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<meta name="description" content="Search results for: Solo"> <meta name="keywords" content="Solo"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" type="button" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="Solo"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 40</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Solo</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">40</span> The Names of the Traditional Motif of Batik Solo</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Annisa%20D.%20Febryandini">Annisa D. Febryandini</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Batik is a unique cultural heritage that strongly linked with its community. As a product of current culture in Solo, Batik Solo not only has a specific design and color to represent the cultural identity, cultural values, and spirituality of the community, but also has some specific names given by its community which are not arbitrary. This qualitative research paper uses the primary data by interview method as well as the secondary data to support it. Based on the data, this paper concludes that the names consist of a word or words taken from a current name of things in Javanese language. They indicate the cultural meaning such as a specific event, a hope, and the social status of the people who use the motif. Different from the other research, this paper takes a look at the names of traditional motif of Batik Solo which analyzed linguistically to reveal the cultural meaning. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20motif" title="traditional motif">traditional motif</a>, <a href="https://publications.waset.org/abstracts/search?q=Batik" title=" Batik"> Batik</a>, <a href="https://publications.waset.org/abstracts/search?q=solo" title=" solo"> solo</a>, <a href="https://publications.waset.org/abstracts/search?q=anthropological%20linguistics" title=" anthropological linguistics"> anthropological linguistics</a> </p> <a href="https://publications.waset.org/abstracts/72816/the-names-of-the-traditional-motif-of-batik-solo" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72816.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">277</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">39</span> Differences in the Level of Self-Efficacy and Intensity of Narcissism among Band and Solo Musicians</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Weronika%20Moli%C5%84ska">Weronika Molińska</a>, <a href="https://publications.waset.org/abstracts/search?q=Joanna%20Rajchert"> Joanna Rajchert</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A musical career is not only about the quality of performing or playing music. Musicians can choose from a variety of specializations and career paths. The described study focused on psychological traits which relate to a solo career (performing individually or as a leader) or performing as part of a chamber ensemble, ensemble, choir, or orchestra. The hypothesis predicted that narcissism and self-efficacy would be higher in musicians performing solo. The study involved 124 professional musicians: instrumentalists and soloists, singers (n = 59), and ensemble instrumentalists and singers (n = 65). The results confirmed the hypothesis and showed that soloists were higher on self-efficacy and narcissism. In particular, soloists were higher on leader characteristics, demand for admiration, and vanity than musicians performing in ensembles. The result of these studies is a good introduction to a broader project answering the questions of what can increase or decrease the musician's sense of self-efficacy and whether the decreased self-efficacy could induce musicians to give up their solo careers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=self-efficacy" title="self-efficacy">self-efficacy</a>, <a href="https://publications.waset.org/abstracts/search?q=musicians" title=" musicians"> musicians</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20profession" title=" musical profession"> musical profession</a>, <a href="https://publications.waset.org/abstracts/search?q=narcissism" title=" narcissism"> narcissism</a>, <a href="https://publications.waset.org/abstracts/search?q=soloists" title=" soloists"> soloists</a> </p> <a href="https://publications.waset.org/abstracts/146167/differences-in-the-level-of-self-efficacy-and-intensity-of-narcissism-among-band-and-solo-musicians" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146167.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">38</span> Applying Tourist Gaze in Structuring of Global Tourism in Solo City</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eko%20Nursanty">Eko Nursanty</a>, <a href="https://publications.waset.org/abstracts/search?q=Joesron%20Alie%20Syahbana"> Joesron Alie Syahbana</a>, <a href="https://publications.waset.org/abstracts/search?q=Atik%20Suprapti"> Atik Suprapti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tourist gaze is a set of experiences that experienced by a tourist in attempt to familiarize himself with the certain local tourism site’s condition. It is started from looking for information prior arriving at the location, then during the visit and gaining unique experience with the local inhabitant, and then experiencing the ingenuity of the location, finally to bring impression that keeps on attaching despite leaving from it. This research attempted to grab the message of tourist gaze in the process of structuring which is conducted in the global tourism in the cities in Indonesia, particularly Solo as the study case of the research. The method employed is the field observation of qualitative research. The expected result is to relate the tourist gaze theory with the development of ongoing global tourism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tourist%20gaze" title="tourist gaze">tourist gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=city%20branding" title=" city branding"> city branding</a>, <a href="https://publications.waset.org/abstracts/search?q=Solo" title=" Solo"> Solo</a> </p> <a href="https://publications.waset.org/abstracts/26546/applying-tourist-gaze-in-structuring-of-global-tourism-in-solo-city" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26546.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">527</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">37</span> Employers’ Preferences when Employing Solo Self-employed: a Vignette Study in the Netherlands</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lian%20K%C3%B6sters">Lian Kösters</a>, <a href="https://publications.waset.org/abstracts/search?q=Wendy%20Smits"> Wendy Smits</a>, <a href="https://publications.waset.org/abstracts/search?q=Raymond%20Montizaan"> Raymond Montizaan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The number of solo self-employed in the Netherlands has been increasing for years. The relative increase is among the largest in the EU. To explain this increase, most studies have focused on the supply side, workers who offer themselves as solo self-employed. The number of studies that focus on the demand side, the employer who hires the solo self-employed, is still scarce. Studies into employer behaviour conducted until now show that employers mainly choose self-employed workers when they have a temporary need for specialist knowledge, but also during projects or production peaks. These studies do not provide insight into the employers’ considerations for different contract types. In this study, interviews with employers were conducted, and available literature was consulted to provide an overview of the several factors employers use to compare different contract types. That input was used to set up a vignette study. This was carried out at the end of 2021 among almost 1000 business owners, HR managers, and business leaders of Dutch companies. Each respondent was given two sets of five fictitious candidates for two possible positions in their organization. They were asked to rank these candidates. The positions varied with regard to the type of tasks (core tasks or support tasks) and the time it took to train new people for the position. The respondents were asked additional questions about the positions, such as the required level of education, the duration, and the degree of predictability of tasks. The fictitious candidates varied, among other things, in the type of contract on which they would come to work for the organization. The results were analyzed using a rank-ordered logit analysis. This vignette setup makes it possible to see which factors are most important for employers when choosing to hire a solo self-employed person compared to other contracts. The results show that there are no indications that employers would want to hire solo self-employed workers en masse. They prefer regular employee contracts. The probability of being chosen with a solo self-employed contract over someone who comes to work as a temporary employee is 32 percent. This probability is even lower than for on-call and temporary agency workers. For a permanent contract, this probability is 46 percent. The results provide indications that employers consider knowledge and skills more important than the solo self-employed contract and that this can compensate. A solo self-employed candidate with 10 years of work experience has a 63 percent probability of being found attractive by an employer compared to a temporary employee without work experience. This suggests that employers are willing to give someone a less attractive contract for the employer if the worker so wishes. The results also show that the probability that a solo self-employed person is preferred over a candidate with a temporary employee contract is somewhat higher in business economics, administrative and technical professions. No significant results were found for factors where it was expected that solo self-employed workers are preferred more often, such as for unpredictable or temporary work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=employer%20behaviour" title="employer behaviour">employer behaviour</a>, <a href="https://publications.waset.org/abstracts/search?q=rank-ordered%20logit%20analysis" title=" rank-ordered logit analysis"> rank-ordered logit analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=solo%20self-employment" title=" solo self-employment"> solo self-employment</a>, <a href="https://publications.waset.org/abstracts/search?q=temporary%20contract" title=" temporary contract"> temporary contract</a>, <a href="https://publications.waset.org/abstracts/search?q=vignette%20study" title=" vignette study"> vignette study</a> </p> <a href="https://publications.waset.org/abstracts/155728/employers-preferences-when-employing-solo-self-employed-a-vignette-study-in-the-netherlands" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155728.