Instrumental Works Research Articles

System justification theory as a foundation for understanding relations among toxic health care workplaces, bullying, and psychological safety.

Toxic work environments and bullying are rampant in health care organizations. The Joint Commission asserted that bullying is a threat to patient safety, and furthermore, it implied that bullying affects clinician psychological safety. However, after decades of trying to reduce bullying, it persists. The purpose of this study was to determine if system justification (SJ) theory can help explain the persistence of bullying in health care organizations. SJ theory posits that people are motivated to justify the systems with which they are embedded, even if those systems are dysfunctional or unfair. A cross-sectional survey of health care workers ( n = 302) was used to test a moderated mediation model to examine relations between instrumental work climate perceptions and psychological safety, as mediated by SJ and moderated by experiences of workplace bullying. Analysis revealed that SJ fully mediated negative relations between instrumental climate and psychological safety; because of SJ the instrumental climate no longer had a direct negative association with psychological safety. Furthermore, bullying was found to play a moderating role in the instrumental climate-SJ relationship. This study found some support for the role of SJ in perpetuating instrumental workplaces and workplace bullying in health care. Some scholars have proposed that a focus on disrupting workplace contexts that trigger SJ in workers could help break patterns of behavior that enable toxic work environments and bullying to persist.

The stylistic originality of Yurii Shevchenko’s instrumental works on the example of “ThreeUkrainian Songs” for string orchestra

Statement of the problem. The musical language of Ukrainian composers of the XX–XXI centuries is a complex and rather poorly studied field in modern musicology. This phenomenon raises many questions due to the diversity of styles, forms, and individual expressive systems of composers. Music for chamber ensemble vividly reflects the significant transformations in the artistic perception owned to our era. This musical context includes the work of the Ukrainian composer Yuriі Valentynovych Shevchenko (1953–2022), an outstanding figure in the national musical culture. The composer’s work is considered mainly in the journalistic discourse (Sushchenko, 2006; Cherdintseva, 2003, etc.). In recent scientific publications devoted to Shevchenko’s work, the authors (Aksiutina, 2022; Sadovenko, 2023; Tarasenko, 2008) focus on the analysis of the composer’s ballet music. The study by V. Stepurko (2023) helps to come closer to understanding the composer’s creative narratives: “... the author in his work aims to find the hidden philosophical depths of fairy-tale “worlds” as a sign and sound space. His works use various musical means of expression, but structured according to classical models, they are strikingly full of modern philosophical ideas, the search for humanistic postulates to solve the problems of humanity” (Stepurko, 2023: 132). However, a comprehensive musicological consideration of chamber and instrumental works remains outside the attention of researchers that determines the relevance of this publication. Objectives, methods, and novelty of the research. The purpose of this article is to reveal expressive means and stylistic features of Yu. Shevchenko’s chamber and instrumental music using the example of “Three Ukrainian Songs” for string orchestra. The named works have not yet been the subject of a special musicological analysis. The following methods were used in the study: historical, system-analytical, comparative, and hermeneutic, as well as a complex of specific musicological methods: structural-functional, semantic, musical-dramaturgical, timbre and textural analysis (for considering the musical form in its dynamics, the artistic expressiveness of harmonic, polyphonic, melodic and rhythmic means; when studying the orchestral score for revealing the specifics of the use of timbre colours of instruments). Research results and conclusion. In the process of implementing the symbolic program of the “Three Ukrainian Songs” for string orchestra, the principle of sound painting and the thematic meaning of rhythm get an important role. Audio-visual effects are achieved through the combination of timbres of various instruments and the use of special ways. The creation of sound perspective and the effect of spatiality are facilitated by polyphonic techniques of development and the combination of distant registers (also, in the first song, the temple bell effect arises due to synchronization of the propagation of sound vibrations). The game component, which is present in the third song, is realized through the “terrace” dynamics (f–p) and the “instant” register juxtaposition in parts of the I–II violins. To reproduce folklore intonations, to imitate the sound of folk instruments, the composer uses a variety of timbres of a string orchestra, in particular, orchestral pedals; characteristic rhythmic and melodic turns, sudden tonal shifts, original tonal plans, as well as various polyphonic techniques and the polyphonic-variation method of development. Using folklore material, Yu. Shevchenko complements each of the selected melodies with a harmonic texture, masterfully works with the vertical, and writes out each voice in a jewelled manner. In his interpretation of folk songs, genre features are emphasized: “Many Years” is a glorifying chant, “The Boat is Sailing” is a barcarolle, “Jenchichok-brenchichok”(“Reaper-Chirper”) is a scherzo. Meter and rhythm, register, and timbre solutions contribute to the highlighting of the characteristic genre features. The architectonics of the cycle carries a semantic load and contributes to the demonstration of the idea of the fluidity of life time: “Blessings of Life” (the idea of Part I) – “Immersion in the Process of Life” (Part II) – “Joy of Life” (Part III). So, the interpretive component of the cycle has a positive vector aimed at raising the emotional state of performers and listeners, as evidenced by the bright, “fiery” character of the treatment of the humorous folk song in the third, final, part of the cycle. The trends of form-making, the techniques of using harmony and polyphony laid down by the composer , as well as the conceptual solution of the cycle open wide prospects for the further development of Ukrainian chamber-instrumental music.

