Slow Tempo Research Articles

Music Therapy as Nursing Intervention in Improving Postpartum Mothers Comfort

Postpartum is a condition in which the reproductive organs return to normal which takes 6 weeks. The feeling of discomfort in postpartum mothers occurs because of the sensation of pain that is often complained of. One way to increase comfort for postpartum mothers is by providing non-pharmacological therapies, namely massage and listening to music. Music can provide impulses or stimuli that can override the pain signals. The literature review aims to describe the type of music that can increase the comfort of postpartum mothers. The method used is a literature review study. The database used from several journals and articles with a search process through Pubmed, Proquest, Springlink, Scopus, Google Scholar. The criteria for inclusion in this search were the year the articles were published, starting from 2010 to 2020. The type of classical music that has a medical connection is Mozart's music. Mozart music with a frequency of 40-60 Hz, tempo 60-80 bpm. Music therapy is given for approximately 20-30 minutes to produce a therapeutic effect with a period of twice a day for 2 days using headphones. Music used to increase comfort and reduce the anxiety that has a slow tempo, notes that are not too high or too low, has a low volume and is rhythmic with a simple arrangement, and a stable melody. The provision of music therapy, especially Mozart adagio classical music, affects reducing anxiety levels and reducing pain intensity so that it can provide a sense of comfort to postpartum mothers.

Attention Guides the Motor-Timing Strategies in Finger-Tapping Tasks When Moving Fast and Slow.

Human beings adapt the spontaneous pace of their actions to interact with the environment. Yet, the nature of the mechanism enabling such adaptive behavior remains poorly understood. The aim of the present contribution was to examine the role of attention in motor timing using (a) time series analysis, and (b) a dual task paradigm. In a series of two studies, a finger-tapping task was used in sensorimotor synchronization with various tempi (from 300 to 1,100 ms) and motor complexity (one target vs. six targets). Time series analyzes indicated that two different timing strategies were used depending on the speed constraints. At slow tempi, tapping sequences were characterized by strong negative autocorrelations, suggesting the implication of cognitive predictive timing. When moving at fast and close-to-spontaneous tempi, tapping sequences were characterized by less negative autocorrelations, suggesting that timing properties emerged from body movement dynamics. The analysis of the dual-task reaction times confirmed that both the temporal and spatial constraints impacted the attentional resources allocated to the finger-tapping tasks. Overall, our work suggests that moving fast and slow involve distinct timing strategies that are characterized by contrasting attentional demands.

Does Varying Repetition Tempo in a Single-Joint Lower Body Exercise Augment Muscle Size and Strength in Resistance-Trained Men?

Pearson, J, Wadhi, T, Barakat, C, Aube, D, Schoenfeld, BJ, Andersen, JC, Barroso, R, Ugrinowitsch, C, and De Souza, EO. Does varying repetition tempo in a single-joint lower body exercise augment muscle size and strength in resistance-trained men? J Strength Cond Res 36(8): 2162-2168, 2022-This study compared the effects of FAST and SLOW eccentric repetition tempo in a single exercise volume-matched intervention on muscle thickness (MT) and strength in resistance-trained men. Using a within-subject design, 13 subjects had each leg randomly assigned to SLOW (1-0-3) or FAST (1-0-1) repetition tempo. Subjects underwent an 8-week strength-training (ST) intervention performed twice weekly. Unilateral leg-extension one repetition-maximum (1RM) and anterior thigh MT at the proximal (MTP) and distal (MTD) portions were assessed via ultrasound imaging at baseline and after 8 weeks of RT. Rating of perceived exertion (RPE) assessments of the training sessions (i.e., 16 per leg) were averaged for further analysis. Both legs similarly increased MTP (estimated differences: FAST: 0.24 cm, 3.6%; SLOW: 0.20 cm, 3.1%). However, for MTD, analysis of covariance analysis showed a leg effect ( p = 0.02) in which absolute pre-to-post change was greater in FAST compared with SLOW (estimated differences: FAST 0.23 cm, 5.5%; SLOW: 0.13 cm, 2.2%). For 1RM, both legs similarly increased maximum strength (estimated differences: FAST: 9.1 kg, 17.0%; SLOW: 10.4 kg, 22.1%, p ≤ 0.0001). The SLOW group had a higher RPE than FAST (8.59 vs. 7.98, p = 0.002). Despite differences in RPE, our results indicate that both repetition tempos produced similar muscular adaptations. However, they also suggest that the FAST tempo may provide a small hypertrophic advantage at the distal quadriceps. From a practical standpoint, strength and conditioning professionals may implement a FAST tempo at least in one single-joint exercise during an 8-week training period to enhance regional hypertrophic adaptations in trained individuals.