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">73</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">36</span> Some Observations on the Analysis of Four Performances of the Allemande from J.S. Bach's Partita for Solo Flute (BWV 1013) in Terms of Zipf's Law</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Douglas%20W.%20Scott">Douglas W. Scott</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Allemande from J. S. Bach's Partita for solo flute (BWV 1013) presents many unique challenges for any flautist, especially in terms of segmentation analysis required to select breathing places in the first half. Without claiming to identify a 'correct' solution to this problem, this paper analyzes the section in terms of a set of techniques based around a statistical property commonly (if not ubiquitously) found in music, namely Zipf’s law. Specifically, the paper considers violations of this expected profile at various levels of analysis, an approach which has yielded interesting insights in previous studies. The investigation is then grounded by considering four actual solutions to the problem found in recordings made by different flautists, which opens up the possibility of expanding Zipfian analysis to include a consideration of inter-onset-intervals (IOIs). It is found that significant deviations from the expected Zipfian distributions can reveal and highlight stylistic choices made by different performers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inter-onset-interval" title="inter-onset-interval">inter-onset-interval</a>, <a href="https://publications.waset.org/abstracts/search?q=Partita%20for%20solo%20flute" title=" Partita for solo flute"> Partita for solo flute</a>, <a href="https://publications.waset.org/abstracts/search?q=BWV%201013" title=" BWV 1013"> BWV 1013</a>, <a href="https://publications.waset.org/abstracts/search?q=segmentation%20analysis" title=" segmentation analysis"> segmentation analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Zipf%E2%80%99s%20law" title=" Zipf’s law"> Zipf’s law</a> </p> <a href="https://publications.waset.org/abstracts/92755/some-observations-on-the-analysis-of-four-performances-of-the-allemande-from-js-bachs-partita-for-solo-flute-bwv-1013-in-terms-of-zipfs-law" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/92755.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">182</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">35</span> Social Metamorphosis in Italy between the Seventies and Eighties: Sequenza VIII for Solo Violin and Duets for Two Violins of L. Berio</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daria%20Baiocchi">Daria Baiocchi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The goal of this article is to inseparably link the social metamorphosis that took place in Italy between the seventies and eighties, and the genesis of two works: the Sequenza VIII for solo violin and Duets for two violins, by L.Berio. Passing through a presentation of Sequenza and Duets, the italian socio-cultural change has been described in the seventies and eighties. Ipso facto the two works of Berio have been compared: if in the early seventies emerges a large youthful aggregative strength towards innovation, in the eighties the rediscovery of subjectivity leads to the enhancement of everyday life in its most inward sides. Through the analysis of social change of the time and of the different compositional cuts, given by Berio in Sequenze and in Duets, the composer is, in this case, an expression of its time <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20composition" title="music composition">music composition</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20and%20society" title=" music and society"> music and society</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Berio" title=" L. Berio"> L. Berio</a>, <a href="https://publications.waset.org/abstracts/search?q=Sequenza%20VIII%20and%20duets" title=" Sequenza VIII and duets"> Sequenza VIII and duets</a> </p> <a href="https://publications.waset.org/abstracts/55389/social-metamorphosis-in-italy-between-the-seventies-and-eighties-sequenza-viii-for-solo-violin-and-duets-for-two-violins-of-l-berio" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55389.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">34</span> Unlocking Intergenerational Abortion Stories in Gardiennes By Fanny Cabon</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lou%20Gargouri">Lou Gargouri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines how Fanny Cabon's solo performance, Gardiennes (2018) strategically crafts empathetic witnessing through the artist's vocal and physical embodiment of her female ancestors' testimonies, dramatizing the cyclical inheritance of reproductive trauma across generations. Drawing on affect theory and the concept of ethical co-presence, we argue that Cabon's raw voicing of illegal abortions, miscarriages, and abuse through her shape-shifting presence generates an intimate energy loop with the audience. This affective resonance catalyzes recognition of historical injustices, consecrating each singular experience while building collective solidarity. Central to Cabon's political efficacy is her transparent self-revelation through intimate impersonation, which fosters identification with diverse characters as interconnected subjects rather than objectified others. Her solo form transforms the isolation often associated with women's marginalization into radical inclusion, repositioning them from victims to empowered survivors. Comparative analysis with other contemporary works addressing abortion rights illuminates how Gardiennes subverts the traditional medical and clerical gazes that have long governed women's bodies. Ultimately, we contend Gardiennes models the potential of solo performance to harness empathy as a subversive political force. Cabon's theatrical alchemy circulates the effects of injustice through the ethical co-presence of performer and spectator, forging intersubjective connections that reframe marginalized groups traditionally objectified within dominant structures of patriarchal power. In dramatizing how the act of witnessing another's trauma can generate solidarity and galvanize resistance, Cabon's work demonstrates the role of embodied performance in catalyzing social change through the recuperation of women's voices and lived experiences. This paper thus aims to contribute to the emerging field of feminist solo performance criticism by illuminating how Cabon's innovative dramaturgy bridges the personal and the political. Her strategic mobilization of intimacy, identification, and co-presence offers a model for how the affective dynamics of autobiographical performance can be harnessed to confront gendered oppression and imagine more equitable futures. Gardiennes invites us to consider how the circulation of empathy through ethical spectatorship can foster the collective alliances necessary for advancing the unfinished project of women's liberation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender%20and%20sexuality%20studies" title="gender and sexuality studies">gender and sexuality studies</a>, <a href="https://publications.waset.org/abstracts/search?q=solo%20performance" title=" solo performance"> solo performance</a>, <a href="https://publications.waset.org/abstracts/search?q=trauma%20studies" title=" trauma studies"> trauma studies</a>, <a href="https://publications.waset.org/abstracts/search?q=affect%20theory" title=" affect theory"> affect theory</a> </p> <a href="https://publications.waset.org/abstracts/185324/unlocking-intergenerational-abortion-stories-in-gardiennes-by-fanny-cabon" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185324.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">65</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">33</span> Evaluating the Understanding of the University Students (Basic Sciences and Engineering) about the Numerical Representation of the Average Rate of Change</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saeid%20Haghjoo">Saeid Haghjoo</a>, <a href="https://publications.waset.org/abstracts/search?q=Ebrahim%20Reyhani"> Ebrahim Reyhani</a>, <a href="https://publications.waset.org/abstracts/search?q=Fahimeh%20Kolahdouz"> Fahimeh Kolahdouz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study aimed to evaluate the understanding of the students in Tehran universities (Iran) about the numerical representation of the average rate of change based on the Structure of Observed Learning Outcomes (SOLO). In the present descriptive-survey research, the statistical population included undergraduate students (basic sciences and engineering) in the universities of Tehran. The samples were 604 students selected by random multi-stage clustering. The measurement tool was a task whose face and content validity was confirmed by math and mathematics education professors. Using Cronbach's Alpha criterion, the reliability coefficient of the task was obtained 0.95, which verified its reliability. The collected data were analyzed by descriptive statistics and inferential statistics (chi-squared and independent t-tests) under SPSS-24 software. According to the SOLO model in the prestructural, unistructural, and multistructural levels, basic science students had a higher percentage of understanding than that of engineering students, although the outcome was inverse at the relational level. However, there was no significant