Ways of developing the repertoire for folk instruments in the works of the composers of Slobozhanshchyna

Statement of the problem. The formation of the repertoire of folk instruments is a comprehensive and long-term process that began in Ukraine only in the 20th century. A significant part of the musical repertoire for folk instruments was written by the composers of Slobozhanshchyna, because namely this region became the centre of the folk instrumental art of Ukraine at the beginning of the 20th century. Therefore, the necessary arises to recreate the holistic picture of developing the music for folk instruments in the works of the composers of Slobozhanshchyna that has not yet attracted the attention of researches, which determines the relevance of our work. Objectives, methods, and novelty of the research. The purpose of the article is to present as much as possible the entire range of music for folk instruments by the composers of Slobozhanshchyna, to reveal the dominant genre-style vectors and timbre priorities in the works of H. Khotkevych, V. Podgorny, B. Mikhieiev, V. Ivanov, M. Stetsiun, I. Haidenko and A. Haidenko. The genre-style method helps establish the hierarchy of genres and styles in music for folk instruments; historical one – to determine the stages of formation and distribution of the folk instrumental repertoire; the method of source studies – to analyze the existing sources on the works of the composers of Slobozhanshchyna; structural and functional method – to reveal the compositional features of the works. Today there are a number of works devoted to bayan /accordion, domra, balalaika, bandura, guitar and cimbalom art. A significant number of works for folk instruments by the composers of Slobozhanshchyna have already been considered, but in isolation, outside the general scheme of the development of folk instrumental music in Ukraine. The novelty of our topic lies in the fact that for the first time a panorama of music for folk instruments is presented and the ways of its development in the repertoire of the artists of Slobozhanshchyna are considered. Research results and conclusion. The panorama of music by the composers of Slobozhanshchyna for folk instruments presented in the article gives grounds for the conclusion that, starting from the 1930s, by the way of the gradual extending the genre and style guidelines, the complication of the form of works, from arrangements of folk songs to large scale concert compositions, due to discovering the original timbre solutions and bright playing techniques, deepening the artistic and conceptual content and expanding the folklore “geography” of the compositions (besides Ukrainian, appeal to Spanish, Romanian, etc. folklore), the artists from Slobozhanshchyna “guide” folk instruments to the concert stage, giving them the opportunity to establish themselves on the same level as the instruments of the academic tradition. According to chronology, since the 1930s, the original bandura works (H. Khotkevych) are first, and only since the 1960s the composers of Slobozhanshchyna write for the button accordion (V. Podgorny, A. Haidenko, M. Stetsiun), for the balalaika (P. Haidamaka, V. Ivanov, B. Mikhieiev, A. Haidenko, M. Stetsiun), and the domra (V. Podgorny, M. Stetsiun, A. Haidenko, B. Mikhieiev, V. Ivanov). Since the beginning of the 1990s, the bandura (A. Haidenko, I. Haidenko), the guitar (M. Stetsiun) and the cimbalom (A. Haidenko, I. Haidenko, M. Stetsiun) repertoire has been replenished with original compositions. The high artistic and professional status of the works of the composers of Slobozhanshchyna confirms not only their popularity among performers and listeners, but also their inclusion as mandatory in the programs of international performance competitions.

