CINXE.COM

<!DOCTYPE html> <html lang="en" dir="ltr"> <head>  <script async src="https://www.googletagmanager.com/gtag/js?id=G-P63WKM1TM1"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-P63WKM1TM1'); </script>  <script type="text/javascript" > (function(m,e,t,r,i,k,a){m[i]=m[i]||function(){(m[i].a=m[i].a||[]).push(arguments)}; m[i].l=1*new Date(); for (var j = 0; j < document.scripts.length; j++) {if (document.scripts[j].src === r) { return; }} k=e.createElement(t),a=e.getElementsByTagName(t)[0],k.async=1,k.src=r,a.parentNode.insertBefore(k,a)}) (window, document, "script", "https://mc.yandex.ru/metrika/tag.js", "ym"); ym(55165297, "init", { clickmap:false, trackLinks:true, accurateTrackBounce:true, webvisor:false }); </script> <noscript><div><img src="https://mc.yandex.ru/watch/55165297" style="position:absolute; left:-9999px;" alt="" /></div></noscript>    <title>Search results for: improvisation</title> <meta name="description" content="Search results for: improvisation"> <meta name="keywords" content="improvisation"> <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" data-toggle="collapse" data-target="#navbarMenu" aria-controls="navbarMenu" aria-expanded="false" aria-label="Toggle navigation"> <span class="navbar-toggler-icon"></span> </button> <div class="w-100"> <div class="d-none d-lg-flex flex-row-reverse"> <form method="get" action="https://waset.org/search" class="form-inline my-2 my-lg-0"> <input class="form-control mr-sm-2" type="search" placeholder="Search Conferences" value="improvisation" name="q" aria-label="Search"> <button class="btn btn-light my-2 my-sm-0" type="submit"><i class="fas fa-search"></i></button> </form> </div> <div class="collapse navbar-collapse mt-1" id="navbarMenu"> <ul class="navbar-nav ml-auto align-items-center" id="mainNavMenu"> <li class="nav-item"> <a class="nav-link" href="https://waset.org/conferences" title="Conferences in 2024/2025/2026">Conferences</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/disciplines" title="Disciplines">Disciplines</a> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/committees" rel="nofollow">Committees</a> </li> <li class="nav-item dropdown"> <a class="nav-link dropdown-toggle" href="#" id="navbarDropdownPublications" role="button" data-toggle="dropdown" aria-haspopup="true" aria-expanded="false"> Publications </a> <div class="dropdown-menu" aria-labelledby="navbarDropdownPublications"> <a class="dropdown-item" href="https://publications.waset.org/abstracts">Abstracts</a> <a class="dropdown-item" href="https://publications.waset.org">Periodicals</a> <a class="dropdown-item" href="https://publications.waset.org/archive">Archive</a> </div> </li> <li class="nav-item"> <a class="nav-link" href="https://waset.org/page/support" title="Support">Support</a> </li> </ul> </div> </div> </nav> </div> </header> <main> <div class="container mt-4"> <div class="row"> <div class="col-md-9 mx-auto"> <form method="get" action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="improvisation"> <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> 33</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: improvisation</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">33</span> Attentional Differences in Musical Recall and Improvisation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Krzysztof%20T.%20Piotrowski">Krzysztof T. Piotrowski</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main goal of the research was to investigate differences in attention in two kinds of musical performance - recall and improvisation. Musical recall is a sample of convergent production that requires intensively focused attention. Inversely, musical improvisation is a divergent task and probably requires a different way of attentional control. The study was designed in dual task paradigm. Participants were to remember a simple melody and then recall or improvise, simultaneously performing the spatial attentional test on computer screen. The result shows that improvising participants find spatial goals in more disperse way. The conclusion is that musical improvisation requires extensification of attention to occur. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=attention" title="attention">attention</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=divergent%20task" title=" divergent task"> divergent task</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20improvisation" title=" musical improvisation"> musical improvisation</a> </p> <a href="https://publications.waset.org/abstracts/60560/attentional-differences-in-musical-recall-and-improvisation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60560.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">233</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> Research and Innovations in Music Teacher Training Programme in Hungary</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Monika%20Benedek">Monika Benedek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation is an integral part of music education programmes worldwide since teachers recognize that improvisation helps to broaden stylistic knowledge, develops creativity and various musical skills, in particular, aural skills, and also motivates to learn music theory. In Hungary, where Kodály concept is a core element of music teacher education, improvisation has been relatively neglected subject in both primary school and classical music school curricula. Therefore, improvisation was an important theme of a one-year-long research project carried out at the Liszt Academy of Music in Budapest. The project aimed to develop the music teacher training programme, and among others, focused on testing how improvisation could be used as a teaching tool to improve students’ musical reading and writing skills and creative musical skills. Teacher-researchers first tested various teaching approaches of improvisation with numerous teaching modules in music lessons at public schools and music schools. Data were collected from videos of lessons and from teachers’ reflective notes. After analysing data and developing teaching modules, all modules were tested again in a pilot course in 30 contact lessons for music teachers. Teachers gave written feedback of the pilot programme, tested two modules by their choice in their own teaching and wrote reflecting comments about their experiences in applying teaching modules of improvisation. The overall results indicated that improvisation could be an innovative approach to teaching various musical subjects, in particular, solfege, music theory, and instrument, either in individual or in group instruction. Improvisation, especially with the application of relative solmisation and singing, appeared to have been a beneficial tool to develop various musicianship skills of students and teachers, in particular, the aural, musical reading and writing skills, and creative musical skills. Furthermore, improvisation seemed to have been a motivating teaching tool to learn music theory by creating a bridge between various musical styles. This paper reports on the results of the research project. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=improvisation" title="improvisation">improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=Kod%C3%A1ly%20concept" title=" Kodály concept"> Kodály concept</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20school" title=" music school"> music school</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20school" title=" public school"> public school</a>, <a href="https://publications.waset.org/abstracts/search?q=teacher%20training" title=" teacher training"> teacher training</a> </p> <a href="https://publications.waset.org/abstracts/102174/research-and-innovations-in-music-teacher-training-programme-in-hungary" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102174.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">144</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> Improvisation Transformation: An Exploration of Musical Influence between the Cuban Descarga and American Jazz Movements</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alissa%20Settembrino">Alissa Settembrino</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation, one of the most expressive qualities of the performing arts, has allowed for entire compositions to be created through descargas. A topic relatively understudied, these combo-inspired jam sessions originated in Cuba and intrigued jazz musicians in the United States to experiment with their improvisation after the Cool Jazz era. Through the exploration of prominent improvisation-based Cuban dance styles, the crucial jazz musicians that contributed to the progression of the descarga movement and comparing such facets to that of jazz in the United States, this paper offers a critical comparative analysis to suggest how the descarga influenced American jazz. This paper specifically focuses on harmonic construction, form and rhythmic qualities, as well as how these recorded jam sessions started to change the way people listened to and enjoyed this style of music. Examining the harmonic intricacies of descargas offers the likelihood of having influenced the construction of the blues scale in American jazz. Since these recorded jam sessions originally stemmed from Cuban dance styles (the cumbia, guaracha, rumba, etc.), descarga compositions changed the way musicians structured their improvisation to meet recording guidelines as well as their audiences’ listening needs. The ways in which the descarga inspired harmonic and rhythmic change led to the movement’s influence on the jazz culture as it progressed from Cuba to New York during the 1950s. Exploring the descarga provides insight into a movement that is not commonly studied and encourages further discussion about how certain aspects of Latin American culture have influenced the United States socially and creatively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=descarga" title="descarga">descarga</a>, <a href="https://publications.waset.org/abstracts/search?q=harmony" title=" harmony"> harmony</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=jam%20session" title=" jam session"> jam session</a>, <a href="https://publications.waset.org/abstracts/search?q=jazz" title=" jazz"> jazz</a> </p> <a href="https://publications.waset.org/abstracts/106914/improvisation-transformation-an-exploration-of-musical-influence-between-the-cuban-descarga-and-american-jazz-movements" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/106914.