Fast Tempo Research Articles

김세종제 〈춘향가〉의 평조와 우조

This paper examines the characteristics of the musical modes--pyeongjo and ujo--in the Kim Sejong version of Chunhyangga, a work that holds significant influence in modern pansori (epic story-telling and singing) and plays a crucial role in the discussion of pansori's musical modes. The findings can be summarized as follows:In contrast to conventional beliefs, it was found that pyeongjo and ujo in the Kim Sejong version of Chunhyangga possess modal complexity. Pyeongjo, primarily based on the scale of sol-la-do-re-mi, also incorporates re-mi-sol-la-do (sol-la-do-re-fa) through modulation of variable tones and homophonic rows, taking on the form of sol-la-do-re-mi(fa). This suggests that pyeongjo is a complex system where multiple modes converge, thereby necessitating a reexamination of the previously understood nature of pyeongjo. As opposed to pyeongjo that blends elements within the same modal family, ujo is distinctive in its fusion with the contrasting pyeongjo. Ujo, fundamentally la-do-re-mi-sol, shares melodic forms, stable tones, and structural tones with pyeongjo through homophonic modulation. This results in the infusion of pyeongjo's characteristics into ujo, particularly in faster tempos like huimori, where the blending becomes so intense that ujo and pyeongjo appear intertwined as a single mode. Therefore, the modal complexity of ujo leads to a stylistic ambiguity. While the modal complexity of pyeongjo and ujo revealed in this study is specific to the Kim Sejong version of Chunhyangga, it provides insights worth considering in the broader discourse on pansori's musical modes. Notably, the various differing opinions in existing pansori mode studies may ultimately converge on the modal complexity of pyeongjo and ujo.

The impact of visitor attributes on the spatial experience in exhibition halls with background music

The exhibition hall is public architectural space with diverse forms, which serves as an exceptional research environment for investigating spatial experience. As a potent auditory stimulus capable of evoking emotions effectively, music exerts influence on behavioral responses in different contexts. However, the existing literature on interior space design rarely integrates soundscape considerations. Therefore, this study aims to explore the impact of tourist attributes-such as music learning experience, listening frequency, exhibition visiting motivation, personality traits, and neuroticism-on spatial experiences based on music perception and interior layouts. The background music is categorized into five sound conditions based on mode and tempo: no music, medium tempo in major, medium tempo in minor, fast tempo in major, and slow tempo in major. Meanwhile, the exhibition space is classified into four categories according to its interior layout: axis space, scale contrast space, shape contrast space, and flow space. The result shows that in different spatial environment with different music background, tourist attributes have different effects on the subjective spatial perception.

SNARC-like effect for tempo is consistent for fast and full tempo ranges but still controversial for slow tempo range.

Recent evidence suggested the existence of a spatial associations for music tempo with faster left-hand responses to relatively slow tempos and faster right-hand responses to relatively fast tempos. We refer to a study that systematically explored these spatial associations across different tempo ranges, revealed a clear effect only in the fast tempo range (DOI 10.3758/s13414-019-01945-8). The present study further investigated whether a spatial association exists across different tempo ranges (i.e., "full", "slow" or "fast" tempo range). In particular, the present study was conducted aiming (1) to test the spatial associations for tempo in the full tempo range (Experiment 1) and (2) to further investigate the occurrence of this spatial associations in the slow and fast tempo ranges (Experiment 2). Experiment 1 revealed a spatial association for tempo occurs in the full tempo range (40-200 bpm). Experiment 2 confirmed this association in the fast tempo range (133-201 bpm) but showed contradictory results in the slow tempo range (40-104 bpm). This suggests that a spatial association is plausible in the slow tempo range, although further research is needed to clarify this phenomenon.

One-HIIT wonder: Can music make high-intensity interval training more pleasant?