The Effectiveness of BmT Accompanied by Music Therapy for Neurology Patients at Martha Friska Multatuli Hospital

This research focuses on the application of BmT (Box Music Therapy) as a music therapy medium for treating neurological patients in Martha Friska Multatuli hospital, Medan. The aim of this research is to test the performance of BmT and its effectiveness in treating patients with neurological disorders. In this case, the nervous disorders experienced by the patient are mild/severe strokes, pinched nerves, and weak nerves. The BmT is an instrument equipped with four main components, namely the Galvanic Skin Response (GSR) sensor to detect stress levels, the MPX5050dp sensor to detect Beat Per Minute (bpm). Memory card as a storage medium for 16 instrumental music works and songs created by composer Prof. Junita Batubara, S.Sn., M.Sn and headphones as a medium for listening to music. Through the use of quasi-experimental methods, the results of this study show that out of 22 (twenty two) outpatients in the neurology unit at Matha Friska Hospital in Medan, the patients experienced a decrease in GSR and BPM numbers based on the results of the numbers that appeared on the BmT monitor screen before and after being given music therapy treatment. Furthermore, researchers also obtained information that the patient experienced a feeling of relaxation, which eased the pain in the patient's limbs both during the process and after music therapy.

Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa

In the present study, we propose to identify the structural elements of sound discourse, as well as their manifestation in the concept of the work Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa. The author’s compositional records include vocal, instrumental chamber, concert and symphonic music. Most of his creations are attributed to concert and chamber music. The work that we are going to analyze serves as proof of the novelty of the genre, form and elements of writing. Fantasy as a genre represents an instrumental or orchestral work with a fairly free architecture, and the basic principle is improvisation. In this piece, we highlight one of the distinctive features of the composer, namely the folkloric stylistic direction - the use of folkloric species such as doina, sarba, hora, organically combined with elements of the classical language - genre, form, theme, etc. Equally important is the use of the quote, which O. Negruţa creatively develops and exposes in different sections, creating a thematic core, but also a sound reagent for the entire musical discourse.

17 Comparing Cognitive Patient-Reported Outcomes with Neuropsychological Impairment in Patients with Diffuse Glioma.

Objective:Cognitive difficulties among diffuse glioma survivors are common in survivorship due to cancer treatment effects (i.e., surgery, chemotherapy, and/or radiation therapy), which can diminish quality of life. Routine monitoring of cognitive symptoms in survivorship is recommended and can help address patient needs and inform clinical interventions (e.g., cognitive rehabilitation). While several patient-reported outcome (PRO) measures have been used in brain tumor populations, there has been few studies comparing the performance of these PROs in patients with diffuse glioma. In order to better understand the value of different PROs, we conducted preliminary analyses associating cognitive PROs with neuropsychological impairment in a well-characterized sample of patients with diffuse glioma.Participants and Methods:23 glioma patients (mean aged 44.26 ± 12.24), six or more months after completing cancer treatment, underwent comprehensive psychosocial and neuropsychological assessments. The neuropsychological battery included the Hopkins Verbal Learning Test - Revised, Brief Visuospatial Memory Test - Revised, Wechsler Adult Intelligence Scale-IV tests of Coding and Digit Span, Trail-Making Test, Stroop Test, FAS, Animals, Boston Naming Test, and Rey-Osterrieth Complex Figure (copy). Completed cognitive PROs included the Functional Assessment of Cancer - Cognitive Function and Brain questionnaires (FACT-Cog; FACT-Br), the European Organization for the Research and Treatment of Cancer Quality of Life Questionnaire for Brain Neoplasms (EORTC QLQ-BN20), and the Multidimensional Fatigue Symptom Inventory, short form (MFSI-SF) Mental subscale. Based on published norms, we divided the sample into cognitively impaired and non-impaired groups (two or more primary neuropsychological test scores <= -2 z-score). We compared PRO scores between impaired and non-impaired groups using Mann-Whitney U tests. Higher medians equate to better cognitive functioning for all PROs, except for the MSFI-SF.Results:We found significantly worse scores in the impaired group compared to non-impaired group on the FACT-Cog subscales of perceived cognitive ability (PCA), [Non-Impaired (Mdn = 21, n = 11), Impaired (Mdn = 10, n = 12), U = 22.5, z = -2.68, = 0.007], perceived cognitive impairment (PCI), [Non-Impaired (Mdn = 59, n = 11), Impaired (Mdn = 44, n = 12), U = 32.5, z = -2.06, p=0.039]. The impaired group also trended towards worse scores on the FACT-Br additional concerns subscale [Non-Impaired (Mdn = 79.5, n = 10), Impaired (Mdn = 61, n = 12), U = 32.5, z = -1.81, p=0.07]. Group differences were not observed on the MSFI-SF [Non-Impaired (Mdn = 5, n = 11), Impaired (Mdn = 7, n = 12), U = 40.5, z = -1.57, p=0.12], or EORTC Cognitive Functioning subscale [Non-Impaired (Mdn = 83.33, n = 10), Impaired (Mdn = 75, n = 12), U = 42, z = -1.23, p=0.218].Conclusions:The preliminary findings suggest that the FACT-Cog, especially the PCA and PCI correspond with neuropsychological impairment among diffuse glioma survivors better than other cognitive PROs. The FACT-Br subscale was somewhat effective. The MFSI-SF Mental and EORTC Cognitive Functioning subscales did not correspond to impairment status. The FACT-Cog is a promising instrument and future work is needed to better determine relative utility of cognitive PROs in this population.