difference in the average understanding of both groups. The results indicated that students failed to have a proper understanding of the numerical representation of the average rate of change, in addition to missconceptions when using physics formulas in solving the problem. In addition, multiple solutions were derived along with their dominant methods during the qualitative analysis. The current research proposed to focus on the context problems with approximate calculations and numerical representation, using software and connection common relations between math and physics in the teaching process of teachers and professors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=average%20rate%20of%20change" title="average rate of change">average rate of change</a>, <a href="https://publications.waset.org/abstracts/search?q=context%20problems" title=" context problems"> context problems</a>, <a href="https://publications.waset.org/abstracts/search?q=derivative" title=" derivative"> derivative</a>, <a href="https://publications.waset.org/abstracts/search?q=numerical%20representation" title=" numerical representation"> numerical representation</a>, <a href="https://publications.waset.org/abstracts/search?q=SOLO%20taxonomy" title=" SOLO taxonomy"> SOLO taxonomy</a> </p> <a href="https://publications.waset.org/abstracts/117273/evaluating-the-understanding-of-the-university-students-basic-sciences-and-engineering-about-the-numerical-representation-of-the-average-rate-of-change" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/117273.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">32</span> Flood Hazard Impact Based on Simulation Model of Potential Flood Inundation in Lamong River, Gresik Regency</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yunita%20Ratih%20Wijayanti">Yunita Ratih Wijayanti</a>, <a href="https://publications.waset.org/abstracts/search?q=Dwi%20Rahmawati"> Dwi Rahmawati</a>, <a href="https://publications.waset.org/abstracts/search?q=Turniningtyas%20Ayu%20Rahmawati"> Turniningtyas Ayu Rahmawati</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gresik is one of the districts in East Java Province, Indonesia. Gresik Regency has three major rivers, namely Bengawan Solo River, Brantas River, and Lamong River. Lamong River is a tributary of Bengawan Solo River. Flood disasters that occur in Gresik Regency are often caused by the overflow of the Lamong River. The losses caused by the flood were very large and certainly detrimental to the affected people. Therefore, to be able to minimize the impact caused by the flood, it is necessary to take preventive action. However, before taking preventive action, it is necessary to have information regarding potential inundation areas and water levels at various points. For this reason, a flood simulation model is needed. In this study, the simulation was carried out using the Geographic Information System (GIS) method with the help of Global Mapper software. The approach used in this simulation is to use a topographical approach with Digital Elevation Models (DEMs) data. DEMs data have been widely used for various researches to analyze hydrology. The results obtained from this flood simulation are the distribution of flood inundation and water level. The location of the inundation serves to determine the extent of the flooding that occurs by referring to the 50-100 year flood plan, while the water level serves to provide early warning information. Both will be very useful to find out how much loss will be caused in the future due to flooding in Gresik Regency so that the Gresik Regency Regional Disaster Management Agency can take precautions before the flood disaster strikes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=flood%20hazard" title="flood hazard">flood hazard</a>, <a href="https://publications.waset.org/abstracts/search?q=simulation%20model" title=" simulation model"> simulation model</a>, <a href="https://publications.waset.org/abstracts/search?q=potential%20inundation" title=" potential inundation"> potential inundation</a>, <a href="https://publications.waset.org/abstracts/search?q=global%20mapper" title=" global mapper"> global mapper</a>, <a href="https://publications.waset.org/abstracts/search?q=Gresik%20Regency" title=" Gresik Regency"> Gresik Regency</a> </p> <a href="https://publications.waset.org/abstracts/155596/flood-hazard-impact-based-on-simulation-model-of-potential-flood-inundation-in-lamong-river-gresik-regency" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155596.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">84</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">31</span> Work with Children's Music Group: Important Aspects of Didactic and Artistic Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eudjen%20Cinc">Eudjen Cinc</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Work with a human voice, especially with a child s voice and cultivating the sound of the choir, presents an area of crucial importance for a conductor. We use the term conductor because it needs to be understood that regardless of whether we have in front of us an amateur or a professional choir, whether they are singers with a wealth of experience or children who are still developing and educating their inner ear so that in the future they could contribute to the development of choir music, the person who stands in front of the group and works with them, needs to have the characteristics of a conductor. Voice formation is a long-term process, without which there is no success in both solo and collective music performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music%20group" title="music group">music group</a>, <a href="https://publications.waset.org/abstracts/search?q=conductor" title=" conductor"> conductor</a>, <a href="https://publications.waset.org/abstracts/search?q=collective" title=" collective"> collective</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/50779/work-with-childrens-music-group-important-aspects-of-didactic-and-artistic-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50779.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">219</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">30</span> Audience Members' Perspective-Taking Predicts Accurate Identification of Musically Expressed Emotion in a Live Improvised Jazz Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Omer%20Leshem">Omer Leshem</a>, <a href="https://publications.waset.org/abstracts/search?q=Michael%20F.%20Schober"> Michael F. Schober</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper introduces a new method for assessing how audience members and performers feel and think during live concerts, and how audience members' recognized and felt emotions are related. Two hypotheses were tested in a live concert setting: (1) that audience members’ cognitive perspective taking ability predicts their accuracy in identifying an emotion that a jazz improviser intended to express during a performance, and (2) that audience members' affective empathy predicts their likelihood of feeling the same emotions as the performer. The aim was to stage a concert with audience members who regularly attend live jazz performances, and to measure their cognitive and affective reactions during the performance as non-intrusively as possible. Pianist and Grammy nominee Andy Milne agreed, without knowing details of the method or hypotheses, to perform a full-length solo improvised concert that would include an ‘unusual’ piece. Jazz fans were recruited through typical advertising for New York City jazz performances. The event was held at the New School’s Glass Box Theater, the home of leading NYC jazz venue ‘The Stone.’ Audience members were charged typical NYC jazz club admission prices; advertisements informed them that anyone who chose to participate in the study would be reimbursed their ticket price after the concert. The concert, held in April 2018, had 30 attendees, 23 of whom participated in the study. Twenty-two minutes into the concert, the performer was handed a paper note with the instruction: ‘Perform a 3-5-minute improvised piece with the intention of conveying sadness.’ (Sadness was chosen based on previous music cognition lab studies, where solo listeners were less likely to select sadness as the musically-expressed emotion accurately from a list of basic emotions, and more likely to misinterpret sadness as tenderness). Then, audience members and the performer were invited to respond to a questionnaire from a first envelope under their seat. Participants used their own words to describe the emotion the performer had intended to express, and then to select the intended emotion from a list. They also reported the emotions they had felt while listening using Izard’s differential emotions scale. The concert then continued as usual. At the end, participants answered demographic questions and Davis’ interpersonal reactivity index (IRI), a 28-item scale designed to assess both cognitive and affective empathy. Hypothesis 1 was supported: audience members with greater cognitive empathy were more likely to accurately identify sadness as the expressed emotion. Moreover, audience members who accurately selected ‘sadness’ reported feeling marginally sadder than people who did not select sadness. Hypotheses 2 was not supported; audience members with greater affective empathy were not more likely to feel the same emotions as the performer. If anything, members with lower cognitive perspective-taking ability had marginally greater emotional overlap with the performer, which makes sense given that these participants were less likely to identify the music as sad, which corresponded with the performer’s actual feelings. Results replicate findings from solo lab studies in a concert setting and demonstrate the viability of exploring empathy and collective cognition in improvised live performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audience" title="audience">audience</a>, <a href="https://publications.waset.org/abstracts/search?q=cognition" title=" cognition"> cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20cognition" title=" collective cognition"> collective cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=emotion" title=" emotion"> emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=empathy" title=" empathy"> empathy</a>, <a href="https://publications.waset.org/abstracts/search?q=expressed%20emotion" title=" expressed emotion"> expressed emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=felt%20emotion" title=" felt emotion"> felt emotion</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=live%20performance" title=" live performance"> live performance</a>, <a href="https://publications.waset.org/abstracts/search?q=recognized%20emotion" title=" recognized emotion"> recognized emotion</a> </p> <a href="https://publications.waset.org/abstracts/102956/audience-members-perspective-taking-predicts-accurate-identification-of-musically-expressed-emotion-in-a-live-improvised-jazz-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102956.