The use of music as an aid to recovery during and after exercise is an area of growing scientific interest. We investigated the effects of in-task, asynchronous music and respite–active music (i.e., music used for active recovery in between high-intensity exercise bouts) on a range of psychological, psychophysical and psychophysiological outcomes. Participants (N = 28; 14 females) made five laboratory visits for: (a) pre-test/familiarisation; (b) fast-tempo music during supramaximal exercise bouts and medium-tempo music during active-recovery periods; (c) fast-tempo music during exercise and no music during recovery; (d) no music during exercise and medium-tempo music during recovery; and (e) a no-music (throughout) control. A cycle ergometer-based HIIT protocol comprising 6 × 60-s bouts at 100% Wmax with 75-s active recovery was administered. Measures were taken at the end of supramaximal bouts and active recovery periods (RPE, state attention, core affect, state motivation), then upon cessation of the protocol (remembered pleasure and exercise enjoyment). Heart rate and heart rate variability (HRV) measures were taken throughout. The music manipulations only had an effect on state motivation, which was higher (p = 0.036) in the fast tempo–medium tempo condition compared to no-music control (Cohen’s d = 0.49), and the SDNN component of HRV, which was lower (p = 0.007) in the fast-tempo–no-music condition compared to control (Cohen’s d = 0.32). Collectively, the present findings do not support any of the study hypotheses regarding the music-related manipulations, and do not concur with the findings of related studies (e.g., Karageorghis et al., 2021). The unexpected results are discussed with reference to extant theory, and recommendations are offered in regard to music-related applications.

Background music varying in tempo and emotional valence differentially affects cognitive task performance: experimental within-participant comparison

The degree of stimulation provided by background music appears to affect performance on cognitive tasks. Moreover, individual differences influence what degree of stimulation is beneficial or detrimental. In a within-subject design, 40 participants (Mean Age: 26.15, SD: 2.99) completed cognitive tasks (immediate and delayed recall, phonemic fluency, trail-making) under varying (2 tempi: fast/slow×2 valences: positive/negative) musical background conditions. Further, they completed questionnaires on individual differences (extraversion, noise sensitivity, annoyance/distraction by background noise). Performance was assessed using analyses of variance and mixed-effect models. Sensitivity analyses adjusted for stimulus liking and further individual characteristics. Fast (vs. slow) tempo was associated with better immediate recall (p = .002, η2 = .08) and phonemic fluency (p < .001, η2 = .16). Positive (vs. negative) valence was also associated with better immediate recall (p < .001, η2 = .10) and phonemic fluency (p < .001, η2 = .10). The association of positive valence with phonemic fluency was attenuated in those with above average Annoyance/Distraction by Background Noise. The latter also had a slower performance in the trail making test under positive background music. The association of fast tempo with verbal fluency was stronger among those scoring high in Noise Sensitivity. Overall, our results suggest that, with regard to concurrent cognitive performance, fast tempo, positively valenced background music is preferable over slow, negatively valenced background music. A deeper understanding of inter-individual differences could allow further individualisation of background music for cognitive task performance.

Acute Effects of Slow, Moderate and Fast Tempo Dynamic Stretching Exercises on Power in Well-Trained Male Wrestlers.

Due to the potential detrimental effects of static stretching exercises on subsequent muscle power performance, athletes and trainers have started to replace static stretching with dynamic stretching exercises in their training routines. However, there are no well-accepted guidelines regarding dynamic stretching variables, including tempo/velocity, volume (reps and sets), etc. Therefore, this study aimed to evaluate the acute effects of slow, moderate, and fast tempo dynamic stretching exercises on jump height, relative power, the reactive strength index, and leg stiffness in well-trained male wrestlers. Seventeen wrestlers (aged 20.00 ± 4.06 years, wrestling experience 6.00 ± 3.09 years, and training volume per week 10.00 ± 5.69 hours) took part in the experiment under four conditions (control session, slow tempo dynamic stretching, moderate tempo dynamic stretching, and fast tempo dynamic stretching) on separate days with a 72-h interval in between, following a randomized, crossover study design. The control session consisted of a 10-min jog on a motor-driven treadmill at 6 km/h and a 0% slope. Dynamic stretching sessions consisted of seven dynamic stretching exercises performed at 50 bpm, 100 bpm, and 120 bpm, following a 5-min warm-up on a treadmill at 6 km/h and a 0% slope. After each condition, wrestlers performed a 2 x 30-s repeated vertical jump test with 5-min rest intervals in between. The best results for jump height, relative power, the reactive strength index, and leg stiffness were registered for statistical analysis. One-way repeated ANOVA results demonstrated that there were no significant differences in pairwise comparisons of all variables obtained after the four different conditions (p > 0.05). Overall, none of the slow, moderate, and fast tempo dynamic stretching exercises led to a change in repeated jump performance of well-trained male athletes. Further studies are needed to clarify the acute effects of different tempo dynamic stretching on muscular performance in well-trained wrestlers.