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">165</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> The Need for the Utilization of Instructional Materials on the Teaching and Learning of Agricultural Science Education in Developing Countries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ogoh%20Andrew%20Enokela">Ogoh Andrew Enokela</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper dwelt on the need for the utilization of instructional materials with highlights on the type of instructional materials, selection, uses and their importance on the learning and teaching of Agricultural Science Education in developing countries. It further discussed the concept of improvisation with some recommendation in terms of availability, utilization on the teaching and learning of Agricultural Science Education. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=instructional%20materials" title="instructional materials">instructional materials</a>, <a href="https://publications.waset.org/abstracts/search?q=agricultural%20science%20education" title=" agricultural science education"> agricultural science education</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching%20and%20learning" title=" teaching and learning"> teaching and learning</a> </p> <a href="https://publications.waset.org/abstracts/7482/the-need-for-the-utilization-of-instructional-materials-on-the-teaching-and-learning-of-agricultural-science-education-in-developing-countries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7482.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">322</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> Expectation during Improvisation: The Way It Influences the Musical Dialogue</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elisa%20Negretto">Elisa Negretto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Improvisation is a fundamental form of musical practice and an increasing amount of literature shows a particular interest on the consequences it might have in different kinds of social contexts. A relevant aspect of the musical experience is the ability to create expectations, which reflects a basic strategy of the human mind, an intentional movement toward the future which is based on previous experiences. Musical Expectation – an unconscious tendency to project forward in time, to predict future sound events and the ongoing of a musical experience – can be regarded as a process that strongly influences the listeners’ emotional and affective response to music, as well as their social and aesthetic experience. While improvising, composers, interpreters and listeners generate and exchange expectations, thus creating a dynamic dialogue and meaningful relationships. The aim of this paper is to investigate how expectation contributes to the creation of such a dialogue during the unfolding of the musical experience and to what extent it influences the meaning music acquires during the performance. The difference between the ability to create expectations and the anticipation of the future ongoing of music will be questioned. Does it influence in different ways the meaning of music and the kind of dialogical relationship established between musicians and between performers and audience? Such questions will be investigated with reference to recent research in music cognition and the analysis of a particular case: a free jazz performance during which musicians improvise and/or change the location of the sound source. The present paper is an attempt to provide new insights for investigating and understanding the cognitive mechanisms underlying improvisation as a musical and social practice. They contribute to the creation of a model that we can find in many others social practices in which people have to build meaningful relationships and responses to environmental stimuli. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anticipation" title="anticipation">anticipation</a>, <a href="https://publications.waset.org/abstracts/search?q=expectation" title=" expectation"> expectation</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=meaning" title=" meaning"> meaning</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20dialogue" title=" musical dialogue"> musical dialogue</a> </p> <a href="https://publications.waset.org/abstracts/70575/expectation-during-improvisation-the-way-it-influences-the-musical-dialogue" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70575.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">247</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> Teaching and Learning Jazz Improvisation Using Bloom's Taxonomy of Learning Domains</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Graham%20Wood">Graham Wood</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The 20th Century saw the introduction of many new approaches to music making, including the structured and academic study of jazz improvisation. The rise of many school and tertiary jazz programs was rapid and quickly spread around the globe in a matter of decades. It could be said that the curriculum taught in these new programs was often developed in an ad-hoc manner due to the lack of written literature in this new and rapidly expanding area and the vastly different pedagogical principles when compared to classical music education that was prevalent in school and tertiary programs. There is widespread information regarding the theory and techniques used by jazz improvisers, but methods to practice these concepts in order to achieve the best outcomes for students and teachers is much harder to find. This research project explores the authors’ experiences as a studio jazz piano teacher, ensemble teacher and classroom improvisation lecturer over fifteen years and suggests an alignment with Bloom’s taxonomy of learning domains. This alignment categorizes the different tasks that need to be taught and practiced in order for the teacher and the student to devise a well balanced and effective practice routine and for the teacher to develop an effective teaching program. These techniques have been very useful to the teacher and the student to ensure that a good balance of cognitive, psychomotor and affective skills are taught to the students in a range of learning contexts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bloom" title="bloom">bloom</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=jazz" title=" jazz"> jazz</a>, <a href="https://publications.waset.org/abstracts/search?q=learning" title=" learning"> learning</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=teaching" title=" teaching"> teaching</a> </p> <a href="https://publications.waset.org/abstracts/58359/teaching-and-learning-jazz-improvisation-using-blooms-taxonomy-of-learning-domains" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58359.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">256</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> Sustainable Development through Cleaner Production in India: Barriers and Possible Directions for Implementation Based on Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aparajita%20Mukherjee">Aparajita Mukherjee</a>, <a href="https://publications.waset.org/abstracts/search?q=D.%20P.%20Mukherjee"> D. P. Mukherjee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper critically assessed pollution problems in small and medium enterprises with unique references to foundries and sponge iron industries to survey the adverse impact on human societies and the environment. The objective of this paper was to show how cleaner production concept was implemented in one foundry through improvisation of existing technology in India. Incremental advancement of existing technology minimized environmental issues and resource utilization. This study depicted that poor fiscal help, poor enforcement of government regulations, owners’ attitude and lacking specialized technical workers were the significant hindrances towards cleaner production. The paper explored the possible ways to overcome these hindrances for cleaner production. On a more general level, findings raise important questions regarding the need for a new paradigm for the implementation of cleaner production. Improvisation of existing technology in these enterprises would be cost effective towards sustainable development. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=SME%20pollution" title="SME pollution">SME pollution</a>, <a href="https://publications.waset.org/abstracts/search?q=ecological%20crisis" title=" ecological crisis"> ecological crisis</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20development" title=" sustainable development"> sustainable development</a>, <a href="https://publications.waset.org/abstracts/search?q=cleaner%20production" title=" cleaner production"> cleaner production</a>, <a href="https://publications.waset.org/abstracts/search?q=training" title=" training"> training</a> </p> <a href="https://publications.waset.org/abstracts/14403/sustainable-development-through-cleaner-production-in-india-barriers-and-possible-directions-for-implementation-based-on-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14403.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">370</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> Employing Nudge as Artistic Strategy in Managing Lagos Waste Issues</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Iranlade%20Festus%20Adeyem">Iranlade Festus Adeyem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper analyses the role played by the Nudge method as an artistic strategy in addressing the issues of Lagos waste management in Nigeria. As a Lagosian, experiential knowledge of Lagos’ dirty environment through careless littering, especially in the Lagos Mainland community, was helpful. Employing Nudge theory in creative waste recycling assists in persuading Lagosians through strategic sensitization to carefully weigh their options rather than being compelled to act in a dictated direction. Empirical awareness of Lagos’ environment and creative, reflective experiences were handy in inspiring the identified communities to subtly encourage the reuse, recycling and repurposing of generated waste instead of dumping it indiscriminately. The repurposed waste used to ‘upcycle’ and ‘downcycle’ contemporary artworks were displayed to highlight single-use materials as improvised alternatives to conventional ones. The Nudge concept application, therefore, persuades Lagosians, Lagos artists and trainees to see waste as untapped effective materials during the campaigns. Using the Nudge philosophy thus encourages Lagosians and creatives to use personal discretion in managing their generated waste naturally. Its application also helped intervene minimally in the Lagos waste objectives to prevent the attendant health issues that may occur. And inspire waste improvisation for the scarce, imported and expensive art materials in Lagos City. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=improvisation" title="improvisation">improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=nudge" title=" nudge"> nudge</a>, <a href="https://publications.waset.org/abstracts/search?q=upcycle%20and%20downcycle" title=" upcycle and downcycle"> upcycle and downcycle</a>, <a href="https://publications.waset.org/abstracts/search?q=strategy" title=" strategy"> strategy</a> </p> <a href="https://publications.waset.org/abstracts/193852/employing-nudge-as-artistic-strategy-in-managing-lagos-waste-issues" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193852.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">8</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> The Musical Imagination: Re-Imagining a Sound Education through Musical Boundary Play</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michael%20J.%20Cutler">Michael J. Cutler</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents what musical boundary play can look like when beginning music learners work with professional musicians with an emphasis on composition. Music education can be re-imagined through the lenses of boundary objects and boundary play by engaging non-professional musicians in collaborative sound creation, improvisation and composition along with professional musicians. To the author’s best knowledge, no similar study exists on boundary objects and boundary play in music education. The literature reviewed for this paper explores the epistemological perspectives connected to music education and situates musical boundary play as an alternative approach to the more prevalent paradigms of music education in K-12 settings. A qualitative multiple-case study design was chosen to seek an in-depth understanding of the role of boundary objects and musical boundary play. The constant comparative method was utilized in analyzing and interpreting the data resulting in the development of effective, transferable theory. The study gathered relevant data using audio and video recordings of musical boundary play, artifacts, interviews, and observations. Findings from this study offer insight into the development of a more inclusive music education and yield a pedagogical framework for music education based on musical boundary play. Through the facilitation of musical boundary play, it is possible for music learners to experience musical sound creation, improvisation and composition in the same way an instrumentalist or vocalist would without the acquisition of complex component operations required to play a traditional instrument or sing in a proficient manner. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=boundary%20play" title="boundary play">boundary play</a>, <a href="https://publications.waset.org/abstracts/search?q=boundary%20objects" title=" boundary objects"> boundary objects</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=music%20pedagogy" title=" music pedagogy"> music pedagogy</a>, <a href="https://publications.waset.org/abstracts/search?q=musical%20boundary%20play" title=" musical boundary play"> musical boundary play</a> </p> <a href="https://publications.waset.org/abstracts/125491/the-musical-imagination-re-imagining-a-sound-education-through-musical-boundary-play" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/125491.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">126</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> Computer Countenanced Diagnosis of Skin Nodule Detection and Histogram Augmentation: Extracting System for Skin Cancer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Zith%20Dey%20Babu">S. Zith Dey Babu</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Kour"> S. Kour</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Verma"> S. Verma</a>, <a href="https://publications.waset.org/abstracts/search?q=C.%20Verma"> C. Verma</a>, <a href="https://publications.waset.org/abstracts/search?q=V.%20Pathania"> V. Pathania</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Agrawal"> A. Agrawal</a>, <a href="https://publications.waset.org/abstracts/search?q=V.%20Chaudhary"> V. Chaudhary</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Manoj%20Puthur"> A. Manoj Puthur</a>, <a href="https://publications.waset.org/abstracts/search?q=R.%20Goyal"> R. Goyal</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Pal"> A. Pal</a>, <a href="https://publications.waset.org/abstracts/search?q=T.%20Danti%20Dey"> T. Danti Dey</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Kumar"> A. Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=K.%20Wadhwa"> K. Wadhwa</a>, <a href="https://publications.waset.org/abstracts/search?q=O.%20Ved"> O. Ved</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Skin cancer is now is the buzzing button in the field of medical science. The cyst's pandemic is drastically calibrating the body and well-being of the global village. Methods: The extracted image of the skin tumor cannot be used in one way for diagnosis. The stored image contains anarchies like the center. This approach will locate the forepart of an extracted appearance of skin. Partitioning image models has been presented to sort out the disturbance in the picture. Results: After completing partitioning, feature extraction has been formed by using genetic algorithm and finally, classification can be performed between the trained and test data to evaluate a large scale of an image that helps the doctors for the right prediction. To bring the improvisation of the existing system, we have set our objectives with an analysis. The efficiency of the natural selection process and the enriching histogram is essential in that respect. To reduce the false-positive rate or output, GA is performed with its accuracy. Conclusions: The objective of this task is to bring improvisation of effectiveness. GA is accomplishing its task with perfection to bring down the invalid-positive rate or outcome. The paper's mergeable portion conflicts with the composition of deep learning and medical image processing, which provides superior accuracy. Proportional types of handling create the reusability without any errors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=computer-aided%20system" title="computer-aided system">computer-aided system</a>, <a href="https://publications.waset.org/abstracts/search?q=detection" title=" detection"> detection</a>, <a href="https://publications.waset.org/abstracts/search?q=image%20segmentation" title=" image segmentation"> image segmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=morphology" title=" morphology"> morphology</a> </p> <a href="https://publications.waset.org/abstracts/133362/computer-countenanced-diagnosis-of-skin-nodule-detection-and-histogram-augmentation-extracting-system-for-skin-cancer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133362.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">150</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> Time Pressure and Its Effect at Tactical Level of Disaster Management</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agoston%20Restas">Agoston Restas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: In case of managing disasters decision makers can face many times such a special situation where any pre-sign of the drastically change is missing therefore the improvised decision making can be required. The complexity, ambiguity, uncertainty or the volatility of the situation can require many times the improvisation as decision making. It can be taken at any level of the management (strategic, operational and tactical) but at tactical level the main reason of the improvisation is surely time pressure. It is certainly the biggest problem during the management. Methods: The author used different tools and methods to achieve his goals; one of them was the study of the relevant literature, the other one was his own experience as a firefighting manager. Other results come from two surveys that are referred to; one of them was an essay analysis, the second one was a word association test, specially created for the research. Results and discussion: This article proves that, in certain situations, the multi-criteria, evaluating decision-making processes simply cannot be used or only in a limited manner. However, it can be seen that managers, directors or commanders are many times in situations that simply cannot be ignored when making decisions which should be made in a short time. The functional background of decisions made in a short time, their mechanism, which is different from the conventional, was studied lately and this special decision procedure was given the name recognition-primed decision. In the article, author illustrates the limits of the possibilities of analytical decision-making, presents the general operating mechanism of recognition-primed decision-making, elaborates on its special model relevant to managers at tactical level, as well as explore and systemize the factors that facilitate (catalyze) the processes with an example with fire managers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=decision%20making" title="decision making">decision making</a>, <a href="https://publications.waset.org/abstracts/search?q=disaster%20managers" title=" disaster managers"> disaster managers</a>, <a href="https://publications.waset.org/abstracts/search?q=recognition%20primed%20decision" title=" recognition primed decision"> recognition primed decision</a>, <a href="https://publications.waset.org/abstracts/search?q=model%20for%20making%20decisions%20in%20emergencies" title=" model for making decisions in emergencies"> model for making decisions in emergencies</a> </p> <a href="https://publications.waset.org/abstracts/47916/time-pressure-and-its-effect-at-tactical-level-of-disaster-management" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47916.