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">132</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">29</span> Coupling of Reticular and Fuzzy Set Modelling in the Analysis of the Action Chains from Socio-Ecosystem, Case of the Renewable Natural Resources Management in Madagascar</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thierry%20Ganomanana">Thierry Ganomanana</a>, <a href="https://publications.waset.org/abstracts/search?q=Dominique%20Herv%C3%A9"> Dominique Hervé</a>, <a href="https://publications.waset.org/abstracts/search?q=Solo%20Randriamahaleo"> Solo Randriamahaleo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Management of Malagasy renewable natural re-sources allows, in the case of forest, the mobilization of several actors with norms and/or territory. The interaction in this socio-ecosystem is represented by a graph of two diﬀerent relationships in which most of action chains, from individual activities under the continuous of forest dynamic and discrete interventions by institutional, are also studied. The fuzzy set theory is adapted to graduate the elements of the set Illegal Activities in the space of sanction’s institution by his severity and in the space of degradation of forest by his extent. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fuzzy%20set" title="fuzzy set">fuzzy set</a>, <a href="https://publications.waset.org/abstracts/search?q=graph" title=" graph"> graph</a>, <a href="https://publications.waset.org/abstracts/search?q=institution" title=" institution"> institution</a>, <a href="https://publications.waset.org/abstracts/search?q=renewable%20resource" title=" renewable resource"> renewable resource</a>, <a href="https://publications.waset.org/abstracts/search?q=system" title=" system"> system</a> </p> <a href="https://publications.waset.org/abstracts/151684/coupling-of-reticular-and-fuzzy-set-modelling-in-the-analysis-of-the-action-chains-from-socio-ecosystem-case-of-the-renewable-natural-resources-management-in-madagascar" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151684.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">88</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">28</span> Sportomics Analysis of Metabolic Responses in Olympic Sprint Canoeists</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Magno-Fran%C3%A7a">A. Magno-França</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20M.%20Magalh%C3%A3es-Neto"> A. M. Magalhães-Neto</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Bachini"> F. Bachini</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20Cataldi"> E. Cataldi</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Bassini"> A. Bassini</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20C.%20Cameron"> L. C. Cameron</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Sprint canoeing (SC) is part of the Olympic Games since 1936. Athletes compete in solo or double races of 200m and 1000m (40 sec and 240 sec, respectively). Due to its high intensity and duration, SC is extremely useful to study the blood kinetics of some metabolites in high energetic demand. Sportomics is a field of study combining “-omics” sciences with classical biochemical analyses in order to understand sports induced systemic changes. Here, we compare Sportomics findings during SC training sessions to describe metabolic responses of five top-level canoeists. Five Olympic world-class male athletes were evaluated during two days of training. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biochemistry%20of%20exercise" title="biochemistry of exercise">biochemistry of exercise</a>, <a href="https://publications.waset.org/abstracts/search?q=metabolomics" title=" metabolomics"> metabolomics</a>, <a href="https://publications.waset.org/abstracts/search?q=injury%20markers" title=" injury markers"> injury markers</a>, <a href="https://publications.waset.org/abstracts/search?q=sportomics" title=" sportomics"> sportomics</a> </p> <a href="https://publications.waset.org/abstracts/28851/sportomics-analysis-of-metabolic-responses-in-olympic-sprint-canoeists" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28851.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">516</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">27</span> Classical Improvisation Facilitating Enhanced Performer-Audience Engagement and a Mutually Developing Impulse Exchange with Concert Audiences</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pauliina%20Haustein">Pauliina Haustein</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation was part of Western classical concert culture and performers’ skill sets until early 20th century. Historical accounts, as well as recent studies, indicate that improvisatory elements in the programme may contribute specifically towards the audiences’ experience of enhanced emotional engagement during the concert. This paper presents findings from the author’s artistic practice research, which explored re-introducing improvisation to Western classical performance practice as a musician (cellist and ensemble partner/leader). In an investigation of four concert cycles, the performer-researcher sought to gain solo and chamber music improvisation techniques (both related to and independent of repertoire), conduct ensemble improvisation rehearsals, design concerts with an improvisatory approach, and reflect on interactions with audiences after each concert. Data was collected through use of reflective diary, video recordings, measurement of sound parameters, questionnaires, a focus group, and interviews. The performer’s empirical experiences and findings from audience research components were juxtaposed and interrogated to better understand the (1) rehearsal and planning processes that enable improvisatory elements to return to Western classical concert experience and (2) the emotional experience and type of engagement that occur throughout the concert experience for both performer and audience members. This informed the development of a concert model, in which a programme of solo and chamber music repertoire and improvisations were combined according to historically evidenced performance practice (including free formal solo and ensemble improvisations based on audience suggestions). Inspired by historical concert culture, where elements of risk-taking, spontaneity, and audience involvement (such as proposing themes for fantasies) were customary, this concert model invited musicians to contribute to the process personally and creatively at all stages, from programme planning, and throughout the live concert. The type of democratic, personal, creative, and empathetic collaboration that emerged, as a result, appears unique in Western classical contexts, rather finding resonance in jazz ensemble, drama, or interdisciplinary settings. The research identified features of ensemble improvisation, such as empathy, emergence, mutual engagement, and collaborative creativity, that became mirrored in audience’s responses, generating higher levels of emotional engagement, empathy, inclusivity, and a participatory, co-creative experience. It appears that duringimprovisatory moments in the concert programme, audience members started feeling more like active participants in za\\a creative, collaborative exchange and became stakeholders in a deeper phenomenon of meaning-making and narrativization. Examining interactions between all involved during the concert revealed that performer-audience impulse exchange occurred on multiple levels of awareness and seemed to build upon each other, resulting in particularly strong experiences of both performer and audience’s engagement. This impact appeared especially meaningful for audience members who were seldom concertgoers and reported little familiarity with classical music. The study found that re-introducing improvisatory elements to Western classical concert programmes has strong potential in increasing audience’s emotional engagement with the musical performance, enabling audience members to connect more personally with the individual performers, and in reaching new-to-classical-music audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement" title=" audience engagement"> audience engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20experience" title=" audience experience"> audience experience</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20improvisation" title=" classical improvisation"> classical improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=ensemble%20improvisation" title=" ensemble improvisation"> ensemble improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20engagement" title=" emotional engagement"> emotional engagement</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisatory%20approach" title=" improvisatory approach"> improvisatory approach</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20performance" title=" musical performance"> musical performance</a>, <a href="https://publications.waset.org/abstracts/search?q=practice%20research" title=" practice research"> practice research</a> </p> <a href="https://publications.waset.org/abstracts/145986/classical-improvisation-facilitating-enhanced-performer-audience-engagement-and-a-mutually-developing-impulse-exchange-with-concert-audiences" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">26</span> Exploitation