Contrast Tempo of Movement and Its Effect on Power Output and Bar Velocity During Resistance Exercise.

In this study, we examined the impact of contrast movement tempo (fast vs. slow) on power output and bar velocity during the bench press exercise. Ten healthy men (age = 26.9 ± 4.1 years; body mass = 90.5 ± 10.3 kg; bench press 1RM = 136.8 ± 27.7 kg) with significant experience in resistance training (9.4 ± 5.6 years) performed the bench press exercise under three conditions: with an explosive tempo of movement in each of three repetitions (E/E/E = explosive, explosive, explosive); with a slow tempo of movement in the first repetition and an explosive tempo in the next two repetitions (S/E/E = slow, explosive, explosive); and with a slow tempo of movement in the first two repetitions and an explosive tempo in the last repetition (S/S/E = slow, slow, explosive). The slow repetitions were performed with a 5/0/5/0 (eccentric/isometric/concentric/isometric) movement tempo, while the explosive repetitions were performed with an X/0/X/0 (X- maximal speed of movement) movement tempo. During each experimental session, the participants performed one set of three repetitions at 60%1RM. The two-way repeated measures ANOVA showed a statistically significant interaction effect for peak power output (PP; p = 0.03; η2 = 0.26) and for peak bar velocity (PV; p = 0.04; η2 = 0.24). Futhermore there was a statistically significant main effect of condition for PP (p = 0.04; η2 = 0.30) and PV (p = 0.02; η2 = 0.35). The post hoc analysis for interaction revealed that PP was significantly higher in the 2nd and 3rd repetition for E/E/E compared with the S/S/E (p < 0.01 for both) and significantly higher in the 2nd repetition for the S/E/E compared with S/S/E (p < 0.01). The post hoc analysis for interaction revealed that PV was significantly higher in the 2nd and 3rd repetition for E/E/E compared with the S/S/E (p < 0.01 for both), and significantly higher in the 2nd repetition for the S/E/E compared with the S/S/E (p < 0.01). The post hoc analysis for main effect of condition revealed that PP and PV was significantly higher for the E/E/E compared to the S/S/E (p = 0.04; p = 0.02; respectively). The main finding of this study was that different distribution of movement tempo during a set has a significant impact on power output and bar velocity in the bench press exercise at 60%1RM. However, the use of one slow repetition at the beginning of a set does not decrease the level of power output in the third repetition of that set.

TCEC Cup 7

This is the report of the 'TCEC Cup 7' computational experiment, the 7th TCEC knockout event and the second major part of TCEC’s 19th season. It started on 30th October 2020 and featured the best 32 available engines of the ‘TCEC 19’ league event. The games were held at Rapid tempo, the different format calling for different optimal settings in the engines and enabling a comparison with performance at slower tempi, albeit both being at super-GM level. STOCKFISH defeated LEELA CHESS ZERO in the Final. All decisive games in the supplementary data have been played out by FRITZ17 at search depth 24 to enable and to benchmark endgame practice.

Velocity Approaches for Scales in Classical Guitar Education

The aim of this research is to contribute to students, trainers and performers by examining the materials prepared for the effective and fast performance of the scales. As a descriptive study, literature review and document analysis were used in the analysis of the data. The results of this study revealed that guitarists should determine a sitting position suitable for their physical characteristics in order to perform a fast passage at a desired tempo and a comfortable way. In adittion, they should provide their fingers the ability to make minimum movement, and file their nails smoothly at the appropriate length and angle. Another finding was that guitarists should conduct systematic studies on coordination and synchronization. Similarly, they should memorize parts of the piece and accelerate in a controlled way starting from a very slow tempo, accompanied by a metronome. Lastly, they should do velocity exercises for the right and left hands; vocalize the scales with various rhythmic variations, and conduct studies on i-m (m-i)/i-a (a-i), p-i (i-p)/p-m (m-p), a-m-i (m-i-a, i-a-m) ve p-m-i (m-i-p, i-p-m) finger combinations.