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">259</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> Archaic Ontologies Nowadays: Music of Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lumini%C5%A3a%20Du%C5%A3ic%C4%83">Luminiţa Duţică</a>, <a href="https://publications.waset.org/abstracts/search?q=Gheorghe%20Du%C5%A3ic%C4%83"> Gheorghe Duţică</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many of the interrogations or dilemmas of the contemporary world found the answer in what was generically called the <em>appeal to matrix</em>. This genuine spiritual exercise of re-connection of the present to origins, to the primary source, revealed the ontological condition of timelessness, ahistorical, immutable (epi)phenomena, of those pure essences concentrated in the archetypal-referential layer of the human existence. The musical creation was no exception to this trend, the impasse generated by the deterministic excesses of the whole serialism or, conversely, by some questionable results of the extreme indeterminism proper to the avant-garde movements, stimulating the orientation of many composers to rediscover a universal grammar, as an emanation of a new ‘collective’ order (reverse of the utopian individualism). In this context, the music of oral tradition and therefore the world of the ancient modes represented a true revelation for the composers of the twentieth century, who were suddenly in front of some unsuspected (re)sources, with a major impact on all levels of edification of the musical work: morphology, syntax, timbrality, semantics etc. For the contemporary Romanian creators, the music of rituals, existing in the local archaic culture, opened unsuspected perspectives for which it meant to be a synthetic, inclusive and recoverer vision, where the primary (archetypal) genuine elements merge with the latest achievements of language of the European composers. Thus, anchored in a strong and genuine modal source, the compositions analysed in this paper evoke, in a manner as modern as possible, the atmosphere of some ancestral rituals such as: the invocation of rain during the drought (<em>Paparudele</em>, <em>Scaloianul</em>), funeral ceremony (<em>Bocetul</em>), traditions specific to the winter holidays and new year (<em>Colinda</em>, <em>Cântecul de stea</em>,<em> Sorcova</em>, <em>Folklore traditional dances</em>) etc. The reactivity of those rituals in the sound context of the twentieth century meant potentiating or resizing the archaic spirit of the primordial symbolic entities, in terms of some complexity levels generated by the technique of harmonies of chordal layers, of complex aggregates (gravitational or non-gravitational, geometric), of the mixture polyphonies and with global effect (group, mass), by the technique of heterophony, of texture and <em>cluster</em>, leading to the implementation of some processes of collective improvisation and instrumental theatre. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetype" title="archetype">archetype</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=polyphony" title=" polyphony"> polyphony</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=instrumental%20theatre" title=" instrumental theatre"> instrumental theatre</a> </p> <a href="https://publications.waset.org/abstracts/45437/archaic-ontologies-nowadays-music-of-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45437.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">304</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> The Effort of Good Governance in Enhancing Foods Security for Sustainable National Development</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Egboja%20Simon%20Oga">Egboja Simon Oga</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the most important keys to the success of a nation is to ensure steady development and national economic self-sufficiency and independence. It is therefore in this regard that this paper is designed to identify food security to be crucial to all nations’ effort toward sustainable national development. Nigeria as a case study employed various effort by the successive government towards food security. Emphasis were placed on the extent to which government has boosted food security situation on the basis of the identified limitations, conclusion was drawn, recommendation/suggestions proffered, that subsidization of the process of farm inputs like fertilizer, improved seeds and agrochemical, education of farmers on modern methods of farming through extension services, improvisation of village-based food storage mechanism and provision of infrastructural facilities in rural areas to facilitate the preservation and easy evacuation of farm produces are necessary. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=food" title="food">food</a>, <a href="https://publications.waset.org/abstracts/search?q=governance" title="governance">governance</a>, <a href="https://publications.waset.org/abstracts/search?q=development" title="development">development</a>, <a href="https://publications.waset.org/abstracts/search?q=security" title="security">security</a> </p> <a href="https://publications.waset.org/abstracts/32029/the-effort-of-good-governance-in-enhancing-foods-security-for-sustainable-national-development" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32029.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">332</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> Trait of Sales Professionals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yuichi%20Morita">Yuichi Morita</a>, <a href="https://publications.waset.org/abstracts/search?q=Yoshiteru%20Nakamori"> Yoshiteru Nakamori</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In car dealer business of Japan, a sale professional is a key factor of company’s success. We hypothesize that, if a corporation knows what is the sales professionals’ trait of its corporation’s business field, it will be easier for a corporation to secure and nurture sales persons effectively. The lean human resources management will ensure business success and good performance of corporations, especially small and medium ones. The goal of the paper is to determine the traits of sales professionals for small-and medium-size car dealers, using chi-square test and the variable rough set model. As a result, the results illustrate that experience of job change, learning ability and product knowledge are important, and an academic background, building a career with internal transfer, experience of the leader and self-development are not important to be a sale professional. Also, we illustrate sales professionals’ traits are persistence, humility, improvisation and passion at business. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traits%20of%20sales%20professionals" title="traits of sales professionals">traits of sales professionals</a>, <a href="https://publications.waset.org/abstracts/search?q=variable%20precision%20rough%20sets%20theory" title=" variable precision rough sets theory"> variable precision rough sets theory</a>, <a href="https://publications.waset.org/abstracts/search?q=sales%20professional" title=" sales professional"> sales professional</a>, <a href="https://publications.waset.org/abstracts/search?q=sales%20professionals" title=" sales professionals"> sales professionals</a> </p> <a href="https://publications.waset.org/abstracts/12741/trait-of-sales-professionals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12741.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">382</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> Challenges of Good Government in Enhancing Food Security for Sustainable National Development in Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Egboja%20Simon">Egboja Simon</a>, <a href="https://publications.waset.org/abstracts/search?q=Agi%20Sunday"> Agi Sunday</a> </p> <p class="card-text"><strong>Abstract:</strong></p> One of the most important key to success of a nation is to ensure steady development and national economic self - sufficiency and independence. There have been challenges in food security related issues in many developing nations. The problems may be as a result of rise in food price across the globe diminishing global food reserve and erratic weather patterns among other factors. In Nigeria several Agricultural politics have been formulated to curtail food security challenges. Unfortunately, these policies have not yielded the deserved results of increase food production. This paper is designed to identify the various challenges confronting food security in Nigeria with a view of highlighting the reasons that accounting for these problems. This paper also suggests ways of addressing these challenges and concludes by saying that subsidization of the process of farm inputs like fertilizer, improved seed and agro chemicals education of the farmers on modern methods of farming through extension services, improvisation of villages based food storage mechanism and provision of infrastructural facilities in rural areas to facilitate the preservation and easy evacuation of farm produce should be encouraged. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=governance" title="governance">governance</a>, <a href="https://publications.waset.org/abstracts/search?q=security" title=" security"> security</a>, <a href="https://publications.waset.org/abstracts/search?q=food" title=" food"> food</a>, <a href="https://publications.waset.org/abstracts/search?q=development" title=" development"> development</a>, <a href="https://publications.waset.org/abstracts/search?q=conflict" title=" conflict"> conflict</a>, <a href="https://publications.waset.org/abstracts/search?q=hunger" title=" hunger"> hunger</a>, <a href="https://publications.waset.org/abstracts/search?q=society" title=" society"> society</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a> </p> <a href="https://publications.waset.org/abstracts/36336/challenges-of-good-government-in-enhancing-food-security-for-sustainable-national-development-in-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36336.