Tinjauan Permainan Kesenian Irama Minang (KIM) Sebagai Budaya Masyarakat Minangkabau

Every region certainly has games that are often used on certain occasions andcan even be said to be part of their culture. The purpose of this study is to review one of the games in West Sumatera namely Kesenian Irama Minang (KIM) game so that it has become one of the popular cultural games in Minangkabau. In this research, the approach used is a qualitative approach with descriptive analysis methods and the data was collected by means of interviews and literature studies to complete statements from the interview results.The results found that the KIM game was introduced in the Pariaman area of West Sumatra and was first popularized at weddings. Looking at the popularity of the KIM game researchers reviewed it from a musical perspective and concluded that the KIM game has different song forms, the poems are like rhymes with rhymes a-ba-b using the Minang regional language and use a fast tempo or what is usually called with Allegro.

Psychological Effects of Music in Exercise and Sports Performance

Purpose: The general purpose of this study was to examine the psychological effects of music in exercise and sports performance.&#x0D; Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through the online journals and library.&#x0D; Findings: The findings reveal that there exists a contextual and methodological gap relating to technology and traditional arts in modern sporting events. Preliminary empirical review revealed that music significantly influences psychological states during physical activity. It found that music with faster tempos and motivational lyrics enhanced arousal, mood, and performance outcomes such as endurance and coordination. Additionally, personalized music interventions tailored to individual preferences maximized the performance-enhancing effects of music. The study emphasized the importance of considering both psychological and physiological responses to music in designing effective interventions for optimizing performance outcomes and promoting exercise adherence. Overall, the findings highlighted the intricate relationship between music and exercise performance and suggested potential avenues for future research in this area.&#x0D; Unique Contribution to Theory, Practice and Policy: Theory of Arousal Regulation, Self-Determination Theory (SDT) and Attentional Focus may be used to anchor future studies on psychological effects of music in exercise and sports performance. The study provided comprehensive recommendations that contributed to theory, practice, and policy in the field. Through theoretical development, the study refined existing frameworks such as the Theory of Arousal Regulation and Self-Determination Theory, deepening our understanding of how music influences psychological states in athletic contexts. Practical guidelines were established to integrate music into athlete preparation routines, emphasizing personalized playlists and warm-up protocols to optimize performance outcomes. Policy implications highlighted the need to institutionalize music-based interventions in sports programs, promoting athlete well-being and enjoyment. Furthermore, the study identified future research priorities, evaluation frameworks, and public health initiatives to advance the integration of music into exercise and sports settings, fostering physical activity participation and overall health.

An Analysis of Double Bass Vibrato

The purpose of this study was to investigate the rates, widths, and pitches of university double bass players’ vibrato in relation to pitch height, fingers used, and tempo. Forty ( N = 40) undergraduate and graduate double bass players performed excerpts in first, fourth, and thumb positions. The overall mean vibrato rate and width was 5.17 Hz and 19 cents. Analyses indicated that university double bassists employed faster vibrato rates and increased width as they performed in progressively higher registers. The third and fourth fingers vibrated the fastest, but the second finger produced the largest width. Musical examples played with a fast tempo were both faster and wider (5.35 Hz, 20 cents) than musical examples played with a slow tempo (4.94 Hz, 19 cents). Participants vibrated almost equally above and below the in-tune pitch—overall mean pitches of vibrated and non-vibrated tones varied by 1 cent. Music educators may use these results to create more consistent descriptions of double bass vibrato and, potentially, more efficient methods for teaching vibrato.