Surprise me Softly: The Element of Surprise in Designing Museum Experiences

Experience design has become a widely discussed topic. Museums use experience design for engaging their visitors and culture offers exceptional tools for it. Visual arts and music are particularly effective in eliciting visitors’ emotions. However, there are a number of visual and acoustic cues that influence museum visitor response behaviours. Understanding the ways in which the human brain processes information provides a basis for furthering experience design principles. This study focuses on the emotion of surprise, considered especially effective for engaging visitor attention, providing meaning and affecting memory. The methodology involved monitoring psychophysiological responses and self-reports to assess research participants’ reactions to visual/acoustic stimuli. The aim was to confirm/detect types of sensory stimuli that generate the emotion of surprise, to see if participants have similar reactions to stimuli and whether individuals’ self-reports are aligned with their psychophysiological reactions. The results showed that musical stimuli are more effective than visual arts in eliciting surprise. While the study showed no clear indications that visual cues have an effect on surprise, musical cues, such as rapid attack, large pitch variation, higher harmonics, slow tempo with a sudden interruption, and sudden change in loudness do seem to play a role. Other cues, such as major key, 4/4 meter, timbral difference, and diatonic harmony also have an impact on the elicitation of surprise. These are important implications for designing museum experiences.

Comparing the Effect of Fast Tempo Music and Slow Tempo Music During Aerobic Exercise on Cardiovascular Endurance in Overweight Adolescents

Comparing the Effect of Fast Tempo Music and Slow Tempo Music During Aerobic Exercise on Cardiovascular Endurance in Overweight Adolescents

The Concept of Balance at Sekati Ririg Gending in Tejakula, Buleleng Regency

This study aims to determine the concept of balance found in playing techniques, tempo, and dynamics (ngumbang-ngisep) at Sekati Ririg Cenik gending in Tejakula, Buleleng Regency. The research is focused on the presentation using the barungan of Gong Kebyar gamelan, because at the time of handling the beginning observation, it was presented to accompany religious ceremonies at Pura Maksan Tejakula. This research is a qualitative study using several data collection techniques; observation, interviews, documentation, and literature. The approach used is a musicological approach using aesthetic theory. The results obtained from this study are the concept of dualism balance in terms of some of the forming elements in it, such as playing techniques on instruments pemade, kantilan, trompong, reyong, and ceng-ceng kopyak. These are some of the instruments that use the polos-sangsih system in their playing. Playing Technigue usually play parallel to the tempo, while playing technique sangsih is still playing against the tempo. Furthermore, the concept of balance at tempo can be seen from the speed with which gending Sekati Ririg Cenik is presented. The presentation begins with a slow tempo, then after several repetitions of the gending the tempo slowly changes to faster until it reaches the end of the gending, and the tempo is again set to slow. Likewise with the concept of dynamic balance which can be viewed from the loudness of the musical presentation. Setting the tempo and dynamics is intended to achieve balance and will not cause boredom in the presentation. These three things can be implemented in the Gong Kebyar gamelan instrument which is used as a medium in presenting Sekati Ririg Cenik gending by the community in Tejakula Village.

Characteristics of Titounis Children Songs: A Study of Songs, Music Instruments and Onomatopoeia

The purpose of the study is to describe an analysis of children’s song characteristics Titounis. This study used a musicological approach to recognize songs’ characteristics. The data collection were document study and, listen and take note. This study used a content analysis technique. The analysis cover three aspects: (1) songs’ analysis, (2) instruments’ analysis, (3) Onomatopoeia. The songs that were analyzed were (1) Petit Escargot, (2) Le Roues de l Autobus, (3) Les Chiffres, (4) Un kilometer en Roulant. In the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. The delivery style invites singing as well as dialogue or interaction. Then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. The onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). The onomatopoeia of Titounis songs serves to strengthen the song’s theme.