Work-Related Asthma and Its Impact on Quality of Life and Work Productivity

The impact of work-related asthma (WRA) on quality of life (QoL) and work productivity remains largely neglected/uncertain despite its high prevalence. To investigate the association of WRA with QoL and work productivity as compared with subjects with non-WRA and those without asthma and rhinitis. A cross-sectional survey was carried out among workers during their periodic occupational health visit in Belgium. The Mini Asthma Quality of Life Questionnaire, the 8-item Medical Outcome Study Short Form instrument, and the Work Productivity and Activity Impairment-General Health questionnaire were administered. Survey participants were divided into 3 groups: (1) WRA (current asthma with ≥2 respiratory symptoms at work; n= 89); (2) non-WRA (current asthma without work-related respiratory symptoms; n= 119); and (3) the reference group (no asthma and no lower respiratory, nasal, or eye symptoms; n= 815). Associations of QoL and work productivity with WRA were evaluated by multivariable regression analyses. WRA and having poor asthma control were significantly associated with lower global Mini Asthma Quality of Life Questionnaire scores compared with non-WRA. Asthmatic subjects had significantly lower physical and mental health component scores of the 8-item Medical Outcome Study Short Form instrument and overall work productivity compared with the reference group, with greater impairment in workers with WRA than in those without WRA. Moreover, workers with WRA had higher percentages of doctor visits and income reduction because of respiratory symptoms than those with non-WRA. Work-related rhinitis and depression were associated with reduced QoL, independent of the effect of WRA. WRA should be managed comprehensively to reduce the worsening of QoL and work productivity of those affected.

Patient safety culture predictors and outcomes for sustainable oncology nursing practice: A cross-sectional correlational study.

To examine the predictors and outcomes of patient safety culture (PSC) among oncology nurses working in public Saudi hospitals according to participant characteristics and evaluate the relationship between PSC domains. PSC is crucial in healthcare systems, particularly in oncology and chemotherapy units, and its assessment can enhance the standard service provided and cancer care quality. There is currently limited research on the status, predictors and outcomes of PSC in cancer care settings in developing countries, including Saudi Arabia. A cross-sectional correlational study. A convenience sample of 101 oncology nurses working in two large Saudi tertiary care hospitals participated in this study. The Hospital Survey on Patient Safety Culture validated instrument and demographic and work surveys were completed by the participants. The study methods were compliant with the STROBE checklist. Descriptive statistics and multiple linear regressions were used to analyse the data. The areas of PSC strength were related to organizational learning-constant improvement, feedback and communication about errors, and transitions and handoffs. Manager/supervisor actions and expectations, hospital management support, communication openness, experience in the current unit and oncology unit/area were the predictors of PSC. In terms of PSC outcomes, the oncology nurses reported either no or one to two adverse events and a substantially good patient safety rating. The level of PSC was lower than expected. Communication openness, experience in the current unit and oncology unit/area were the strongest predictors of PSC. Investing in oncology nursing practice that addresses these concerns and prioritizes patient safety is critical in Saudi cancer care settings to increase patient safety. The findings contribute to a better understanding of the predictors and outcomes of PSC, which should be considered when establishing effective nursing interventions or strategies for PSC in cancer care settings. No patient or public contribution.