behind the Development of Home Batik Industry in Lawean, Solo, Central Java</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mukhammad%20Fatkhullah">Mukhammad Fatkhullah</a>, <a href="https://publications.waset.org/abstracts/search?q=Ayla%20Karina%20Budita"> Ayla Karina Budita</a>, <a href="https://publications.waset.org/abstracts/search?q=Cut%20Rizka%20Al%20Usrah"> Cut Rizka Al Usrah</a>, <a href="https://publications.waset.org/abstracts/search?q=Kanita%20Khoirun%20Nisa"> Kanita Khoirun Nisa</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhammad%20Alhada%20Fuadilah%20Habib"> Muhammad Alhada Fuadilah Habib</a>, <a href="https://publications.waset.org/abstracts/search?q=Siti%20Muslihatul%20Mukaromah"> Siti Muslihatul Mukaromah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Batik industry has become one of the leading industries in the economy of Indonesia. Since the recognition of batik as one of cultural wealth and national identity of Indonesia by UNESCO, batik production keeps increasing as a result of increasing demands for batik, whether from domestically or abroad. One of the rapid development batik industries in Indonesia is batik industry in Lawean Village, Solo, Central Java, Indonesia. This batik industry generally uses putting-out system where batik workers work in their own houses. With the implementation of this system, therefore employers don’t have to prepare Environmental Impact Analysis (EIA), social security for workers, overtime payment, space for working, and equipment for working. The implementation of putting-out system causes many problems, starting from environmental pollution, the loss of social rights of workers, and even exploitation of workers by batik entrepreneurs. The data used to describe this reality is the primary data from qualitative research with in-depth interview data collection technique. Informants were determined purposively. The theory used to perform data interpretation is the phenomenology of Alfred Schutz. Both qualitative and phenomenology are used in this study to describe batik workers exploitation in terms of the implementation of putting-out system on home batik industry in Lawean. The research result showed that workers in batik industry sector in Lawean were exploited with the implementation of putting-out system. The workers were strictly employed by the entrepreneurs, so that their job cannot be called 'part-time' job anymore. In terms of labor and time, the workers often work more than 12 hours per day and they often work overtime without receiving any overtime payment. In terms of work safety, the workers often have contact with chemical substances contained in batik making materials without using any protection, such as clothes work, which is worsened by the lack of standard or procedure in work that can cause physical damage, such as burnt and peeled off skin. Moreover, exposure and contamination of chemical materials make the workers and their families vulnerable to various diseases. Meanwhile, batik entrepreneurs did not give any social security (including health cost aid). Besides that, the researchers found that batik industry in home industry sector is not environmentally friendly, even damaging ecosystem because industrial waste disposed without EIA. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exploitation" title="exploitation">exploitation</a>, <a href="https://publications.waset.org/abstracts/search?q=home%20batik%20industry" title=" home batik industry"> home batik industry</a>, <a href="https://publications.waset.org/abstracts/search?q=occupational%20health%20and%20safety" title=" occupational health and safety"> occupational health and safety</a>, <a href="https://publications.waset.org/abstracts/search?q=putting-out%20system" title=" putting-out system"> putting-out system</a> </p> <a href="https://publications.waset.org/abstracts/66270/exploitation-behind-the-development-of-home-batik-industry-in-lawean-solo-central-java" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66270.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">25</span> The Effects of Collaborative Videogame Play on Flow Experience and Mood</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eva%20Nolan">Eva Nolan</a>, <a href="https://publications.waset.org/abstracts/search?q=Timothy%20Mcnichols"> Timothy Mcnichols</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gamers spend over 3 billion hours collectively playing video games a week, which is arguably not nearly enough time to indulge in the many benefits gaming has to offer. Much of the previous research on video gaming is centered on the effects of playing violent video games and the negative impacts they have on the individual. However, there is a dearth of research in the area of non-violent video games, specifically the emotional and cognitive benefits playing non-violent games can offer individuals. Current research in the area of video game play suggests there are many benefits to playing for an individual, such as decreasing symptoms of depression, decreasing stress, increasing positive emotions, inducing relaxation, decreasing anxiety, and particularly improving mood. One suggestion as to why video games may offer such benefits is that they possess ideal characteristics to create and maintain flow experiences, which in turn, is the subjective experience where an individual obtains a heightened and improved state of mind while they are engaged in a task where a balance of challenge and skill is found. Many video games offer a platform for collaborative gameplay, which can enhance the emotional experience of gaming through the feeling of social support and social inclusion. The present study was designed to examine the effects of collaborative gameplay and flow experience on participants’ perceived mood. To investigate this phenomenon, an in-between subjects design involving forty participants were randomly divided into two groups where they engaged in solo or collaborative gameplay. Each group represented an even number of frequent gamers and non-frequent gamers. Each participant played ‘The Lego Movie Videogame’ on the Playstation 4 console. The participant’s levels of flow experience and perceived mood were measured by the Flow State Scale (FSS) and the Positive and Negative Affect Schedule (PANAS). The following research hypotheses were investigated: (i.) participants in the collaborative gameplay condition will experience higher levels of flow experience and higher levels of mood than those in the solo gameplay condition; (ii.) participants who are frequent gamers will experience higher levels of flow experience and higher levels of mood than non-frequent gamers; and (iii.) there will be a significant positive relationship between flow experience and mood. If the estimated findings are supported, this suggests that engaging in collaborative gameplay can be beneficial for an individual’s mood and that experiencing a state of flow can also enhance an individual’s mood. Hence, collaborative gaming can be beneficial to promote positive emotions (higher levels of mood) through engaging an individual’s flow state. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=collaborative%20gameplay" title="collaborative gameplay">collaborative gameplay</a>, <a href="https://publications.waset.org/abstracts/search?q=flow%20experience" title=" flow experience"> flow experience</a>, <a href="https://publications.waset.org/abstracts/search?q=mood" title=" mood"> mood</a>, <a href="https://publications.waset.org/abstracts/search?q=games" title=" games"> games</a>, <a href="https://publications.waset.org/abstracts/search?q=positive%20emotions" title=" positive emotions"> positive emotions</a> </p> <a href="https://publications.waset.org/abstracts/69410/the-effects-of-collaborative-videogame-play-on-flow-experience-and-mood" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/69410.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">335</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">24</span> Performance Practices in Classic Piano Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mahdi%20Kazemi">Mahdi Kazemi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today's performances on Piano Forte or Fortepiano are cheerful, musical, expressive, and at the same time informative. AlterMuskie is an exciting and richly drawn magazine that is unmatched in its field. First published in 1973, it is a magazine for anyone interested in early music and its contemporary interpretation. Alexander Scriabin's (1871_1915) work has traditionally focused on his music in the mid and late 1902s. The discussion of his personal philosophy and his influence on music also focuses on these two periods. Over the last few decades, the repertoire of British classical solo pianos has received increasing interest from researchers. From the piano rolls of the early 20th century, much can be inferred about the practice of romantic piano playing. Summary Haydn's most important piano works are the sonatas, which generally represent Haydn's development as a composer from the early to the last three sonata dates, 1794. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=piano" title="piano">piano</a>, <a href="https://publications.waset.org/abstracts/search?q=classic%20piano" title=" classic piano"> classic piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/143424/performance-practices-in-classic-piano-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143424.