Effects of Music Pitch and Tempo on the Behaviour of Kennelled Dogs.

Simple SummaryDomestic dogs often live in confined environments for different reasons. These environments can be challenging for some dogs and this can lead to high levels of stress and arousal, which could affect welfare. Auditory enrichment has been shown to reduce arousal-related behaviours in dogs, and the aim of this study was to investigate if these effects are induced by particular characteristics of music such as tempo and pitch. The behaviour of 10 kennelled dogs was monitored in response to music tracks played with different characteristics (high pitch, low pitch, fast tempo and slow tempo), as well as white noise and a control. Low pitch tracks seemed to prompt behavioural changes by increasing the level of alertness of the dogs, potentially due to the association between low frequency vocalisations with agonistic contexts, making them more vigilant of their surroundings.Confinement can be stressful for some dogs and this can lead to behavioural issues and poor welfare. A key component of the stress response is behavioural arousal, characterised by increased alertness and sensory sensitivity. This makes behavioural observations a useful tool to assess stress, as they provide insight into an animal’s internal state. Auditory enrichment has been shown to reduce arousal-related behaviour in dogs, but it is not clear if specific characteristics of a music track, such as tempo and/or pitch, produce these effects. The aim of this study was to compare behavioural responses of dogs to music tracks played with different characteristics (high pitch, low pitch, fast tempo, and slow tempo), as well as white noise and a control. Pitch and tempo modifications were applied to ten piano music songs and the six treatments (four different treatment-song combinations, white noise, and control) were presented daily, for ten minutes each, to ten dogs over ten days. Behavioural changes seemed to be driven by low-pitch tracks, which increased the level of alertness of the dogs. These findings could be related to the Morton’s motivations-structural rules: harsh, low frequency vocalisations signal aggressive motivations in mammals. Dogs may have perceived low-pitch tracks as more unsettling and were therefore more active and alert when listening to them.

PENGARUH MUSIK DENGAN TEMPO CEPAT &amp; LAMBAT TERHADAP ATENSI MAHASISWA

This study aims to investigate the effect of listening to music with fast and slow tempo onundergraduate student’s attention. Music is used to accompany students in carrying out activitiesin daily life. The results of previous studies have shown that music can be a distraction when theywere doing their work, but other studies have shown that music has no effect on attention. Attentionis the first stage in the cognitive process, which is the starting point for a person’s cognitiveproesses to finally create a memory. In this study, an experiment with within-subject design wascarried out by listening to music with a different tempo when doing an attention test. Fourteenundergraduate students aged 21-23 years were involved in this study by completing 3 forms ofConcentration Grid Test in 3 different conditions, namely while listening to instrumental popmusic with fast tempo, slow tempo, and in a silence. The results of repeated measures ANOVAshowed that there was an effect of tempo on students’ attention with F(2.26) = 6.84, p&lt;0.05. Theresults of the contrast analysis showed that participants who listened to instrumental pop musicwith a slow tempo had a significantly higher score that fast tempo (t = 3.433, p&lt;0.01) and control(t = 2.908, p&lt;0.01), but fast tempo instrumental pop music has no significant difference withcontrol (t = 0.525, p = 0.604). Thus, slow tempo music can increase the attention, but instrumentalpop music with fast tempo does not distract the students.&#x0D;

Determining social power: Do Chinese preschoolers integrate verbal and nonverbal cues?

Children aged about 5 years can use verbal and nonverbal cues to determine social power. However, it is not clear what kinds of nonverbal cues preschoolers can use and whether they can integrate each nonverbal cue with verbal content when determining social power. Therefore, this research examined the ability of Chinese preschoolers to use and integrate visual, auditory, and verbal cues when determining social power as well as how this ability develops with age. In Study 1 (N = 478), 4- to 6-year-old Chinese children were recruited to judge the social power in visual, auditory, content, visual–auditory, visual–content, auditory–content, visual–auditory–content, and neutral cues. The results showed that 4-year-olds could not use any cues, 5-year-olds could not use content cues, and 6-year-olds could use all the cues. Children’s performance improved with increasing age and the number of channels. Study 2 (N = 240) investigated whether speech tempo influences children’s performance when using content cues. The results showed that 5- and 6-year-olds, but not 4-year-olds, could use content cues to determine social power under normal and slow tempos. Study 3 (N = 80) was conducted to clarify which visual cues 5- and 6-year-olds can use and the age difference. The results revealed that 5- and 6-year-olds could use head, eye, posture, and mixed cues to determine social power, whereas their performance was steady for both 5- and 6-year-olds. In sum, the results show that Chinese children aged about 5 years are already able to use and integrate visual, auditory, and content cues when determining social power. Moreover, the ability to determine social power is gradually improved with age during the preschool period.