Genre-Stylistic and Performance Features of O. Shchetynskyi’s Works for Wind Instruments

The purpose of the proposed article is to determine the genre-stylistic and performance features of the works for wind instruments by Oleksandr Shchetynskyi. The research methodology is based on the use of the following methods: textual, source and hermeneutical – in the study of musicological and sheet music sources on the chosen topic; analytical – to determine the genre-stylistic and performance features of the analysed compositions; the method of personalisation (scientific biography) – to outline the composer’s contribution to the works for wind instruments; interviews – during direct communication with the author. The scientific novelty of the work lies in the generalisation of significant factual material concerning the work of O. Shchetynskyi and the updating of notographic material analysed for the first time. Conclusions. The compositions for wind instruments and O. Shchetynskyi’s work in general reflect the leading trends in the development of Ukrainian music of the late 20th and early 21st centuries in the context of postmodernism and post-avant-garde as the two most traditionally established concepts for understanding modern artistic processes. On the basis of the analytical characteristics of individual works with the participation of wind instrument by O. Shchetynskyi, their immanent features were determined, such as the use of modern composition techniques (free atonality, dodecaphony, quarter-tones, seriality, and multiseries), which expand the range of performance and expressive possibilities of these instruments (use of heterogeneous glissando and vibrato, raised and lowered quarter tones, multiphonic sounds, specific articulation techniques), a special attitude to sound as a self-sufficient value, which is manifested in a thourough sound elaboration of any idea and the most delicate attitude to rhythm, timbre, dynamics, and articulation. Key words: works for wind instruments, O. Shchetynskyi, Ukrainian music.

Factors associated with infections by multidrug-resistant bacteria in Hospital "Vicente Corral Moscoso", Cuenca, 2018-2019

Factors associated with infections by multidrug-resistant bacteria in Hospital "Vicente Corral Moscoso", Cuenca, 2018-2019

Identifying physical and psychological risk factors for musculoskeletal pain in student musicians to tailor the curriculum: a cross-sectional study protocol

IntroductionInsufficient identification and understanding of risk factors make musicians engaging in professional practice particularly vulnerable to musculoskeletal pain. To support positive music learning and good mental, physical, and social health,...

CULTURAL DA'WAH TUAN GURU KYAI HAJI. MUHAMMAD ZAINUDDIN ABDUL MADJID (CONCEPT, MANAGEMENT AND IMPLEMENTATION IN NAHDLATUL WATHAN ORGANIZATION IN LOMBOK, NTB)

This dissertation examines concepts and management in the cultural da’wah of Maulana Syaikh, TGKH. Muhammad Zainuddin Abdul Madjid in Lombok, West Nusa Tenggara which was implemented at the Nahdhatul Wathan mass organization he founded. Maulana Syaikh is a charismatic scholar who has a very inspiring track record of struggle and dedication. His efforts to build the ummah through educational, social, and Islamic da’wah activities implemented through the NW and especially on the island of Lombok, are highly recognized as having had a significant influence on societal change in the region. According to the Lombok Historian, the achievements he made were the best achievements ever achieved by the Sasak people throughout history.
 This type of research is field research which uses descriptive analytical methods, namely presenting data that is in accordance with the research results obtained from research subjects in the field. The information and data obtained, namely by going directly to the field in accordance with the subject of this research. The instrument works by combining literature and field studies.
 This research uses qualitative methods with data collection techniques obtained through observation, interviews, and documentation studies. Furthermore, the collected data were processed and analyzed inductively into specific themes, then analyzed using a theoretical framework. The theoretical framework used is Giddens’ structuration theory regarding the role of agency (reflexive monitoring of action, rationalization of action, and motivation of action) and the concepts of substantives (significance, domination, and legitimacy). 
 This research aims to explain the concept and management in the cultural da’wah of Maulana Syaikh, TGKH. Muhammad Zainuddin Abdul Madjid in Lombok, West Nusa Tenggara which was implemented at the Nahdhatul Wathan mass organization. Thus, this research highlights the existence of concepts and management in Maulana Syaikh’s cultural da’wah, which can actively contribute to social change related to educational, socio-cultural, and da’wah aspects through the Nahdhatul Wathan mass organization. The results of this research prove that Maulana Syaikh is a religious figure who has invariably had the concepts and management of cultural da’wah. Also, he has successfully become an active actor who enormously contributed to creating and synergizing social change in Lombok, NTB through the Nahdhatul Wathan he founded.

Estimating the hydrophobicity extent of molecular fragments using reversed-phase liquid chromatography.

