium will apply a chronobiological approach to study exogenous and endogenous factors that influence circadian rhythm and their effects on sleep and neuropsychiatric symptoms in persons living with dementia (PLWD). Four paper presentations will use secondary data analysis of data from the Healthy Patterns Clinical Trial (NCT03682185), a randomized controlled trial of a home-based activity intervention designed to improve circadian rhythm disorders in PLWD. We will first describe the circadian rhythm pattern reflected by endogenous factors (salivary cortisol), then examine salivary cortisol (endogenous) and white light intensity (exogenous) and on subjective sleep and neuropsychiatric symptoms (including depression) in PLWD, respectively. In session 1, we will present cortisol diurnal rhythm pattern in PLWD using a cross-sectional design. In session 2, we will discuss the relationship between salivary cortisol indicators and depressive symptoms. In session 3, we focus on the association between diurnal cortisol slope and neuropsychiatric symptoms using the baseline data. In session 4, we describe the association between evening white light exposure and subjective sleep. The discussant will describe how these findings build on our understanding the nature of circadian rhythm disturbance in dementia and inform future research and treatment approaches.

Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun

This research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed. There are several rhythm patterns in keroncong music but the ones that are often played are 'engkel' and 'double' rhythm patterns. The aim of this research is to create a progressive keroncong rhythm pattern so that keroncong music is more interesting and it is hoped that it will have more fans. The creation of this progressive rhythm pattern is used in the compositions of the author's Kidung Panyuwun. This study used descriptive and experimental analytical methods with the following steps. First, examine the audio recording, transcribe, analyze, and conclude; second analyzes rhythm patterns on multiple references; the third records (audio-video) a 'standard' rhythm pattern; fourth, exploration of progressive rhythm patterns; the fifth recorded a progressive keroncong rhythm pattern. This research resulted in the creation of several rhythmic patterns and several formulations, namely: 1) the creation of a vertical progressive keroncong rhythm pattern (one-instrument solo, two-instrument solo, three-instrument solo) and 2) the creation of a horizontal progressive keroncong rhythm pattern (two-bar pattern and four-dimensional pattern). time frame). The important thing that has the meaning is the temuah cirikhas or 'ruh' keroncong music as the 'jati diri'.Keywords: rhythm; pattern; keroncong; progressive AbstrakPenelitian ini menciptakan pola irama keroncong progresif atau inovatif. Musik keroncong merupakan salah satu genre musik yang ada di Indonesia merupakan musik hibrid dari karawitan Jawa (Jawa Tengah dan Yogyakarta), musik ‘pop’ dan orkestra diatonis Barat. Musik keroncong terdiri dari vokal, ukulele atau ‘cuk’ (berasal dari Hawai’i), ‘cak’ (Portugal), flute, biola, cello, dan contrabass (merupakan instrumen-instrumen yang berasal dari instrumen orkestra diatonis Barat). Sejak tahun 1950-an sampai hari ini, pola irama keroncong sedikit sekali perkembangannya sehingga perlu dikembangkan. Ada beberapa pola irama dalam musik keroncong tetapi yang sering dimainkan hanya pola irama ‘engkel’ dan ‘dobel’. Tujuan penelitian ini untuk menciptakan pola irama keroncong progresif sehingga musik keroncong lebih menarik dan diharapkan lebih banyak penggemarnya. Penciptaan pola irama progresif ini digunakan pada komposisi Kidung Panyuwun ciptaan penulis. Penelitian ini menggunakan metode analitik deskriptif dan eksperimental dengan lankah-langkah sebagai berikut. Pertama mencermati rekaman audio, mentranskrip, menganalisis, dan menyimpulkan; kedua menganalisis pola irama pada beberapa referensi; ketiga merekam (audio-video) pola irama ‘pakem’; keempat eksplorasi pola irama progresif; kelima merekam pola irama keroncong progresif. Penelitian ini menghasilkan beberapa ciptaan pola irama dan beberapa formulasi, yaitu: 1) penciptaan pola irama keroncong progresif vertikal (solo satu instrumen, solo dua instrumen, solo tiga instrumen) dan 2) penciptaan pola irama keroncong progresif horizontal (pola dua birama dan pola empat birama). Hal penting yang bermakna adalah temuah cirikhas atau’ruh’ musik keroncong sebagai ‘jatidiri’nya.Kata kunci: pola irama; keroncong; progresif