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">330</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> The Impact of Technology on Sales Researches and Distribution</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nady%20Farag%20Faragalla%20Hanna">Nady Farag Faragalla Hanna</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the car dealership industry in Japan, the sales specialist is a key factor in the success of the company. I hypothesize that when a company understands the characteristics of sales professionals in its industry, it is easier to recruit and train salespeople effectively. Lean human resources management ensures the economic success and performance of companies, especially small and medium-sized companies.The purpose of the article is to determine the characteristics of sales specialists for small and medium-sized car dealerships using the chi-square test and the proximate variable model. Accordingly, the results show that career change experience, learning ability and product knowledge are important, while university education, career building through internal transfer, leadership experience and people development are not important for becoming a sales professional. I also show that the characteristics of sales specialists are perseverance, humility, improvisation and passion for business. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electronics%20engineering" title="electronics engineering">electronics engineering</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing" title=" marketing"> marketing</a>, <a href="https://publications.waset.org/abstracts/search?q=sales" title=" sales"> sales</a>, <a href="https://publications.waset.org/abstracts/search?q=E-commerce%20digitalization" title=" E-commerce digitalization"> E-commerce digitalization</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20systems" title=" interactive systems"> interactive systems</a>, <a href="https://publications.waset.org/abstracts/search?q=sales%20process%20ARIMA%20models" title=" sales process ARIMA models"> sales process ARIMA models</a>, <a href="https://publications.waset.org/abstracts/search?q=sales%20demand%20forecasting" title=" sales demand forecasting"> sales demand forecasting</a>, <a href="https://publications.waset.org/abstracts/search?q=time%20series" title=" time series"> time series</a>, <a href="https://publications.waset.org/abstracts/search?q=R%20codetraits%20of%20sales%20professionals" title=" R codetraits of sales professionals"> R codetraits of sales professionals</a>, <a href="https://publications.waset.org/abstracts/search?q=variable%20precision%20rough%20sets%20theory" title=" variable precision rough sets theory"> variable precision rough sets theory</a>, <a href="https://publications.waset.org/abstracts/search?q=sales%20professional" title=" sales professional"> sales professional</a>, <a href="https://publications.waset.org/abstracts/search?q=sales%20professionals" title=" sales professionals"> sales professionals</a> </p> <a href="https://publications.waset.org/abstracts/185109/the-impact-of-technology-on-sales-researches-and-distribution" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185109.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">52</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> The Use of Music Therapy to Improve Non-Verbal Communication Skills for Children with Autism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maria%20Vinca%20Novenia">Maria Vinca Novenia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The number of school-aged children with autism in Indonesia has been increasing each year. Autism is a developmental disorder which can be diagnosed in childhood. One of the symptoms is the lack of communication skills. Music therapy is known as an effective treatment for children with autism. Music elements and structures create a good space for children with autism to express their feelings and communicate their thoughts. School-aged children are expected to be able to communicate non-verbally very well, but children with autism experience the difficulties of communicating non-verbally. The aim of this research is to analyze the significance of music therapy treatment to improve non-verbal communication tools for children with autism. This research informs teachers and parents on how music can be used as a media to communicate with children with autism. The qualitative method is used to analyze this research, while the result is described with the microanalysis technique. The result is measured specifically from the whole experiment, hours of every week, minutes of every session, and second of every moment. The samples taken are four school-aged children with autism in the age range of six to 11 years old. This research is conducted within four months started with observation, interview, literature research, and direct experiment. The result demonstrates that music therapy could be effectively used as a non-verbal communication tool for children with autism, such as changes of body gesture, eye contact, and facial expression. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=autism" title="autism">autism</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a>, <a href="https://publications.waset.org/abstracts/search?q=microanalysis" title=" microanalysis"> microanalysis</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20therapy" title=" music therapy"> music therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=nonverbal%20communication" title=" nonverbal communication"> nonverbal communication</a>, <a href="https://publications.waset.org/abstracts/search?q=school-aged" title=" school-aged"> school-aged</a> </p> <a href="https://publications.waset.org/abstracts/97831/the-use-of-music-therapy-to-improve-non-verbal-communication-skills-for-children-with-autism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97831.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">222</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> Assessment of ASEI-PDSI Method on Students’ Attitude and Achievement in Junior Secondary Schools Mathematics in FCT-Abuja</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amenaghawon%20Clement%20Osemwinyen">Amenaghawon Clement Osemwinyen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Activity, Student-centred, Experiment, Improvisation - Plan, Do, See, Improve (ASEI-PDSI) method championed by the Strengthening Mathematics And Science Education (SMASE) - Nigeria Project is an attempt to improve the quality of mathematics, which has consistently declined over the years in both public primary and secondary schools across the country. The study thus assessed the ASEI-PDSI method on students’ attitudes and achievement in junior secondary schools (JSS) mathematics in FCT-Abuja. A survey research design was adopted, and 100 mathematics teachers using a stratified random sampling method were used for the study. The data were collected using structured questionnaires and analyzed using descriptive statistics. The findings showed that the ASEI-PDSI method had significantly improved the attitudes of students toward mathematics. The study also revealed that the ASEI-PDSI method significantly influenced junior secondary school (JSS) students’ mathematics achievement. Amongst the recommendations were that teachers should be encouraged to adopt the ASEI-PDSI method in teaching and learning mathematics in order to create a mathematically stimulating classroom environment which could advertently influence junior secondary school (JSS) students’ attitude and academic performance in mathematics. Also, regular in-service training programs should be organized by stakeholders (government and other interest groups) so as to improve the teaching strategies of teachers, mostly as they affect the ASEI-PDSI method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=achievement" title="achievement">achievement</a>, <a href="https://publications.waset.org/abstracts/search?q=ASEI-PDSI%20method" title=" ASEI-PDSI method"> ASEI-PDSI method</a>, <a href="https://publications.waset.org/abstracts/search?q=attitude" title=" attitude"> attitude</a>, <a href="https://publications.waset.org/abstracts/search?q=mathematics" title=" mathematics"> mathematics</a>, <a href="https://publications.waset.org/abstracts/search?q=SMASE" title=" SMASE"> SMASE</a> </p> <a href="https://publications.waset.org/abstracts/163639/assessment-of-asei-pdsi-method-on-students-attitude-and-achievement-in-junior-secondary-schools-mathematics-in-fct-abuja" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163639.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">112</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> Improvisation of N₂ Foam with Black Rice Husk Ash in Enhanced Oil Recovery</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ishaq%20Ahmad">Ishaq Ahmad</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhaomin%20Li"> Zhaomin Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Liu%20Chengwen"> Liu Chengwen</a>, <a href="https://publications.waset.org/abstracts/search?q=Song%20yan%20Li"> Song yan Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Wang%20Lei"> Wang Lei</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhoujie%20Wang"> Zhoujie Wang</a>, <a href="https://publications.waset.org/abstracts/search?q=Zheng%20Lei"> Zheng Lei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Because nanoparticles have the potential to improve foam stability, only a small amount of surfactant or polymer is required to control gas mobility in the reservoir. Numerous researches have revealed that this specific application is in use. The goal is to improve foam formation and foam stability. As a result, the foam stability and foam ability of black rice husk ash were investigated. By injecting N₂ gases into a core flood condition, black rice husk ash was used to produce stable foam. The properties of black rice husk ash were investigated using a variety of characterization techniques. The black rice husk ash was mixed with the best-performing anionic foaming surfactants at various concentrations (ppm). Sodium dodecyl benzene sulphonate was the anionic surfactant used (SDBS). In this article, the N₂ gas- black rice husk ash (BRHA) with high Silica content is shown to be beneficial for foam stability and foam ability. For the test, a 30 cm sand pack was prepared. For the experiment, N₂ gas cylinders and SDBS surfactant liquid cylinders were used. Two N₂ gas experiments were carried out: one without a sand pack and one with a sand pack and oil addition. The black rice husk and SDBS surfactant concentration was 0.5 percent. The high silica content of black rice husk ash has the potential to improve foam stability in sand pack conditions, which is beneficial. On N₂ foam, there is an increase in black rice husk ash particles, which may play an important role in oil recovery. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=black%20rice%20husk%20ash%20nanoparticle" title="black rice husk ash nanoparticle">black rice husk ash nanoparticle</a>, <a href="https://publications.waset.org/abstracts/search?q=surfactant" title=" surfactant"> surfactant</a>, <a href="https://publications.waset.org/abstracts/search?q=N%E2%82%82%20foam" title=" N₂ foam"> N₂ foam</a>, <a href="https://publications.waset.org/abstracts/search?q=sand%20pack" title=" sand pack"> sand pack</a> </p> <a href="https://publications.waset.org/abstracts/156241/improvisation-of-n2-foam-with-black-rice-husk-ash-in-enhanced-oil-recovery" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/156241.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">206</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> Obsession of Time and the New Musical Ontologies. The Concert for Saxophone, Daniel Kientzy and Orchestra by Myriam Marbe</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dutica%20Luminita">Dutica Luminita</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archetype" title="archetype">archetype</a>, <a href="https://publications.waset.org/abstracts/search?q=chronogenesis" title=" chronogenesis"> chronogenesis</a>, <a href="https://publications.waset.org/abstracts/search?q=concert" title=" concert"> concert</a>, <a href="https://publications.waset.org/abstracts/search?q=multiphonics" title=" multiphonics"> multiphonics</a> </p> <a href="https://publications.waset.org/abstracts/29047/obsession-of-time-and-the-new-musical-ontologies-the-concert-for-saxophone-daniel-kientzy-and-orchestra-by-myriam-marbe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29047.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">543</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> Preparation of Wireless Networks and Security; Challenges in Efficient Accession of Encrypted Data in Healthcare</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Zayoud">M. Zayoud</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Oueida"> S. Oueida</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Ionescu"> S. Ionescu</a>, <a href="https://publications.waset.org/abstracts/search?q=P.%20AbiChar"> P. AbiChar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Wireless sensor network is encompassed of diversified tools of information technology, which is widely applied in a range of domains, including military surveillance, weather forecasting, and earthquake forecasting. Strengthened grounds are always developed for wireless sensor networks, which usually emerges security issues during professional application. Thus, essential technological tools are necessary to be assessed for secure aggregation of data. Moreover, such practices have to be incorporated in the healthcare practices that shall be serving in the best of the mutual interest Objective: Aggregation of encrypted data has been assessed through homomorphic stream cipher to assure its effectiveness along with providing the optimum solutions to the field of healthcare. Methods: An experimental design has been incorporated, which utilized newly developed cipher along with CPU-constrained devices. Modular additions have also been employed to evaluate the nature of aggregated data. The processes of homomorphic stream cipher have been highlighted through different sensors and modular additions. Results: Homomorphic stream cipher has been recognized as simple and secure process, which has allowed efficient aggregation of encrypted data. In addition, the application has led its way to the improvisation of the healthcare practices. Statistical values can be easily computed through the aggregation on the basis of selected cipher. Sensed data in accordance with variance, mean, and standard deviation has also been computed through the selected tool. Conclusion: It can be concluded that homomorphic stream cipher can be an ideal tool for appropriate aggregation of data. Alongside, it shall also provide the best solutions to the healthcare sector. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aggregation" title="aggregation">aggregation</a>, <a href="https://publications.waset.org/abstracts/search?q=cipher" title=" cipher"> cipher</a>, <a href="https://publications.waset.org/abstracts/search?q=homomorphic%20stream" title=" homomorphic stream"> homomorphic stream</a>, <a href="https://publications.waset.org/abstracts/search?q=encryption" title=" encryption"> encryption</a> </p> <a href="https://publications.waset.org/abstracts/52690/preparation-of-wireless-networks-and-security-challenges-in-efficient-accession-of-encrypted-data-in-healthcare" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/52690.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">260</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> Reimaging Archetype of Mosque: A Case Study on Contemporary Mosque Architecture in Bangladesh</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sabrina%20Rahman">Sabrina Rahman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Mosque is Islam’s most symbolic structure, as well as the expression of collective identity. From the explicit words of our Prophet, 'The earth has been created for me as a masjid and a place of purity, and whatever man from my Ummah finds himself in need of prayer, let him pray' (anywhere)! it is obvious that a devout Muslim does not require a defined space or structure for divine worship since the whole earth is his prayer house. Yet we see that from time immemorial man throughout the Muslim world has painstakingly erected innumerable mosques. However, mosque design spans time, crosses boundaries, and expresses cultures. It is a cultural manifestation as much as one based on a regional building tradition or a certain interpretation of religion. The trend to express physical signs of religion is not new. Physical forms seem to convey symbolic messages. However, in recent times physical forms of mosque architecture are dominantly demising from mosque architecture projects in Bangladesh. Dome & minaret, the most prominent symbol of the mosque, is replacing by contextual and contemporary improvisation rather than subcontinental mosque architecture practice of early fellows. Thus the recent mosque projects of the last 15 years established the contemporary architectural realm in their design. Contextually, spiritual lighting, the serenity of space, tranquility of outdoor spaces, the texture of materials is widely establishing a new genre of Muslim prayer space. A case study based research will lead to specify its significant factors of modernism. Based on the findings, the paper presents evidence of recent projects as well as a guideline for the future image of contemporary Mosque architecture in Bangladesh. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20architecture" title="contemporary architecture">contemporary architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=modernism" title=" modernism"> modernism</a>, <a href="https://publications.waset.org/abstracts/search?q=prayer%20space" title=" prayer space"> prayer space</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolism" title=" symbolism"> symbolism</a> </p> <a href="https://publications.waset.org/abstracts/127588/reimaging-archetype-of-mosque-a-case-study-on-contemporary-mosque-architecture-in-bangladesh" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127588.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">121</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">10</span> Fed-Batch Mixotrophic Cultivation of Microalgae Scenedesmus sp., Using Airlift Photobioreactor</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lakshmidevi%20Rajendran">Lakshmidevi Rajendran</a>, <a href="https://publications.waset.org/abstracts/search?q=Bharathidasan%20Kanniappan"> Bharathidasan Kanniappan</a>, <a href="https://publications.waset.org/abstracts/search?q=Gopi%20Raja"> Gopi Raja</a>, <a href="https://publications.waset.org/abstracts/search?q=Muthukumar%20Karuppan"> Muthukumar Karuppan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigates the feasibility of fed-batch mixotrophic cultivation of microalgae Scenedesmus sp. in a 3-litre airlift photobioreactor under standard operating conditions. The results of this study suggest the algae species may serve as an excellent feed for aquatic species using organic byproducts. Microalgae Scenedesmus sp., was cultured using a synthetic wastewater by stepwise addition of crude glycerol concentration ranging from 2-10g/l under fed-batch mixotrophic mode for a period of 15 days. The attempts were made with the stepwise addition of crude glycerol as a carbon source in the initial growth phase to evade the inhibitory nature of high glycerol concentration on the growth of Scenedesmus sp. Crude glycerol was chosen since it is readily accessible as byproduct from biodiesel production sectors. Highest biomass concentration was achieved to be 2.43 g/l at the crude glycerol concentration of 6g/l after 10 days which is 3 fold times the increase in the biomass concentration compared with the control medium without the addition of glycerol. Biomass growth data obtained for the microalgae Scenedesmus sp. was fitted well with the modified Logistic equation. Substrate utilization kinetics was also employed to model the biomass productivity with respect to the various crude glycerol concentration. The results indicated that the supplement of crude glycerol to the mixotrophic culture of Scenedesmus sp., enhances the biomass concentration, chlorophyll and lutein productivity. Thus the application of fed-batch mixotrophic cultivation with stepwise addition of crude glycerol to Scenedesmus sp., provides a subtle way to reduce the production cost and improvisation in the large-scale cultivation along with biochemical compound synthesis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=airlift%20photobioreactor" title="airlift photobioreactor">airlift photobioreactor</a>, <a href="https://publications.waset.org/abstracts/search?q=crude%20glycerol" title=" crude glycerol"> crude glycerol</a>, <a href="https://publications.waset.org/abstracts/search?q=microalgae%20Scenedesmus%20sp." title=" microalgae Scenedesmus sp."