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">188</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">23</span> Exploring Polyphonic Texture in Chopin's Piano Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Frederic Chopin created numerous acclaimed piano compositions that have been both appreciated and analyzed by musicians starting from the Romantic Period. These compositions are still being played globally with specific privileges among pianists. This study examines particular elements within Chopin's piano works and how they can be interpreted and instructed to those who are not acquainted with his pieces. The theory suggests that particular melodic attributes can be found in Chopin's piano compositions. Therefore, various elements can be recognized, such as polyphonic textures, decorated phrases, themes and variations, inner patterns tuning, blending harmonics, and conflicting beats. These characteristics were discovered within theoretical analysis has identified many of Chopin's compositions. The aim of this study is to identify the musical characteristics of analyzable through music theory and demonstrate a distinctive pianistic polyphonic texture in Chopin's solo piano compositions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chopin" title="Chopin">Chopin</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=composition" title=" composition"> composition</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphonic" title=" polyphonic"> polyphonic</a>, <a href="https://publications.waset.org/abstracts/search?q=texture" title=" texture"> texture</a> </p> <a href="https://publications.waset.org/abstracts/187039/exploring-polyphonic-texture-in-chopins-piano-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">35</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">22</span> Programmed Speech to Text Summarization Using Graph-Based Algorithm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hamsini%20Pulugurtha">Hamsini Pulugurtha</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20V.%20S.%20L.%20Jagadamba"> P. V. S. L. Jagadamba</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Programmed Speech to Text and Text Summarization Using Graph-based Algorithms can be utilized in gatherings to get the short depiction of the gathering for future reference. This gives signature check utilizing Siamese neural organization to confirm the personality of the client and convert the client gave sound record which is in English into English text utilizing the discourse acknowledgment bundle given in python. At times just the outline of the gathering is required, the answer for this text rundown. Thus, the record is then summed up utilizing the regular language preparing approaches, for example, solo extractive text outline calculations <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Siamese%20neural%20network" title="Siamese neural network">Siamese neural network</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20speech" title=" English speech"> English speech</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20text" title=" English text"> English text</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20language%20processing" title=" natural language processing"> natural language processing</a>, <a href="https://publications.waset.org/abstracts/search?q=unsupervised%20extractive%20text%20summarization" title=" unsupervised extractive text summarization"> unsupervised extractive text summarization</a> </p> <a href="https://publications.waset.org/abstracts/143079/programmed-speech-to-text-summarization-using-graph-based-algorithm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143079.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">217</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">21</span> Musical Instrument Recognition in Polyphonic Audio Through Convolutional Neural Networks and Spectrograms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rujia%20Chen">Rujia Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Akbar%20Ghobakhlou"> Akbar Ghobakhlou</a>, <a href="https://publications.waset.org/abstracts/search?q=Ajit%20Narayanan"> Ajit Narayanan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the task of identifying musical instruments in polyphonic compositions using Convolutional Neural Networks (CNNs) from spectrogram inputs, focusing on binary classification. The model showed promising results, with an accuracy of 97% on solo instrument recognition. When applied to polyphonic combinations of 1 to 10 instruments, the overall accuracy was 64%, reflecting the increasing challenge with larger ensembles. These findings contribute to the field of Music Information Retrieval (MIR) by highlighting the potential and limitations of current approaches in handling complex musical arrangements. Future work aims to include a broader range of musical sounds, including electronic and synthetic sounds, to improve the model's robustness and applicability in real-time MIR systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=binary%20classifier" title="binary classifier">binary classifier</a>, <a href="https://publications.waset.org/abstracts/search?q=CNN" title=" CNN"> CNN</a>, <a href="https://publications.waset.org/abstracts/search?q=spectrogram" title=" spectrogram"> spectrogram</a>, <a href="https://publications.waset.org/abstracts/search?q=instrument" title=" instrument"> instrument</a> </p> <a href="https://publications.waset.org/abstracts/185822/musical-instrument-recognition-in-polyphonic-audio-through-convolutional-neural-networks-and-spectrograms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185822.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">20</span> Teachers’ Perceptions on Communicating with Students Who Are Deaf-Blind in Regular Classes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Phillimon%20Mahanya">Phillimon Mahanya</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Learners with deaf-blindness use touch to communicate. However, teachers are not well versed with tactile communication technicalities. Lack of technical know-how is compounded with a lack of standardisation of the tactile signs the world over. Thus, this study arose from the need to have efficient and effective tactile sign communication for learners who are deaf-blind. A qualitative approach that adopted a case study design was used. A sample of 22 participants comprising school administrators and teachers was purposively drawn from the institutions that enrolled learners who are deaf-blind. Data generated using semi-structured interviews, non-participant observations and document analysis were thematically analysed. It emerged that administrators and teachers used mammoth and solo touches that are not standardised to communicate with learners who are deaf-blind. It was recommended that there should be a standardised tactile sign manual in Zimbabwe to promote the inclusion of learners who are deaf-blind. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=deaf-blind" title=" deaf-blind"> deaf-blind</a>, <a href="https://publications.waset.org/abstracts/search?q=signing" title=" signing"> signing</a>, <a href="https://publications.waset.org/abstracts/search?q=tactile" title=" tactile"> tactile</a> </p> <a href="https://publications.waset.org/abstracts/142698/teachers-perceptions-on-communicating-with-students-who-are-deaf-blind-in-regular-classes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142698.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">238</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">19</span> Analyzing Claude Debussy’s Piano Preludes by Focusing on His Recordings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Parham%20Bakhtiari">Parham Bakhtiari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Between 1910 and 1912, Claude Debussy recorded twelve of his solo piano pieces. Although Debussy frequently provided advice to his students on performing while they followed the written notes when performing, his personal recordings are characterized by creative liberties and unique freedom interpretations. Debussy's use of numerous interpretive gestures in these recordings is fascinating and corresponds with the techniques utilized by French Baroque keyboard performers. This paper will situate Debussy's presentation in the Baroque musical approach. Initially, we will discuss the recording by analyzing Welte-Mignon's used technology to guarantee the reliability of these recordings. Then, we will find commonalities in the intricate performances of harpsichord musicians who played in the 1600s and 1700s and recordings of Debussy. Finally, by drawing comparisons, we will review the patterns by contrasting Debussy's execution with recordings of the same pieces from the latter half of the 20th century as striving for improved presentations while limiting artistic freedom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=Debussy" title=" Debussy"> Debussy</a>, <a href="https://publications.waset.org/abstracts/search?q=piano" title=" piano"> piano</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=prelude" title=" prelude"> prelude</a> </p> <a href="https://publications.waset.org/abstracts/186665/analyzing-claude-debussys-piano-preludes-by-focusing-on-his-recordings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186665.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">45</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> Petai Chips as an Antioxidant Chips from Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20S.%20Fisca">R. S. Fisca</a>, <a href="https://publications.waset.org/abstracts/search?q=Y.%20R.%20Elox"> Y. R. Elox</a>, <a href="https://publications.waset.org/abstracts/search?q=L.%20Umi"> L. Umi</a>, <a href="https://publications.waset.org/abstracts/search?q=U.%20Z.%20Luttfia"> U. Z. Luttfia</a>, <a href="https://publications.waset.org/abstracts/search?q=Kun%20Harismah"> Kun Harismah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Petai (Parkia speciosa) is a plant indigenous to Southeast Asia. It is consumed either raw or cooked. It has been used in folk medicine to treat diabetes, hypertension, and kidney problems. It contains minerals and vitamins. Petai contains a lot of chemical compounds that are beneficial for health, including antioxidants, Vitamin B6 0,9mg, energy 142 g. cal, 10.4 g protein. 