A fast HPLC method was developed to study the hydrophobicity extent of pharmaceutically relevant molecular fragments. By this strategy, the reduced amount of sample available for physico-chemical evaluations in early-phase drug discovery programs does not represent a limiting factor. The sixteen acid fragments investigated were previously synthesized also determining potentiometrically their experimental log D values. For four fragments it was not possible to determine such property since their values were outside of the instrumental working range (2<pKa <12). An RP-HPLC method was therefore optimized. For each scrutinized method, some derived chromatographic indices were calculated, and Pearson's correlation coefficient (r) allowed to select the so-called "φ0 index" as the best correlating with the log D. The was fixed at 3.5 and a modification of some variables [organic modifier (methanol vs. ACN), stationary phase (octyl vs. octadecyl), presence/absence of the additives n-octanol, n-butylamine, and n-octylamine], allowed to select the best correlation conditions, producing a r=0.94 (p<0.001). Importantly, the φ0 index enabled the estimation of log D values for four fragments which were unattainable by potentiometric titration. Moreover, a series of molecular descriptors were calculated to identify the chemical characteristics of the fragments explaining the obtained φ0 . The number of hydrogen bond donors and the index of cohesive interaction correlated with the experimental data.

Spiritual Aspect of Early Music on The Example of Organ Compositions

The author of the article examines the stereotypical perception of the organ as a church instrument, that is connected with the facts of the construction of the first wind organs after the destruction of the hydrolos precisely in monasteries, as well as it is due to the existence of a large number of musicians-organists who still participate in divine services today. The study, based on the Ukrainian specialized scientific literature, analyzed the problems of the connection of early music with the work of romantic composers. The author notes that there is a need to study baroque symbolism to deepen the understanding of J.S. Bach's music, which is an integral part of the performance training of organists and pianists. The historical roots of early music were discovered as a result of a review of certain sources. It has been proven that music has always been close to the exact sciences - for example, during the early Middle Ages, the "seven liberal arts" that were compulsory to study in schools included the "trivius" (grammar, rhetoric and dialectic) and the "quadrivius" (arithmetic, geometry, astronomy and music). The author investigated the gradual transformation of organists from strict "servants of the cult" into concert musicians of the Baroque era. It is noted that the considered period was characterized by the perception of music as a language in which almost everything "speaks": musical form, texture, size, duration of notes, rhythmic pattern, voicing, tempo, tessitura used in the work, etc. The ways of interaction of the organist with the author's text during the study of motivic and numerical symbolism were outlined. Basics were defined for deciphering the J. S. Bach’s work. Classicism is characterized, during its heyday, Bach's compositions were heard mainly in the church. The devaluation of the instrumental works of ancient composers (in particular, J.S. Bach) in the period of romanticism and the transition of the organ to a virtuoso concert instrument are described, using the examples of the techniques of playing the organ by F. Liszt and M. Reger, etc. Late Romanticism is presented as a movement in which the attitude of musicians to the heritage of ancient composers was revised thanks to the German movement "back to Zilbermann" (led by A. Schweitzer). The study gives a description of the specifics that are possible to apply for studying the design of J.S. Bach's work. The urgent need to examine the ancient music as a source of spirituality in the work of modern organ composers is emphasized.

The catalyzing role of customer pressure on environmental initiatives and export intensity: A study of family firms

Predominantly, firms’ adoption of environmental initiatives has been driven by regulatory and economic incentives. Yet, recognizing mounting evidence that family firms demonstrate superior environmental proactivity, it is likely that other drivers also inspire their environmentalism. To assess this possibility, an integrated stakeholder, institutional and resource-based perspective is espoused. Thus, this inquiry assesses how environmental pressure from customers stimulates environmental initiatives and the extent to which this constitution would boost export intensity. Based on 620 observations of Turkish family firms, a robust path analysis procedure revealed that customer pressure positively increases the adoption of environmental planning and energy management. In turn, these instruments work in concert to reduce environmental regulatory obstacles and enhance export intensity, with environmental planning playing a key role. Theoretically, customer pressure is introduced as a fresh antecedent. Practically, family firms in Turkey can grasp the virtuous knock-on effect of acceding to the environmental pressure exerted by customers.

Development and validation of a simple microwave-assisted digestion sample preparation technique for the estimation of aluminium and magnesium in a few pharmaceutical dosage forms by an inductively coupled-mass spectrometer (ICP-MS).