Quantifying the External Joint Workload and Safety of Latin Dance in Older Adults: Potential Benefits for Musculoskeletal Health

As global aging rises, identifying strategies to mitigate age-related physical decline has become an urgent priority. Dance represents a promising exercise modality for older adults, yet few studies have quantified the external loads older dancers experience. This study aimed to characterize the impacts accumulated across lower limb and spinal locations in older adults during Latin dance. Thirty older Latin dancers (age = 66.56 ± 6.38 years; female = 93.3%) wore inertial sensors on the scapulae, lumbar spine, knees, and ankles during a 1 h class. A distal-to-proximal gradient emerged in the total impacts (F = 429.29; p &lt; 0.01; ωp2 = 0.43) and per intensities (F = 103.94-to-665.55; p &lt; 0.01; ωp2 = 0.07-to-0.54), with the highest impacts sustained in the ankles (≈9000 total impacts) from 2 g to &gt;10 g (p &lt; 0.01; d = 1.03-to-4.95; ankles &gt; knees &gt; lower back &gt; scapulae) and knees (≈12,000 total impacts) when &lt;2 g (p &lt; 0.01, d = 2.73-to-3.25; knees &gt; ankles &gt; lower back &gt; scapulae). The majority of the impacts remained below 6 g across all anatomical locations (&gt;94%). The impacts also increased in lower limb locations with faster tempos (r = 0.10-to-0.52; p &lt; 0.01), while subtly accumulating over successive songs rather than indicating fatigue (r = 0.11-to-0.35; p &lt; 0.01). The mild ankle and knee loads could strengthen the dancers’ lower extremity bones and muscles in a population vulnerable to sarcopenia, osteoporosis, and falls. Quantifying the workload via accelerometry enables creating personalized dance programs to empower healthy aging. With global aging rising, this work addresses a timely public health need regarding sustainable lifelong exercise for older people. Ranging from low to moderate, the measured impact magnitudes suggest that dance lessons may provide enough osteogenic stimulus without overloading structures.

QUALITATIVE ANALYSIS ON THE APPLICATION OF TEMPO ON THE CHOIR SONGS WITHOUT TEMPO MARKINGS

This research was conducted with the aim of understanding and explaining how tempo is applied in singing choir songs that do not have tempo markings. Tempo, in this context, refers to the speed or slowness with which a musical composition is sung, either by human vocals or musical instruments. To measure the speed of a song, a tool called a Maezel Metronome is used. Tempo markings can be classified into several groups, such as very slow, not very slow, medium, fast, and very fast tempos. This study is conducted using the qualitative research method in which the data collection is carried out through library research and observation. The obtained data are then validated through the process of categorization, editing, analysis and conclusion. The validated data are analyze using he theory of tempo proposed by Perry Rumengan. This research uses a qualitative descriptive method with data collection techniques through literature study and observation. The research results show that tempo has an important role in the context of choirs. In applying tempo to Choir songs, it is necessary to pay attention to the meaning of the lyrics, the ideas conveyed, the melody and rhythm movement, the time structure, expression techniques, as well as the style and genre of the music concerned.

Small apes adjust rhythms to facilitate song coordination

Song coordination is a universal characteristic of human music. Many animals also produce well-coordinated duets or choruses that resemble human music. However, the mechanism and evolution of song coordination have only recently been studied in animals. Here, we studied the mechanism of song coordination in three closely related species of wild Nomascus gibbons that live in polygynous groups. In each species, song bouts were dominated by male solo sequences (referred to hereafter as male sequence), and females contributed stereotyped great calls to coordinate with males. Considering the function of rhythm in facilitating song coordination in human music and animal vocalizations, we predicted that adult males adjust their song rhythm to facilitate song coordination with females. In support of this prediction, we found that adult males produced significantly more isochronous rhythms with a faster tempo in male sequences that were followed by successful female great calls (a complete sequence with "introductory" and "wa" notes). The difference in isochrony and tempos between successful great call sequences and male sequences was smaller in N.concolor compared with the other two species, which may make it difficult for females to predict a male's precise temporal pattern. Consequently, adult females of N.concolor produced more failed great call (an incomplete sequence with only introductory notes) sequences. We propose that the high degree of rhythm change functions as an unambiguous signal that can be easily perceived by receivers. In this regard, gibbon vocalizations offer an instructive model to understand the origins and evolution of human music.