2 g fat, 22 g carbohydrates, 95 mg calcium, phosphorus 115 mg, 1 mg iron, 200 IU of vitamin A, vitamin B1 0.17 mg, 36 mg of vitamin C that can resolve various health problems. These chips are the result of innovation from petai packaged in such a way becomes a tasty snack chips and can be enjoyed by many people to relax and also nutritious for health. In the manufacture of petai chips require several steps of them start by boiling, flating, drying and the last frying. In introducing the products widely we sell petai chips with several methods. Some of these methods include direct sales, delivery order, online/social media, and open some booth at a few places and the car free day in Solo every sunday. Opportunity in selling petai chips is very wide because there is no competitors with similar business. With the innovation of petai chips become healthy snacks can be introduced to the public and can even be exported out of the country as one of the extraordinary snacks from Indonesia. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antioxidants" title="antioxidants">antioxidants</a>, <a href="https://publications.waset.org/abstracts/search?q=chips" title=" chips"> chips</a>, <a href="https://publications.waset.org/abstracts/search?q=healty" title=" healty"> healty</a>, <a href="https://publications.waset.org/abstracts/search?q=petai" title=" petai"> petai</a> </p> <a href="https://publications.waset.org/abstracts/33516/petai-chips-as-an-antioxidant-chips-from-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/33516.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">564</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> Constructive Alignment in the Digital Age: Challenges and Opportunities at the University of Sulaimani</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daban%20Mohammed%20Haji">Daban Mohammed Haji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores the application of constructive alignment in digital education at the University of Sulaimani, focusing specifically on the Language and Culture Center, Translation Department, and English Department. Constructive alignment, an outcome-based pedagogical framework developed by John Biggs, ensures that learning activities and assessments are directly aligned with the intended learning outcomes (ILOs). The study's findings reveal a significant gap in awareness and understanding of this pedagogical concept among lecturers. Many instructors are unfamiliar with constructive alignment, and those who have some knowledge of it face considerable challenges. These challenges include aligning learning activities and assessments with the ILOs and fostering higher-order cognitive skills as outlined in the SOLO taxonomy and revised Bloom’s taxonomy. To address this issue, the existing pedagogy center at the University of Sulaimani could play a pivotal role. This center has the potential to foster faculty development and promote the adoption of constructive alignment in online teaching. By leveraging the center's expertise and resources, a tailored program can be designed to enhance faculty understanding and application of this pedagogical framework. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=constructive%20alignment" title="constructive alignment">constructive alignment</a>, <a href="https://publications.waset.org/abstracts/search?q=student-centerdness" title=" student-centerdness"> student-centerdness</a>, <a href="https://publications.waset.org/abstracts/search?q=pedagogy" title=" pedagogy"> pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=bologna%20process" title=" bologna process"> bologna process</a> </p> <a href="https://publications.waset.org/abstracts/187324/constructive-alignment-in-the-digital-age-challenges-and-opportunities-at-the-university-of-sulaimani" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187324.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">32</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Micropollutant Carbamazepine: Its Occurrences, Toxicological Effects, and Possible Degradation Methods (Review)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azad%20Khalid">Azad Khalid</a>, <a href="https://publications.waset.org/abstracts/search?q=Sifa%20Dogan"> Sifa Dogan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Because of its persistence in conventional treatment plants and broad prevalence in water bodies, the pharmaceutical chemical carbamazepine (CBZ) has been suggested as an anthropogenic marker to evaluate water quality. This study provides a thorough examination of the origins and occurrences of CBZ in water bodies, as well as the drug's toxicological effects and laws. Given CBZ's well-documented negative consequences on the human body when used medicinally, cautious monitoring in water is advised. CBZ residues in drinking water may enter embryos and newborns via intrauterine exposure or breast-feeding, causing congenital abnormalities and/or neurodevelopmental issues over time. The insufficiency of solo solutions was shown after an in-depth technical study of traditional and sophisticated treatment technologies. Nanofiltration and reverse osmosis membranes are more successful at removing CBZ than traditional activated sludge and membrane bioreactor techniques. Recent research has shown that severe chemical cleaning, which is essential to prevent membrane fouling, may lower long-term removal efficiency. Furthermore, despite the efficacy of activated carbon adsorption and advanced oxidation processes, a few issues such as chemical cost and activated carbon renewal must be carefully examined. Individual technology constraints lead to the benefits of combined and hybrid systems, namely the heterogeneous advanced oxidation process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=carbamazepine" title="carbamazepine">carbamazepine</a>, <a href="https://publications.waset.org/abstracts/search?q=occurrence" title=" occurrence"> occurrence</a>, <a href="https://publications.waset.org/abstracts/search?q=toxicity" title=" toxicity"> toxicity</a>, <a href="https://publications.waset.org/abstracts/search?q=conventical%20treatment" title=" conventical treatment"> conventical treatment</a>, <a href="https://publications.waset.org/abstracts/search?q=advanced%20oxidation%20process%20%28AOPs%29" title=" advanced oxidation process (AOPs)"> advanced oxidation process (AOPs)</a> </p> <a href="https://publications.waset.org/abstracts/151086/micropollutant-carbamazepine-its-occurrences-toxicological-effects-and-possible-degradation-methods-review" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151086.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">96</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> Impact of Minimalism in Dance Education on the Development of Aesthetic Sensibilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meghamala%20Nugehally">Meghamala Nugehally</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper hypothesises and draws inferences on the impact of minimalism in dance education on the development of artistic and aesthetic sensibilities in individuals in the age group of 5-18 yrs of age. This research and conclusions are within the context of Indian Classical Dance, which is based on Indian theories of aesthetics drawn from the Natyashastra, an ancient treatise on Indian dance and drama. The research employs training methods handed down through a strict one-on-one teacher-student tradition known as the Guru-Shishya Parampara. Aesthetic principles used are defined, and basic theories from the Natyashastra are explained to provide background for the research design. The paper also discusses dance curriculum design and training methodology design within the context of these aesthetic theories. The scope of the research is limited to two genres of Indian classical forms: Bharatanatyam and Odissi. A brief description of these dance forms is given as background and dance aesthetics specific to these forms are described. The research design includes individual case studies of subjects studied, independent predetermined attributes for observations and a qualitative scoring methodology devised for the purpose of the study. The study describes the training techniques used and contrasts minimal solo training techniques with the more elaborate group training techniques. Study groups were divided and the basis for the division are discussed. Study observations are recorded and presented as evidences. The results inform the conclusion and set the stage for further research in this area. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dance%20aesthetics" title="dance aesthetics">dance aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=dance%20education" title=" dance education"> dance education</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20classical%20dance" title=" Indian classical dance"> Indian classical dance</a>, <a href="https://publications.waset.org/abstracts/search?q=minimalism" title=" minimalism"> minimalism</a> </p> <a href="https://publications.waset.org/abstracts/53986/impact-of-minimalism-in-dance-education-on-the-development-of-aesthetic-sensibilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53986.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">228</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Live Concert Performances in Preschool: Requirements of a Successful Concert for Young Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mei-Ying%20Liao">Mei-Ying Liao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main purpose of this study was to examine the requirements of a successful concert for young children in preschool in Taiwan. This study reports a case study of a preschool’s experience which undertook ten concerts for young children. The main audiences were young children who were two to six years of age. The performers, including children’s family, amateurs and professional performers, were invited to perform music instruments or singing twice a week. The performers participated in these concerts separately, as a solo or ensemble performance. There were totally ten concerts. The structure of concert included the performance, musical activities, questions and answers, song requests, and exploration of instruments. Data collection included interviews with children, teachers and performers, concert observations, and footnotes. Results showed that the requirements of a successful and meaningful concert for young children were suggested to include concert preparation, concert, and post activities. The concert organizer, host and classroom teachers played vital roles for a successful concert. The organizer had to organize the programs and prepared for the concerts based on the needs and interests of their audience of young children, engage their attention and offer the potential to expand their musical worlds. The hosts had to build a bridge between performers and young children who had to know how they could delight and educate children. Concerts combined games, storytelling, instrument exploration and great music had great effects. Finally, the classroom teachers had to do the extension activities after the concerts so that the children will involve more and get more enthusiasm in concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=case%20study" title="case study">case study</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20education" title=" music education"> music education</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/65524/live-concert-performances-in-preschool-requirements-of-a-successful-concert-for-young-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65524.