> microalgae Scenedesmus sp.</a>, <a href="https://publications.waset.org/abstracts/search?q=mixotrophic%20cultivation" title=" mixotrophic cultivation"> mixotrophic cultivation</a>, <a href="https://publications.waset.org/abstracts/search?q=lutein%20production" title=" lutein production"> lutein production</a> </p> <a href="https://publications.waset.org/abstracts/85027/fed-batch-mixotrophic-cultivation-of-microalgae-scenedesmus-sp-using-airlift-photobioreactor" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85027.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">187</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">9</span> Optical Board as an Artificial Technology for a Peer Teaching Class in a Nigerian University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Azidah%20Abu%20Ziden">Azidah Abu Ziden</a>, <a href="https://publications.waset.org/abstracts/search?q=Adu%20Ifedayo%20Emmanuel"> Adu Ifedayo Emmanuel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigated the optical board as an artificial technology for peer teaching in a Nigerian university. A design and development research (DDR) design was adopted, which entailed the planning and testing of instructional design models adopted to produce the optical board. This research population involved twenty-five (25) peer-teaching students at a Nigerian university consisting of theatre arts, religion, and language education-related disciplines. Also, using a random sampling technique, this study selected eight (8) students to work on the optical board. Besides, this study introduced a research instrument titled lecturer assessment rubric containing 30-mark metrics for evaluating students’ teaching with the optical board. In this study, it was discovered that the optical board affords students acquisition of self-employment skills through their exposure to the peer teaching course, which is a teacher training module in Nigerian universities. It is evident in this study that students were able to coordinate their design and effectively develop the optical board without lecturer’s interference. This kind of achievement in this research shows that the Nigerian university curriculum had been designed with contents meant to spur students to create jobs after graduation, and effective implementation of the readily available curriculum contents is enough to imbue students with the needed entrepreneurial skills. It was recommended that the Federal Government of Nigeria (FGN) must discourage the poor implementation of Nigerian university curriculum and invest more in the betterment of the readily available curriculum instead of considering a synonymously acclaimed new curriculum for regurgitated teaching and learning process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=optical%20board" title="optical board">optical board</a>, <a href="https://publications.waset.org/abstracts/search?q=artificial%20technology" title=" artificial technology"> artificial technology</a>, <a href="https://publications.waset.org/abstracts/search?q=peer%20teaching" title=" peer teaching"> peer teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=educational%20technology" title=" educational technology"> educational technology</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigeria" title=" Nigeria"> Nigeria</a>, <a href="https://publications.waset.org/abstracts/search?q=Malaysia" title=" Malaysia"> Malaysia</a>, <a href="https://publications.waset.org/abstracts/search?q=university" title=" university"> university</a>, <a href="https://publications.waset.org/abstracts/search?q=glass" title=" glass"> glass</a>, <a href="https://publications.waset.org/abstracts/search?q=wood" title=" wood"> wood</a>, <a href="https://publications.waset.org/abstracts/search?q=electrical" title=" electrical"> electrical</a>, <a href="https://publications.waset.org/abstracts/search?q=improvisation" title=" improvisation"> improvisation</a> </p> <a href="https://publications.waset.org/abstracts/164311/optical-board-as-an-artificial-technology-for-a-peer-teaching-class-in-a-nigerian-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164311.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">67</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">8</span> Shielding Engineered Islets with Mesenchymal Stem Cells Enhance Survival under Hypoxia by Inhibiting p38 MAPK</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bhawna%20Chandravanshi">Bhawna Chandravanshi</a>, <a href="https://publications.waset.org/abstracts/search?q=Ramesh%20Bhonde"> Ramesh Bhonde</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, we focused on the improvisation of islet survival in hypoxia. The Islet-like cell aggregates (ICAs) derived from Wharton's jelly mesenchymal stem cells (WJ-MSC) were cultured with and without WJ-MSC for 48h in hypoxia and normoxia and tested for their direct trophic effect on β cell survival. The WJ MSCs themselves secreted insulin upon glucose challenge and expressed the pancreatic markers at both transcription and translational level (C-peptide, Insulin, Glucagon and Glut 2). Direct contact of MSCs with ICAs facilitate the highest viability under hypoxia as evidenced by fluorescein diacetate/propidium iodide and 3-(4,5-dimethylthiazol-2-yl)-2,5-diphenyltetrazolium bromide (MTT) assay. The cytokine analysis of the co-cultured ICAs revealed amplification of anti-inflammatory cytokine-like TGFβ and TNFα accompanied by depletion of pro-inflammatory cytokines. The increment in VEGF and PDGFa was also seen showing their ability to vascularize upon transplantation. This was further accompanied by reduction in total reactive oxygen species, nitric oxide, and super oxide ions and down-regulation of Caspase3, Caspase8, p53 and up regulation of Bcl2 confirming prevention of apoptosis in ICAs. There was a significant reduction in the expression of p38 protein in the presence of MSCs making the ICAs responsive to glucose. Taken together our data demonstrate for the first time that the WJ-MSC expressed pancreatic markers and their supplementation protected engineered islets against hypoxia, oxidative stress, and inflammatory cytokines by inhibiting p38 MAPK protein. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hypoxia" title="hypoxia">hypoxia</a>, <a href="https://publications.waset.org/abstracts/search?q=islet-like%20cell%20aggregates" title=" islet-like cell aggregates"> islet-like cell aggregates</a>, <a href="https://publications.waset.org/abstracts/search?q=inflammatory%20cytokines" title=" inflammatory cytokines"> inflammatory cytokines</a>, <a href="https://publications.waset.org/abstracts/search?q=oxidative%20stress" title=" oxidative stress"> oxidative stress</a> </p> <a href="https://publications.waset.org/abstracts/65044/shielding-engineered-islets-with-mesenchymal-stem-cells-enhance-survival-under-hypoxia-by-inhibiting-p38-mapk" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65044.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">261</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">7</span> Manodharmam: A Scientific Methodology for Improvisation and Cognition in Carnatic Music</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghavi%20Janaswamy">Raghavi Janaswamy</a>, <a href="https://publications.waset.org/abstracts/search?q=Saraswathi%20K.%20Vasudev"> Saraswathi K. Vasudev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is ubiquitous in human lives. Ever since the fetus hears the sound inside the mother’s womb and later upon birth, the baby experiences alluring sounds, the curiosity of learning emanates and evokes exploration. Music is an education than mere entertainment. The intricate balance between music, education, and entertainment has well been recognized by the scientific community and is being explored as a viable tool to understand and improve human cognition. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da, and Ni in the Carnatic music system that are analogous to C, D, E, F, G, A, and B of the western system. The Carnatic music builds on the conscious use of microtones, gamakams (oscillation), and rendering styles that evolved over centuries and established its stance. The complex but erudite raga system has been designed with elaborate experiments on srutis (musical sounds) and human perception abilities. In parallel, ‘rasa’- the emotions evoked by certain srutis and hence the ragas been solidified along with the power of language in combination with the musical sounds. The Carnatic music branches out as Kalpita sangeetam (pre-composed music) and Manodharma sangeetam (improvised music). This article explores the Manodharma sangeetam and its subdivisions such as raga alapana, swara kalpana, neraval, and ragam-tanam-pallavi (RTP). The intrinsic mathematical strategies in it’s practice methods toward improvising the music have been explored in detail with concert examples. The techniques on swara weaving for swara kalpana rendering and methods on the alapana development are also discussed at length with an emphasis on the impact on the human cognitive abilities. The articulation of the outlined conscious practice methods not only helps to leave a long-lasting melodic impression on the listeners but also onsets cognitive developments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carnatic" title="Carnatic">Carnatic</a>, <a href="https://publications.waset.org/abstracts/search?q=Manodharmam" title=" Manodharmam"> Manodharmam</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20cognition" title=" music cognition"> music cognition</a>, <a href="https://publications.waset.org/abstracts/search?q=Alapana" title=" Alapana"> Alapana</a> </p> <a href="https://publications.waset.org/abstracts/140422/manodharmam-a-scientific-methodology-for-improvisation-and-cognition-in-carnatic-music" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/140422.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">203</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">6</span> Carnatic Music Ragas and Their Role in Music Therapy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Raghavi%20Janaswamy">Raghavi Janaswamy</a>, <a href="https://publications.waset.org/abstracts/search?q=Saraswathi%20K.