Penerapan Model Talking Stick untuk Meningkatkan Hasil Belajar Materi Pola Irama

Penelitian ini bertujuan untuk mengetahui penerapan model Talking Stick dan peningkatan hasil belajar pada materi pola irama kelas III SDN I Baledono. Jenis penelitian ini adalah Penelitian Tindakan Kelas yang dilaksanakan pada semester I tahun ajaran 2020/ 2021 dengan menggunakan dua siklus dan setiap siklus terdiri dari dua pertemuan. Subjek penelitian ini adalah siswa kelas III yang berjumlah 15 siswa. Teknik pengumpulan data diperoleh melalui wawancara, observasi, tes dan dokumentasi. Hasil penelitian ini menunjukkan bahwa penerapan model Talking Stick dapat meingkatkan hasil belajar pada materi pola irama. Hal tersebut dibuktikan dengan data yang diperoleh melalui tes. Perolehan nilai pada tahap pra siklus yaitu 73 naik menjadi 83,33 pada siklus I meningkat menjadi 86,67 pada siklus II. Persentase Ketuntasan pada pra siklus yaitu 40% menjadi 73,33% pada siklus I meningkat menjadi 86,67% pada siklus II. Berdasarkan data tersebut bahwa ketercapaian hasil belajar yang diperoleh dengan persentase 86,67% melebihi indikator keberhasilan yang telah ditentukan peneliti yaitu 80%. This study aims to determine the application of the Talking Stick model and the improvement of learning outcomes in the material of the rhythm pattern of class III Elementary School I Baledono. This type of research is a classroom action research conducted in the first semester of the 2020/ 2021 academic year using two cycles and each cycle consisting of two meetings. The subjects of this study were 15 grade students. Data collection techniques obtained through interviews, observation, tests and documentation. The results this study indicate that the application of the Talking Stick model can improve learning outcomes on rhythm pattern material. This is evidenced by the data obtained through tests. The acquisition value in the pre-cycle stage, as 73, increased to 83,33 in the first cycle and increased to 86,67 in the second cycle. The percentage completeness in the pre-cycle, as 40% to 73,33% in the first cycle, increased to 86,67% in the second cycle. Based on these data, the achievement of learning outcomes obtained with a percentage of 86,67% exceeds the indicator of success that has been determined by the researcher, as 80%.

Vocal learning and flexible rhythm pattern perception are linked: Evidence from songbirds

Rhythm perception is fundamental to speech and music. Humans readily recognize a rhythmic pattern, such as that of a familiar song, independently of the tempo at which it occurs. This shows that our perception of auditory rhythms is flexible, relying on global relational patterns more than on the absolute durations of specific time intervals. Given that auditory rhythm perception in humans engages a complex auditory–motor cortical network even in the absence of movement and that the evolution of vocal learning is accompanied by strengthening of forebrain auditory–motor pathways, we hypothesize that vocal learning species share our perceptual facility for relational rhythm processing. We test this by asking whether the best-studied animal model for vocal learning, the zebra finch, can recognize a fundamental rhythmic pattern—equal timing between event onsets (isochrony)—based on temporal relations between intervals rather than on absolute durations. Prior work suggests that vocal nonlearners (pigeons and rats) are quite limited in this regard and are biased to attend to absolute durations when listening to rhythmic sequences. In contrast, using naturalistic sounds at multiple stimulus rates, we show that male zebra finches robustly recognize isochrony independent of absolute time intervals, even at rates distant from those used in training. Our findings highlight the importance of comparative studies of rhythmic processing and suggest that vocal learning species are promising animal models for key aspects of human rhythm perception. Such models are needed to understand the neural mechanisms behind the positive effect of rhythm on certain speech and movement disorders.

Musical Preferences Correlate Architectural Tastes: An Initial Investigation of the Correlations Between the Preferred Attributes

Despite a large number of discussions on the analogical and technical interrelations between architecture and music, very few studies have looked at the interrelations between the appreciations of the attributes among them. This study investigates the correlations between the preferences of architectural and musical attributes to reflect how they generally interrelate with each other. The considered visual qualities related to architectural forms are symmetricity, complexity, rhythm, pattern, and stress; and the considered musical attributes are related to the main four categories of Genres, perceived psychological attributes, five factors of music, and 3-Factors (arousal, valence, and depth). To discover the correlations, at first, a survey was designed to gather individual appreciations of the attributes. The responses were then filtered to remove the invalid ones before Pearson’s correlation coefficient analysis unveils the relationships between every single considered attribute. In total, 5,184 correlations have been thoroughly explored, and a number of strong correlations were discovered and discussed in a classified manner; for instance, rap-followers showed higher satisfaction to asymmetrical building façade. This study also confirms some musical attributes are stronger reflectors of architectural taste, like rap, jazz, sophisticated, poetic music. Lastly, this paper confirms the significant effects of demographic attributes on the discovered correlations.