TEMPO AND RHYTHMIC ABILITIES IN FEMALE GYMNASTS AS A FACTOR OF MOTOR SYNCHRONICITY IN GROUP GYMNASTIC ROUTINES

Aim. The paper aims to justify the need to take into account the tempo and rhythmic abilities of female gymnasts as one of the factors of motor synchronicity in group gymnastic routines. Materials and methods. The study involved 12 highly skilled gymnasts aged from 18 to 19 years (Masters of Sport in rhythmic gymnastics). Two groups were formed based on gymnastic routines. Tempo and rhythmic abilities were assessed, and an expert evaluation of mistakes in motor synchronicity was carried out. Results. During the expert evaluation, the athletes made errors in the following components: unintended movements in start and final positions, lack of accuracy in positions and transitions, unity of routines and composition, where one follows from the other but is evaluated by different judges. It was also determined that the rhythmic pattern with the faster tempo was done more accurately than those with the slower tempo if it was simple. The rhythmic pattern such as eighth two sixteenth and three-beat dotted causes more difficulties when performed with inner counting (p ˂ 0.05). The strongest correlations between an expert evaluation of motor synchronicity and tempo and rhythmic abilities were found for the following rhythmic patterns: two-beat dotted, three-beat dotted, syncope (r = –0.524; r = –0.485; r = –0.545). Conclusion. The tempo and rhythmic abilities of gymnasts characterize the quality of motor synchronicity in group gymnastic routines, namely, the ability of gymnasts to implement the tempo and rhythmic structure of motor actions to music.

Video feedback and the choice of strategies of college-level guitarists during individual practice

Developing musicians are expected to accumulate many hours of self-regulated practice to attain expertise on a musical instrument. The ability to choose appropriate strategies based on the internal and external feedback obtained while performing in the absence of the teacher’s support constitutes an important aspect of self-regulated practice. Nevertheless, performing and simultaneously monitoring the performance for feedback represents a challenge for any learner, therefore possibly affecting the resulting choice of strategies. A possible solution to this problem might be to videotape the performance and watching it afterwards to fully concentrate on each task. Studies that have used video feedback in the domain of sports suggest that there may be many similar potential benefits of self-recording for musicians’ self-regulation practices. In our study, we examined how video feedback might affect the choice of strategies of intermediate–advanced musicians ( n = 16) while practising a new piece of music. To attain this objective, we compared the number of qualitative text entries coded against an observation framework derived from observations of a group of musicians who used video feedback four times over a period of ten practice sessions with the number of coding entries of a group of musicians who did not use video feedback. Our results indicated that musicians who used video feedback practised at a slow tempo more often and that they played longer segments of the piece earlier in the learning process than the musicians who did not use video feedback.

Is music a mediator impacting car following when driver’s personalities are considered

Music can influence car following performance. However, it is not well resolved about its mediation effect on car following when the drivers’ personalities are considered. We investigated how music style and tempo influence car following with different personalities. Twelve tracks were used in this study, four for each music tempo range, i.e., slow, medium, and fast tempo, and six for each music style, i.e., classical and pop one. The results showed introverts were more susceptible to music, and tend to listen to slow tempo music and classical one. In addition, pop music aroused the drivers more than classical and may induce closer headway distance. Furthermore, with the tempo speeding up, the drivers were more excited, less concentrated and performed less stablely. The medium music tempo was the most appropriate choice for keeping stable headway distance and taking actions to the changes of the leading vehicle. The present study shows personality can mediate the influence of music listening while driving, and music style and tempo can impact the mediation in a specific way. The study provides a guide on the music choice during driving and may bring benefits to the configuration of the music radio program and car music player.