Impact of sensory modality and tempo in motor timing.

Accurate motor timing requires the coordinated control of actions in response to external stimuli. Over the past few years, several studies have investigated the effect of sensory input on motor timing; however, the evidence remains conflicting. The purpose of this study was to examine the impact of sensory modality and tempo on the accuracy of timed movements and explore strategies for enhancing motor timing. Participants (n = 30) performed synchronization and adaptation circle drawing tasks in virtual reality. In Experiment 1, participants synchronized circle drawing with repeated stimuli based on sensory modalities (auditory, visual, tactile, audio-visual, audio-tactile, and visual-tactile) and tempos (20, 30, and 60 bpm). In Experiment 2, we examined timing adaptation in circle drawing tasks under conditions of unexpected tempo changes, whether increased or decreased. A significant interaction effect between modality and tempo was observed in the comparison of timing accuracy. Tactile stimuli exhibited significantly higher timing accuracy at 60 bpm, whereas auditory stimuli demonstrated a peak accuracy at 30 bpm. The analysis revealed a significantly larger timing error when adapting to changes in the tempo-down condition compared with the tempo-up condition. Through Experiment 1, we found that sensory modality impacts motor timing differently depending on the tempo, with tactile modality being effective at a faster tempo and auditory modality being beneficial at a moderate tempo. Additionally, Experiment 2 revealed that adapting to changes by correcting timing errors is more challenging with decreasing tempo than with increasing tempo. Our findings suggest that motor timing is intricately influenced by sensory modality and tempo variation. Therefore, to enhance the motor timing, a comprehensive understanding of these factors and their applications is imperative.

Characteristics of Puberty in a Population-Based Sample of Danish Adolescents

PurposeTo describe the duration, timing, tempo, and synchronicity of puberty, as well as the correlation between timing and tempo of puberty. MethodsOverall, 15,819 of 22,439 invited children participated in the Puberty Cohort within the Danish National Birth Cohort. Participants completed a web-based questionnaire every 6 months through maturation with questions on current pubertal status. Girls reported current Tanner stage of breast and pubic hair development, and timing of menarche. Boys reported current Tanner stage of genital and pubic hair development, timing of first ejaculation, and vocal changes. While accounting for this interval-censored puberty information, we estimated the duration of puberty. Then, we used a nonlinear mixed effect growth model to estimate timing, tempo, synchronicity of puberty, and correlation between timing and tempo of puberty. ResultsIn girls, the average duration of breast development was longer, whereas the average tempo was slower than pubic hair development. The average timing of breast development was earlier than the average timing of pubic hair development. The majority of girls had asynchronous puberty. In boys, the average duration was longer and average tempo slower for genital than pubic hair development. The average timing of genital and pubic hair development were comparable; hence, the majority had synchronous pubertal development. Adolescents who had earlier timing also tended to have a faster tempo. DiscussionBeing one of the largest puberty cohorts worldwide, these unique contemporary data can help physicians, parents, and children to understand and anticipate expected progression through pubertal development.

Temporal speed prevails on interval duration in the SNARC-like effect for tempo.

The Spatial-Numerical Association of Response Codes (SNARC) effect is evidence of an association between number magnitude and response position, with faster left-key responses to small numbers and faster right-key responses to large numbers. Similarly, recent studies revealed a SNARC-like effect for tempo, defined as the speed of an auditory sequence, with faster left-key responses to slow tempo and faster right-key responses to fast tempo. In order to address some methodological issues of previous studies, in the present study we designed an experiment to investigate the occurrence of a SNARC-like effect for tempo, employing a novel procedure in which only two auditory beats in sequence with a very short interstimulus interval were used. In the "temporal speed" condition, participants were required to judge the temporal speed (slow or fast) of the sequence. In the "interval duration" condition, participants were required to judge the duration of the interval between the two beats (short or long). The results revealed a consistent SNARC-like effect in both conditions, with faster left-hand responses to slow tempo and faster right-hand responses to fast tempo. Interestingly, the consistency of the results across the two conditions indicates that the direction of the SNARC-like effect was influenced by temporal speed even when participants were explicitly required to focus on interval duration. Overall, the current study extends previous findings by employing a new paradigm that addresses potential confounding factors and strengthens evidence for the SNARC-like effect for tempo.