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">346</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Developing a Virtual Reality System to Assist in Anatomy Teaching and Evaluating the Effectiveness of That System </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tarek%20Abdelkader">Tarek Abdelkader</a>, <a href="https://publications.waset.org/abstracts/search?q=Suresh%20Selvaraj"> Suresh Selvaraj</a>, <a href="https://publications.waset.org/abstracts/search?q=Prasad%20Iyer"> Prasad Iyer</a>, <a href="https://publications.waset.org/abstracts/search?q=Yong%20Mun%20Hin"> Yong Mun Hin</a>, <a href="https://publications.waset.org/abstracts/search?q=Hajmath%20Begum"> Hajmath Begum</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20Gopalakrishnakone"> P. Gopalakrishnakone</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, more and more educational institutes, as well as students, rely on 3D anatomy programs as an important tool that helps students correlate the actual locations of anatomical structures in a 3D dimension. Lately, virtual reality (VR) is gaining more favor from the younger generations due to its higher interactive mode. As a result, using virtual reality as a gamified learning platform for anatomy became the current goal. We present a model where a Virtual Human Anatomy Program (VHAP) was developed to assist with the anatomy learning experience of students. The anatomy module has been built, mostly, from real patient CT scans. Segmentation and surface rendering were used to create the 3D model by direct segmentation of CT scans for each organ individually and exporting that model as a 3D file. After acquiring the 3D files for all needed organs, all the files were introduced into a Virtual Reality environment as a complete body anatomy model. In this ongoing experiment, students from different Allied Health orientations are testing the VHAP. Specifically, the cardiovascular system has been selected as the focus system of study since all of our students finished learning about it in the 1st trimester. The initial results suggest that the VHAP system is adding value to the learning process of our students, encouraging them to get more involved and to ask more questions. Involved students comments show that they are excited about the VHAP system with comments about its interactivity as well as the ability to use it solo as a self-learning aid in combination with the lectures. Some students also experienced minor side effects like dizziness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3D%20construction" title="3D construction">3D construction</a>, <a href="https://publications.waset.org/abstracts/search?q=health%20sciences" title=" health sciences"> health sciences</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20pedagogy" title=" teaching pedagogy"> teaching pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a> </p> <a href="https://publications.waset.org/abstracts/106605/developing-a-virtual-reality-system-to-assist-in-anatomy-teaching-and-evaluating-the-effectiveness-of-that-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/106605.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Memorizing Music and Learning Strategies</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elisabeth%20Eder">Elisabeth Eder</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Memorizing music plays an important role for instrumentalists and has been researched very little so far. Almost every musician is confronted with memorizing music in the course of their musical career. For numerous competitions, examinations (e.g., at universities, music schools), solo performances, and the like, memorization is a requirement. Learners are often required to learn a piece by heart but are rarely given guidance on how to proceed. This was also confirmed by Eder's preliminary study to examine the topicality and relevance of the topic, in which 111 instrumentalists took part. The preliminary study revealed a great desire for more knowledge or information about learning strategies as well as a greater sense of security when performing by heart on stage through the use of learning strategies by those musicians who use learning strategies. Eder’s research focuses on learning strategies for memorizing music. As part of a large-scale empirical study – an online questionnaire translated into 10 languages was used to conduct the study – 1091 musicians from 64 different countries described how they memorize. The participants in the study also evaluated their learning strategies and justified their choice in terms of their degree of effectiveness. Based on the study and pedagogical literature, 100 learning strategies were identified and categorized; the strategies were examined with regard to their effectiveness, and instrument-specific, age-specific, country-specific, gender-specific, and education-related differences and similarities concerning the choice of learning strategies were investigated. Her research also deals with forms and models of memory and how music-related information can be stored and retrieved and also forgotten again. A further part is devoted to the possibilities that teachers and learners have to support the process of memorization independently of learning strategies. The findings resulting from Elisabeth Eder's research should enable musicians and instrumental students to memorize faster and more confidently. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=memorizing%20music" title="memorizing music">memorizing music</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20strategies" title=" learning strategies"> learning strategies</a>, <a href="https://publications.waset.org/abstracts/search?q=empirical%20study" title=" empirical study"> empirical study</a>, <a href="https://publications.waset.org/abstracts/search?q=effectiveness%20of%20strategies" title=" effectiveness of strategies"> effectiveness of strategies</a> </p> <a href="https://publications.waset.org/abstracts/183397/memorizing-music-and-learning-strategies" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/183397.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">42</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Draw Me Close: Queering Virtual Reality through (Re)Performances of Memory</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Camille%20Intson">Camille Intson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper endeavors to explore the opportunities, challenges, and ethics of reconstructing and re-enacting archives of memory through virtual reality (VR) performance, using Jordan Tannahill’s Draw Me Close as an exemplary case study. Draw Me Close is a 1:1 virtual reality (VR) performance in which the artist’s childhood memories, experiences, and interactions with his mother are reconstructed in the wake of her passing. Solo audience members are positioned as Jordan (the subject and character) and taken through a series of narratives, (virtual) spaces, and interactions with his “mother,” played by a live actor. Piece by piece, audiences are brought into the world of the “shifting” archive, inhabiting Jordan’s reconstructed virtual world from his early explorations of queer sexuality through to his mother’s cancer diagnosis and passing. This paper will explore how the world of Draw Me Close represents a “touching” and/or “queering” of time within its archive, blurring and transgressing the boundaries between the animate and the inanimate, life and death. On a philosophical level, considering foundational queer performance scholarship and archival theory, it will also examine how performance’s ephemerality rewards its artists with the dual advantages of visibility and protection, allowing for an ethical exploration of traumatic memory and loss within a disappearing medium. Finally, this provocation will use Draw Me Close as a point of departure from which to outline future possibilities for performance and emerging technologies’ engagements with archival theory and practice. By positioning virtual reality (VR) as an archive-constructing medium, it aims to move beyond the question of how we can take performances seriously as archives towards how personal archive construction is itself a performative act. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intermedial%20theatre" title="intermedial theatre">intermedial theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20media%20arts" title=" new media arts"> new media arts</a>, <a href="https://publications.waset.org/abstracts/search?q=queer%20performance" title=" queer performance"> queer performance</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a> </p> <a href="https://publications.waset.org/abstracts/160782/draw-me-close-queering-virtual-reality-through-reperformances-of-memory" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160782.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">87</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Solo&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=Solo&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a 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