Muscle Fatigability After Hex-Bar Deadlift Exercise Performed With Fast or Slow Tempo.

To examine the differences in muscle fatigability after resistance exercise performed with fast tempo (FT) compared with slow tempo (ST). A total of 8 resistance-trained males completed FT and ST hexagonal-barbell deadlifts, consisting of 8 sets of 6 repetitions at 60% 3-repetition maximum, using a randomized crossover design. Each FT repetition was performed with maximal velocity, while each repetition during ST was performed with a 3-1-3 (eccentric/isometric/concentric) tempo (measured in seconds). Isometric maximal voluntary contraction, voluntary muscle activation, and evoked potentiated twitch torque of the knee extensors were determined using twitch interpolation before, during (set 4), and after exercise. Displacement-time data were measured during the protocols. The mean bar velocity and total concentric work were higher for FT compared with ST (995 [166] W vs 233 [52]W; 0.87 [0.05]m/s vs 0.19 [0.05]m/s; 4.8 [0.8]kJ vs 3.7 [1.1]kJ). Maximal voluntary contraction torque, potentiated twitch, and voluntary muscle activation were significantly reduced after FT (-7.8% [9.2%]; -5.2% [9.2%], -8.7% [12.2%]) and ST (-11.2% [8.4%], -13.3% [8.1%], -1.8% [3.6%]). The decline in maximal voluntary force after both the FT and ST hexagonal-barbell deadlifts exercise was accompanied by a similar decline in contractile force and voluntary muscle activation.

The influence of performing gesture type on interpersonal musical timing, and the role of visual contact and tempo

Bodily gestures play an important role in the communication of expressive intentions between humans. Music ensemble performance, as an outstanding example of nonverbal human communication, offers an exemplary context to study and understand the gestural control and communication of these expressive intentions. An important mechanism in music ensemble performance is the anticipation and control of interpersonal timing. When performing, musicians are involved in a complex system of mutual adaptation which is not completely understood so far. In this study, we investigated the role of performers' gestures in the mediation process of interpersonal timing in a dyad performance. Therefore, we designed an experiment in which we controlled for the use of hand and arm movements in a musical task, in which dyads were asked to synchronously tap out a melody. Next to their comfortable/natural way of tapping, we instructed participants to either perform pronounced expressive hand and arm gestures in between successive taps, or to restrict from any overt body movement. In addition, we looked at effects of visual contact (yes/no) and tempo (slow: 50 beats per minute; fast: 100 beats per minute). The results show that performers' gestures improve interpersonal musical timing, in terms of the consistency and accuracy of onset asynchronies, and of the variability of produced inter-onset intervals. Interestingly, we found that the use of expressive gestures, in regard to comfortable/natural movements, add to these positive timing effects, but only when there is visual contact and at the slow tempo. In addition, we found that the type of gestures employed by musicians may modulate leader-follower dynamics. Together, these findings are explained by human anticipation mechanisms facilitated by gesturing, shedding new light on the principles underlying human communication of expressive intentions, through music.

The effect of music on the perception of outdoor urban environment.

Music may modify the impression of a visual environment. Most studies have explored the effect of music on the perception of various service settings, but the effect of music on the perception of outdoor environments has not yet been adequately explored. Music may make an environment more pleasant and enhance the relaxation effect of outdoor recreational activities. This study investigated the effect of music on the evaluation of urban built and urban natural environments. The participants (N = 94) were asked to evaluate five environments in terms of spatio-cognitive and emotional dimensions while listening to music. Two types of music were selected: music with a fast tempo and music with a slow tempo. In contrast with a previous study by Yamasaki, Yamada & Laukka (2015), our experiment revealed that there was only a slight and not significant influence of music on the evaluation of the environment. The effect of music was mediated by the liking of music, but only in the dimensions of Pleasant and Mystery. The environmental features of the evaluated locations had a stronger effect than music on the evaluation of the environments. Environments with natural elements were perceived as more pleasant, interesting, coherent, and mysterious than urban built environments regardless of the music. It is suggested that the intensity of music may be an important factor in addition to the research methodology, individual variables, and cultural differences.

Jazz cats

Jazz cats