Rationale: A simple, sensitive, reliable, validated, inductively coupled plasma mass spectrometric method for the determination of aluminium and magnesium using a simple common microwave-assisted digestion sample preparation technique for a few commonly used formulations was developed and validated according to International Conference on Harmonization Q3D and the United States Pharmacopeia general chapter <232> and <233>. The following pharmaceutical dosage forms were considered for estimation of aluminium and magnesium: Alumina, magnesia simethicone oral suspension, Alumina, magnesia simethicone chewable tablets, alumina and magnesia oral suspension, alumina and magnesium carbonate oral suspension. Methods: The methodology included optimizing a common microwave assisted digestion method, selecting the isotopes, choosing the measurement technique, and designating internal standards. The finalized microwave assisted procedure was a two-step program where in the first step the samples were ramped for 10 min to a temperature of 180 °C and hold for 5 min followed by ramping for 10 min to a temperature of 200 °C and hold for 10 min. Magnesium (24Mg) and aluminium (27Al) isotopes were finalized, internal standard assigned for both the isotopes was yttrium (89Y) with Helium (kinetic energy discrimination-KED) as the measuring mode. System suitability was run before initiating analysis to ensure that system performance was consistent. Results: Analytical validation parameters like specificity, linearity (from 25% to 200% of sample concentration), the detection limit and the limit of quantification were established. For all these dosage forms, the method's precision was demonstrated by analyzing the percentage relative standard deviation for six injections. Accuracy was established from 50% to 150% of instrument working concentration (J-levels) for aluminium and magnesium for all the formulations and was found to be within the range of 90-120%. Conclusion: This common analysis method, along with the common microwave-digestion technique applies to numerous types of matrices for a finished dosage form with aluminium and magnesium.

Teaching Reform in The Demonstration Professional Construction Site of “Curriculum Ideology and Politics”

This major is guided by the principle of "application first, strengthening engineering practice ability, integrating industry and education, highlighting the background of optoelectronic industry, combining industry and management, and showing quality management characteristics". It is dedicated to cultivating application-oriented engineering talents who can meet the needs of regional optoelectronic industry and have the ability to design, implement and apply quality control systems for measurement and control systems and instrumentation production processes, and can engage in technology development, engineering application, production operation, quality management and other work in instrumentation and related fields. The orientation of the major is clear, and the service orientation is clear, which is in line with the development orientation and school direction of the university. Curriculum ideological and political teaching reform for this professional course has the unparalleled advantages of traditional science and technology courses. The education in humanistic cultivation, good moral development and solving complex engineering problems is to explore the resources of curriculum ideology and politics in the curriculum teaching.

Touched and Changed: Self-Reflexivity and Reciprocity in Fieldwork

Touched and Changed: Self-Reflexivity and Reciprocity in Fieldwork

Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach ed. by Christine Blanken, Christoph Wolff, and Peter Wollny (review)