Beta oscillation is an indicator for two patterns of sensorimotor synchronization.

Previous study indicates that there are two distinct behavioral patterns in the sensory-motor synchronization task with short stimulus onset asynchrony (SOA; 2-3 s) or long SOA (beyond 4 s). However, the underlying neural indicators and mechanisms have not been elucidated. The present study applied magnetoencephalography (MEG) technology to examine the functional role of several oscillations (beta, gamma, and mu) in sensorimotor synchronization with different SOAs to identify a reliable neural indicator. During MEG recording, participants underwent a listening task without motor response, a sound-motor synchronization task, and a motor-only continuation task. These tasks were used to explore whether and how the activity of oscillations changes across different behavioral patterns with different tempos. Results showed that during both the listening and the synchronization task, the beta oscillation changes with the tempo. Moreover, the event-related synchronization of beta oscillations was significantly correlated with motor timing during synchronization. In contrast, mu activity only changes with the tempo in the synchronization task, while the gamma activity remains unchanged. In summary, the current study indicates that beta oscillation could be an indicator of behavioral patterns between fast tempo and slow tempo in sensorimotor synchronization. Also, it is likely to be the potential mechanism of maintaining rhythmic continuous movements with short SOA, which is embedded within the 3 s time window.

Analysis of Pasombahan Kreasi Dance Movements in Bangkinang Sub-District Kampar Regency City, Riau Province

The purpose of this study was to find and describe the Pasombahan Kreasi Dance Motion Analysis in Bangkinang Kota District, Kampar Regency, Riau Province. This type of research is qualitative, using descriptive methods. The instrument in this research is the researcher himself and is assisted by supporting instruments such as stationery, flash discs, and mobile phones. Data collection techniques are done through literature study, observation, interviews, and documentation. The steps in analyzing data include data reduction, data presentation, and conclusion drawing. The results showed that the movements in Pasombahan Dance consisted of four names for various movements, namely sombah, punte tali bowuok, klenjek, and sendeng. But in each part of the movement, there are several more parts with a total of 17 motion motifs, but with different counts. Pasombahan dance analysis is seen from the perspectives of space, time, and energy. The element of space in each Pasombahan dance uses a dominant straight line and a right diagonal line. The dominant volume in Pasombahan Dance is medium and small, facing towards the front and towards the front right diagonal. The level contained in the Pasombahan Dance is medium and high in each motion motif, with the focus of the head towards the front and towards the hand movements. The time aspect of this Pasombahan dance has a slow tempo in the sombah movement, while the rest uses a fast tempo. As for the energy element, the ending increases the intensity.

Effect of Movement Tempo During Resistance Training on Hypertrophy and Muscular Fitness: A Narrative Literature Review

Although many studies have demonstrated whether movement tempo, a training variable during resistance exercise, has an effect on muscle performance, there are still gray areas related to muscle hypertrophy and muscular fitness in different populations. The aim of this narrative systematic review was to investigate the effect of movement tempo on muscular performance such as maximal strength, skeletal muscle hypertrophy, muscle power and muscular endurance in resistance training performed at specific frequencies. Three electronic databases were searched using terms related to movement tempo and resistance training. The included studies were those published in English using randomized and non-randomized comparative dynamic resistance exercise interventions in healthy adults. The results suggest that changing the tempo of movement during resistance training may have an effect on muscle hypertrophy, but the results are not conclusive. There are conflicting research results, although faster tempos seem to be advantageous in terms of power outcomes at different movement tempos. More studies are needed to evaluate muscular endurance performance in terms of movement tempo. Differences in the size of the muscles studied, the structure of the training programs, and the standardization of the experimental approach and data collection tools used may partially explain the inconsistency in the results between tempos in different contraction phases or in the same contraction phases.