%20Vasudev"> Saraswathi K. Vasudev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Raga, as the soul and base, is a distinctive musical entity, in the music system, with unique structure on its construction of srutis (musical sounds) and application. One of the essential components of the music system is the <em>‘tala’ </em>that defines the rhythm of a song. There are seven basic swaras (notes) Sa, Ri, Ga, Ma, Pa, Da and Ni in the carnatic music system that are analogous to the C, D, E, F, G, A and B of the western system. The carnatic music further builds on conscious use of microtones, gamakams (oscillation) and rendering styles. It has basic 72 ragas known as melakarta ragas, and a plethora of ragas have been developed from them with permutations and combinations of the basic swaras. Among them, some ragas derived from a same melakarta raga are distinctly different from each other and could evoke a profound difference in the raga bhava (emotion) during rendering. Although these could bear similar arohana and avarohana swaras, their quintessential differences in the gamakas usage and srutis present therein offer varied melodic feelings; variations in the intonation and stress given to certain swara phrases are the root causes. This article enlightens a group of such allied ragas (AR) from the perspectives of their schema and raga alapana (improvisation), ranjaka prayogas (signature phrases), differences in rendering tempo, gamakas and delicate srutis along with the range of sancharas (musical phrases). The intricate differences on the sruti frequencies and use of AR in composing kritis (musical compositions) toward emotive accomplishments such as mood of valor, kindness, love, humor, anger, mercy to name few, have also been explored. A brief review on the existing scientific research on the music therapy on some of the Carnatic ragas is presented. Studying and comprehending the AR, indeed, enable the music aspirants to gain a thorough knowledge on the subtle nuances among the ragas. Such knowledge helps leave a long-lasting melodic impression on the listeners and enable further research on the music therapy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carnatic%20music" title="Carnatic music">Carnatic music</a>, <a href="https://publications.waset.org/abstracts/search?q=allied%20ragas" title=" allied ragas"> allied ragas</a>, <a href="https://publications.waset.org/abstracts/search?q=melakarta" title=" melakarta"> melakarta</a>, <a href="https://publications.waset.org/abstracts/search?q=gamakam" title=" gamakam"> gamakam</a> </p> <a href="https://publications.waset.org/abstracts/133062/carnatic-music-ragas-and-their-role-in-music-therapy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133062.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">198</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">5</span> Teaching English in Low Resource-Environments: Problems and Prospects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gift%20Chidi-Onwuta">Gift Chidi-Onwuta</a>, <a href="https://publications.waset.org/abstracts/search?q=Iwe%20Nkem%20Nkechinyere"> Iwe Nkem Nkechinyere</a>, <a href="https://publications.waset.org/abstracts/search?q=Chikamadu%20Christabelle%20Chinyere"> Chikamadu Christabelle Chinyere</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The teaching of English is a resource-driven activity that requires rich resource-classroom settings for the delivery of effective lessons and the acquisition of interpersonal skills for integration in a target-language environment. However, throughout the world, English is often taught in low-resource classrooms. This paper is aimed to reveal the common problems associated with teaching English in low-resource environments and the prospects for teachers who found themselves in such undefined teaching settings. Self-structured and validated questionnaire in a closed-ended format, open question format and scaling format was administered to teachers across five countries: Nigeria, Cameroun, Iraq, Turkey, and Sudan. The study adopts situational language teaching theory (SLTT), which emphasizes a performance improvement imperative. This study inclines to this model because it maintains that learning must be fun and enjoyable like playing a favorite sport, just as in real life. Since teaching resources make learning engaging, we found this model apt for the current study. The perceptions of teachers about accessibility and functionality of teaching material resources, the nature of teaching outcomes in resource-less environments, their levels of involvement in improvisation and the prospects associated with resource limitations were sourced. Data were analysed using percentages and presented in frequency tables. Results: showed that a greater number of teachers across these nations do not have access to sufficient productive resource materials that can aid effective English language teaching. Teaching outcomes, from the findings, are affected by low material resources; however, results show certain advantages to teaching English with limited resources: flexibility and autonomy with students and creativity and innovation amongst teachers. Results further revealed group work, story, critical thinking strategy, flex, cardboards and flashcards, dictation and dramatization as common teaching strategies, as well as materials adopted by teachers to overcome low resource-related challenges in classrooms. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=teaching%20materials" title="teaching materials">teaching materials</a>, <a href="https://publications.waset.org/abstracts/search?q=low-resource%20environments" title=" low-resource environments"> low-resource environments</a>, <a href="https://publications.waset.org/abstracts/search?q=English%20language%20teaching" title=" English language teaching"> English language teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=situational%20language%20theory" title=" situational language theory"> situational language theory</a> </p> <a href="https://publications.waset.org/abstracts/147517/teaching-english-in-low-resource-environments-problems-and-prospects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147517.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">130</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">4</span> Perception of Eco-Music From the Contents the Earth’s Sound Ecosystem</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joni%20Asitashvili">Joni Asitashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Eka%20Chabashvili"> Eka Chabashvili</a>, <a href="https://publications.waset.org/abstracts/search?q=Maya%20Virsaladze"> Maya Virsaladze</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Chokhonelidze"> Alexander Chokhonelidze</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Studying the soundscape is a major challenge in many countries of the civilized world today. The sound environment and music itself are part of the Earth's ecosystem. Therefore, researching its positive or negative impact is important for a clean and healthy environment. The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability to imitate the surrounding sound. For example, a population surrounded by mountains invented the technique of antiphonal singing, which mimics the effect of an echo. Canadian composer Raymond Murray Schafer viewed the world as a kind of musical instrument with ever-renewing tuning. He coined the term "Soundscape" as a name of a natural environmental sound, including the sound field of the Earth. It can be said that from which the “music of nature” is constructed. In the 21st century, a new field–Ecomusicology–has emerged in the field of musical art to study the sound ecosystem and various issues related to it. Ecomusicology considers the interconnections between music, culture, and nature–According to the Aaron Allen. Eco-music is a field of ecomusicology concerning with the depiction and realization of practical processes using modern composition techniques. Finding an artificial sound source (instrumental or electronic) for the piece that will blend into the soundscape of Sound Oases. Creating a composition, which sounds in harmony with the vibrations of human, nature, environment, and micro- macrocosm as a whole; Currently, we are exploring the ambient sound of the Georgian urban and suburban environment to discover “Sound Oases" and compose Eco-music works. We called “Sound Oases" an environment with a specific sound of the ecosystem to use in the musical piece as an instrument. The most interesting examples of Eco-music are the round dances, which were already created in the BC era. In round dances people would feel the united energy. This urge to get united revealed itself in our age too, manifesting itself in a variety of social media. The virtual world, however, is not enough for a healthy interaction; we created plan of “contemporary round dance” in sound oasis, found during expedition in Georgian caves, where people interacted with cave's soundscape and eco-music, they feel each other sharing energy and listen to earth sound. This project could be considered a contemporary round dance, a long improvisation, particular type of art therapy, where everyone can participate in an artistic process. We would like to present research result of our eco-music experimental performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eco-music" title="eco-music">eco-music</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=sound" title=" sound"> sound</a>, <a href="https://publications.waset.org/abstracts/search?q=oasis" title=" oasis"> oasis</a> </p> <a href="https://publications.waset.org/abstracts/173544/perception-of-eco-music-from-the-contents-the-earths-sound-ecosystem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173544.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">61</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=improvisation&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=improvisation&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 href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); });*/ jQuery.get({ url: "https://publications.waset.org/xhr/user-menu", cache: false }).then(function(response){ jQuery('#mainNavMenu').append(response); }); }); </script> </body> </html>