Reviewed by: Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bached. by Christine Blanken, Christoph Wolff, and Peter Wollny Daniel F. Boomhower Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach. 3rded. Edited by Christine Blanken, Christoph Wolff, and Peter Wollny. Wiesbaden: Breitkopf & Härtel, 2022. [xliv, 835 p. ISBN 9783765104008 (hardback), €410.] Music examples, bibliography, index. The systematic enumeration of the musical output of individual, primarily European, composers has proven captivating and confounding for generations. While the utility of a logically arranged presentation of any repertory seems to make immediate sense, the method of organization itself has often proven a complication. The chronological presentation of compositions often does not offer space for new discoveries, as seen with Ludwig von Köchel's catalog of the works of Wolfgang Amadeus Mozart ( Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolf-gang Amadé Mozarts[Leipzig: Breitkopf und Härtel, 1862]), a reliable new edition of which has endured a protracted gestation. A more schematic approach, such as by genre, tends to yield rather opaque numbering schemes, as seen with Anthony van Hoboken's Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis(Mainz: B. Schott's Söhne, 1957) and the Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johann Sebastian Bachsby Hans-Joachim Schulze and Christoph Wolff (Frankfurt: C. F. Peters, 1985; hereafter BC). The definition and operability of the concept of a musical work represents an equally significant challenge with consequences for scholars, performers, and audiences interested in the music of Johann Sebastian Bach. The compilers of this new third edition of the Bach Werke Verzeichnis(hereafter BWV 3) admirably address the challenges of concisely integrating vast expanses of knowledge about the corpus of Bach compositions while deftly navigating the pitfalls of this enterprise. The well-known and now firmly entrenched BWV numbering scheme, which originated with Wolfgang Schmieder's catalog of Bach's works, Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach: Bach-Werke-Verzeichnis (BWV)(Leipzig: Breitkopf & Härtel, 1950; hereafter BWV 1), represents the first significant challenge of BWV 3. This ordering reflects the sequence in which the composer's music appeared in the edition prepared by the Bach Gesellschaft and published by Breitkopf & Härtel ( J. S. Bach Werke[Leipzig, 1851–99]; hereafter BG). In the BG, the ten sacred cantatas published in the first volume of the edition bear the designations "Cantata 1," Cantata 2," and so forth. Hence, "Wie schön leuchtet der Morgenstern" from March 1725 for the Feast of the Annunciation (Cantata 1) preceded "Ach Gott, vom Himmel sieh darein" from June 1724 for the [End Page 602]second Sunday after Trinity (Canata 2) and "Ach Gott, wie manches Herzeleid" from January 1725 for the second Sunday after Epiphany (Cantata 3). As seen in these examples, the BGordering relies neither on the chronology of the compositions nor their place in the liturgical calendar. BWV 1also applies numbers to instrumental works based on the order in which they appeared in BG. Moreover, the BGcreates a static, even monolithic, identity to compositions, informed in no small part by nineteenth-century interpretations of the religious and artistic conception of Bach's compositions, that remains at odds with the reality documented in the sources containing Bach's output. Attempts have arisen to develop more intuitive numerical references to the cantatas, including alphabetical order based on text (e.g., Carl Tamme, Thematisches Verzeichniss der Vokalwerke Joh. Seb. Bachs[Leipzig: C. F. Peters, 1889]) and the Lutheran liturgical calendar (e.g., J. S. Bach: Neue Ausgabe sämtlicher Werke (Neue Bach-Ausgabe), ed. Johann-Sebastian-Bach-Institut, Göttingen, and Bach-Archiv, Leipzig [Kassel: Bärenreiter, 1954–]; hereafter NBA). To their credit, the compilers of BWV 3have embraced the firmly entrenched numbering scheme and adapted it as gracefully as possible, differentiating the distinct compositional phases of, for instance, BWV 36 as: Weltliche Fassungen (Glückwunschkantate): 36.1 Schwingt freudig euch empor (1725) 36.2 Steigt freudig in die Luft (um 1725–26) 36.3 Die Freude reget sich (um 1737–1738) Geistliche Fassungen (Adventskantate): 36.4 Schwingt freudig euch empor (um 1726–1730) 36.5 Schwingt freudig euch empor (1731) Subsequent entries for...

Bach-Werke-Verzeichnis (BWV). Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian BachChristine Blanken, Christoph Wolff, and Peter Wollny

The expanded third edition of the Bach-Werke-Verzeichnis, known in the trade as BWV3, was unfurled in Germany late last year with great fanfare, and with good reason. Ten years in the making, it not only updates, refines, and expands the thematic work catalogue of the previous editions but also summarizes new areas of Bach research that have crystallized in recent times: the contents of Bach’s music library, the copyists who assisted him in writing out his music and performance materials, the early posthumous prints and modern first editions of his works, and the owner, publisher, and auction catalogues that have allowed scholars to trace the provenance of both extant and lost pieces. By any measure, BWV3 is a monumental musicological accomplishment. The original catalogue was assembled by Wolfgang Schmieder, the veteran bibliographer who served as archivist for Breitkopf & Härtel, publisher of the Bach-Gesamtausgabe (BG; 1851–99). Issued in 1950 after a long delay caused by the Second World War (Schmieder completed the catalogue in the spring of 1943, but his original manuscript and typeset text were destroyed in the bombing of Leipzig later that year), the BWV was designed to serve as a supplementary guide to the BG edition. As a consequence, Schmieder adopted the BG’s organizational scheme for Bach’s vocal and instrumental works, assigning BWV numbers to the church cantatas, for instance, not in the order in which they were composed or in which they occurred in the liturgical year, but rather in the order in which they were issued in the BG. Thus, the ten cantatas in volume 1 of the BG became BWV 1–10, the ten in volume 2 became BWV 11–20, and so forth, the even though the works were written by Bach at various times for a diverse array of Sundays and feasts. Mein Herz schwimmt im Blut, the last sacred cantata issued by the BG, became BWV 199, despite its origin as an early Weimar composition.