8,943 research outputs found

    Resistance training practices of Brazilian Olympic sprint and jump coaches: toward a deeper understanding of their choices and insights (part III)

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    In the final part of this three-article collection on the training strategies of Brazilian Olympic sprint and jump coaches, we provide a detailed description of the resistance training methods and exercises most commonly employed by these speed experts. Always with the objective of maximizing the sprint and jump capabilities of their athletes, these experienced coaches primarily utilize variable, eccentric, concentric, machine-based, isometric, complex, and isoinertial resistance training methods in their daily practices. Squats (in their different forms), Olympic weightlifting, ballistics, hip thrusts, lunges, calf raises, core exercises, leg curls, stiff-leg deadlifts, and leg extension are the most commonly prescribed exercises in their training programs, during both the preparatory and competitive periods. Therefore, the current manuscript comprehensively describes and examines these methods, with the additional aim of extrapolating their application to other sports, especially those where sprint speed is a key performance factor

    Effects of municipal smoke-free ordinances on secondhand smoke exposure in the Republic of Korea

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    ObjectiveTo reduce premature deaths due to secondhand smoke (SHS) exposure among non-smokers, the Republic of Korea (ROK) adopted changes to the National Health Promotion Act, which allowed local governments to enact municipal ordinances to strengthen their authority to designate smoke-free areas and levy penalty fines. In this study, we examined national trends in SHS exposure after the introduction of these municipal ordinances at the city level in 2010.MethodsWe used interrupted time series analysis to assess whether the trends of SHS exposure in the workplace and at home, and the primary cigarette smoking rate changed following the policy adjustment in the national legislation in ROK. Population-standardized data for selected variables were retrieved from a nationally representative survey dataset and used to study the policy action’s effectiveness.ResultsFollowing the change in the legislation, SHS exposure in the workplace reversed course from an increasing (18% per year) trend prior to the introduction of these smoke-free ordinances to a decreasing (βˆ’10% per year) trend after adoption and enforcement of these laws (Ξ²2 = 0.18, p-value = 0.07; Ξ²3 =β€‰βˆ’0.10, p-value = 0.02). SHS exposure at home (Ξ²2 = 0.10, p-value = 0.09; Ξ²3 =β€‰βˆ’0.03, p-value = 0.14) and the primary cigarette smoking rate (Ξ²2 = 0.03, p-value = 0.10; Ξ²3 = 0.008, p-value = 0.15) showed no significant changes in the sampled period. Although analyses stratified by sex showed that the allowance of municipal ordinances resulted in reduced SHS exposure in the workplace for both males and females, they did not affect the primary cigarette smoking rate as much, especially among females.ConclusionStrengthening the role of local governments by giving them the authority to enact and enforce penalties on SHS exposure violation helped ROK to reduce SHS exposure in the workplace. However, smoking behaviors and related activities seemed to shift to less restrictive areas such as on the streets and in apartment hallways, negating some of the effects due to these ordinances. Future studies should investigate how smoke-free policies beyond public places can further reduce the SHS exposure in ROK

    High-speed running quadruped robot with a multi-joint spine adopting a 1DoF closed-loop linkage

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    Improving the mobility of robots is an important goal for many real-world applications and implementing an animal-like spine structure in a quadruped robot is a promising approach to achieving high-speed running. This paper proposes a feline-like multi-joint spine adopting a one-degree-of-freedom closed-loop linkage for a quadruped robot to realize high-speed running. We theoretically prove that the proposed spine structure can realize 1.5 times the horizontal range of foot motion compared to a spine structure with a single joint. Experimental results demonstrate that a robot with the proposed spine structure achieves 1.4 times the horizontal range of motion and 1.9 times the speed of a robot with a single-joint spine structure

    A study on the effects of the Qihuang Needle therapy on patients with Parkinson's disease