BENTUK PENYAJIAN KESENIAN KASIDAH REBANA DALAM ACARA PESTA PERKAWINAN DI JORONG SAROHA TAMIANG KECAMATAN LEMBAH MELINTANG KABUPATEN PASAMAN BARAT

This research aims to describe the form of a Kasidah Rebana presentation in a wedding party in Jorong SarohaTamiang, Lembah Melintang District, West Pasaman Regency. This research is a qualitative research which focuseson getting issues related to the topic. The data were collected through literature study, observation, interviews, and documentation. The development of sophisticated era and the cultures and arts developed in community give positive and negative effects. However, the art of Kasidah Rebana in the Jorong Saroha Tamiang still exists and is the choice of the community to be presented in a wedding party.The presentation form of Kasidah Rebana in the wedding party now has undergone many changes towards a more modern direction in accordance with the times. This can be seen from the sound system and formations, which neatly arranged by the group on stage, provided by the committee. Based on the composition, the rhythm pattern played is in accordance to the rhythmic musical instrument as well as the keyboard melody combined with chord harmonization and sound distribution. The vocalist sings the song according to the structure of the song's form and the expression according to the song's verse. These are combined to produce a beautiful tambourine blend.Based on the results of the study, to be more creative is an advice the author gives to the group. Song references, music compositions and costumes can be differently arranged, for instance. Thus, it is more interesting and more demanded by the community. The form of a Kasidah Rebana presentation is a mixed ensemble played by 12 players consisting of two vocalists, two tambourine players, two rhythm players, two bass players, three ketipung players, and one keyboard player.Keywords: form of presentation, kasidah rebana, wedding party

PENEKANAN PEMAHAMAN PULSA PADA MATERI AJAR DRUMS 1 YAMAHA MUSIC FOUNDATION

This study aims to find out how the emphasizing is on pulses understanding in the Drums 1 Yamaha Music Foundation teaching material. The type of this research is a qualitative paradigm with a content analysis approach. The object of this research was the Drums 1 Yamaha Music Foundation book, and the research subject was pulse suppression contained in the drum practice material. The research instrument was the author itself and was assisted by supporting instruments such as stationery, laptop, and mobile phone. The data were collected through observation, interview, and documentation. The data types were primary and secondary data. The data were analyzed through practicing, analyzing, eliciting findings, describing findings, and making conclusion. The results show that the Drums 1 Yamaha Music Foundation book is a teaching material intended for students / drummers at the beginner stage (beginner) in the 10th & 9th grade. Therefore, Yamaha provides systematic learning and focuses on pulses as a reference for learning, so pulses are considered crucial. This study reveals the pulses implicitly stated in the Drums 1 Yamaha Music Foundation book where pulses are implemented in 3 forms of practice patterns which are mutually applied. The quarter pulses applied to stick control is a main foundation to orchestrate the pulses in the from of not subdivision, not variation, rhythm pattern, and the drum fill-in. The difference is on where the focus is located. So the research definitively has proven that there is emphasizing of pulses which are presented in various forms of practice patterns.Keywords: Emphasis, understanding pulse, Learning Drums 1 Yamaha Music Foundation

Fisiología Cuantitativa

En este documento presento una reflexión personal sobre el libro Multiscale Modelling of Rhythm, Pattern and Information Generation: from Genome to Physiome, editado por Chen y Zaikin y publicado en la revista Frontiers in Physiology en el año 2020, con la pretensión de indagar sobre las implicaciones del paradigma de la fisiología cuantitativa y promover procesos de diálogo que faciliten a la fisiología, desde una postura disciplinar, a asumir un rol en la dinámica actual de las ciencias de punta y en la era del Big Data. Para esto, me permito partir de un breve contexto general que sirva de marco de referencia para dicho proceso de análisis.