تأثير تمرينات خاصة لتطوير بعض القدرات البدنية للطالبات بكرة السلة

هدف البحث الى اعداد تمرينات خاصة لتطوير بعض القدرات البدنية للطالبات بكرة السلة. والتعرف على تأثير هذه التمرينات المعدة في بعض القدرات البدنية للطالبات بكرة السلة. لذا تكمن اهمية البحث في تطوير بعض القدرات البدنية من اجل تطوير بعض القدرات البدنية من اجل تطوير بعض القدرات البدنية التي تحتاجها الطالبة اثناء قيامها باللعب. وافترضت الباحثتان انه لا توجد فروق ذات دلالة احصائية بين الاختبار القبلي والبعدي في القدرات البدنية لمجموعتي البحث التجريبية والضابطة. واستخدمت الباحثتان المنهج التجريبي بعمل مقارنة بين الاختبار القبلي والبعدي بين مجموعتي البحث التجريبية والضابطة نظرا" لملائمة المنهج التجريبي لطبيعة البحث. وتم تحديد مجتمع البحث وعينته بالطريقة العمدية وهم طالبات المرحلة الثالثة في كلية التربية البدنية وعلوم الراضة للبنات الشعبة (أ) والبالغ عددهم 25 طالبة وهم يمثلون مجتمع البحث نفسه. استخدمت الباحثتان تصميم المجموعتين التجريبية والضابطة حيث تم تقسيم الطالبات الى مجموعتين، تؤدي المجموعتين الاختبارات القبلية ثم يتم تطبيق الوحدة التدريبية على المجموعة التجريبية فقط. بعدها يتم اختبار المجموعتين التجريبية والضابطة بالاختبار البعدي. لذا تتمركز مشكلة البحث لكون لعبة كرة السلة ذات رتم عالي وسريع وتحتاج الى سرعة كبيرة عند التحول من الوضع الهجومي الى الدفاعي والعكس لذا ارتأت الباحثتان بأعطاء تمرينات خاصة لتطوير بعض القدرات البدنية للطالبات التي اثناء قيامهم باللعب. واستنتجت الباحثتان ان الوحدة التدريبية قد اثرت بشكل واضح في تطوير هذه القدرات بشكل جيد جدا على المجموعة التجريبية وهناك فرق واضح بين نتائج اختبار المجموعة التجريبية والضابطة لصالح المجموعة التجريبية. وتوصي الباحثتان استخدام طريقة الوحدات التدريبية ضمن الدرس من اجل رفع القدرات البدنية للطالبات الى جانب المهارات الخاصة بالدرس.

Multimodal meaning-making of aggression in English song narrative: A cognitive-pragmatic perspective

This article addresses cognitive and pragmatic aspects of the multimodal meaning-making of AGGRESSION in the English song narrative. The cognitive-pragmatic foundations integrate cognitive and pragmatic aspects with multimodal ones, which allows to explain how signs of different modes and semiotic resources instantiate the concept and which cognitive features are decisive for (re)construction of meaning by performers and viewers. Cognitive features have verbal and non-verbal implementation through visual and auditory modes. The verbal semiotic resource, implemented through auditory and visual modes, contains lexical and pragmatic means of direct/indirect realization of aggression. Lexical means include words that name/describe/express aggression, as well as lexemes that acquire the aggressive meaning in a certain context. Pragmatic means are represented by expressive statements realizing threat, order, reproach, and accusation. The non-verbal semiotic resource is also represented through both modes and is characterized by semiotic heterogeneity, including prosodic/mimic/gestural features, various aspects of performers’ appearance, music clip design and lighting. They include hoarse voice/high exalted vocals/screaming; aggressive look/bulging eyes/wide open mouth/tense distorted face; active movements/fight; dark clothes/ dark make-up/tattoos. The musical component is characterized by the lower register, alternating consonance and dissonance, and a fast tempo. The lighting includes the play of light and shadow, and flashes. The construction of aggression appears as a result of the integration of semiotic elements into a multimodal blend, which is an emergent entity. Semantic relations between the blend components are based on the complementarity or contradiction of their elements, which makes it possible to single out convergent and divergent constructive patterns.