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    ObjectiveThis study aimed to evaluate the effectiveness of the Qihuang Needle (QHN) in treating Parkinson's disease (PD).Design, setting, and participantsThe trial was an 8-week randomized clinical trial (4 weeks of treatment followed by 4 weeks of follow-up) conducted from January 2021 to July 2022 in outpatient settings at three clinical sites in Guangzhou, China. Thirty-four participants with PD were diagnosed based on the diagnostic criteria formulated by the brain bank of the British Parkinson's Disease Society in 1992.InterventionsPatients in the treatment and control groups received six sessions within 4 weeks of the QHN therapy or the sham acupuncture therapy (two times per week for the first two consecutive weeks and one time per week for the following two consecutive weeks).Main outcomes and measuresThe primary outcome measure was the change in the Parkinson's Disease Rating Scale-Part III Motor Examination (UPDRS III) between baseline and 8 weeks after treatments. Secondary outcome measures were the Non-Motor Symptoms Scale for Parkinson's Disease (NMSS) and Parkinson's Disease Daily Quality of Life-39 (PDQ-39). Real-time shear wave elastography (SWE) was assessed for each patient at baseline and during the 4-week period as the third outcome measure.ResultsA more significant reduction of UPDRS III score, PDQ-39, NMSS, and SWE was observed in the QHN group than in the sham acupuncture group.ConclusionsThe QHN therapy consistently demonstrated superiority and produced clinically meaningful benefits in reducing motor and non-motor symptoms, as well as significantly improving muscle stiffness, in patients with PD

    Sex differences concerning the effects of ankle muscle fatigue on static postural control and spinal proprioceptive input at the ankle

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    AimsThe main aim of this study was to determine sex differences in postural control changes with ankle muscle fatigue during a standing forward leaning (FL) task under different vision conditions. The secondary aim was to examine sex differences in the effect of fatigue on soleus (SOL) H-reflex amplitude, a measure of motoneuron excitability with activation of Ia afferents.MethodsFifteen healthy young adult males (mean age: 28.0 years) and 16 healthy young adult females (mean age: 26.1 years) were asked to perform four consecutive FL tasks [30 s; two with eyes open (EO) and two with eyes closed (EC)] before, and immediately following a fatiguing exercise consisting of alternating ankle plantarflexion (6 s) and dorsiflexion (2 s) maximal isometric contractions, and at 5 and 10 min of recovery. Center of pressure (COP) sway variables (mean position, standard deviation, ellipse area, average velocity, and frequency), an ankle co-contraction index, and a ratio of SOL H-reflex to the maximum amplitude of the compound muscle action potential (M-max) were obtained during the FL tasks. A rating of perceived fatigue (RPF) was also documented at the different time points.ResultsTime to task failure (reduction of 50% in maximal voluntary isometric contraction torque of ankle plantar flexors) and the increase in RPF value were not significantly different between males and females. Both sex groups showed similar and significant increases (p < 0.05) in mean COP sway velocity with no significant changes in co-contraction indices. No significant effects of fatigue and related interactions were found for SOL H/M-max ratio.DiscussionThe absence of a significant sex difference in postural control change (sway and co-contraction) with fatigue could be explained by similar perceived (RPF) and performance fatigability (exercise duration) between males and females in the present study. Fatigue did not lead to significant changes in SOL spinal motoneuron excitability with activation of Ia afferents

    Introduction to Psychology

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    Introduction to Psychology is a modified version of Psychology 2e - OpenStax

    ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° / Musicology (34 I/2023)

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    ОбСлСТавањС ΠΏΠΎΠ»Π° Π²Π΅ΠΊΠ° ΠΎΠ΄ ΠΊΠ°Π΄Π° јС ΠΏΡ€Π΅ΠΌΠΈΠ½ΡƒΠΎ Π˜Π³ΠΎΡ€ Бтравински (1882–1971) ΠΏΡ€ΠΎΡ‚Π΅ΠΊΠ»ΠΎ јС Ρƒ сСнци пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°, ΠΏΠ° сС Π½Π°ΡƒΡ‡Π½ΠΎ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅ подстакнуто Ρ‚ΠΎΠΌ Π³ΠΎΠ΄ΠΈΡˆΡšΠΈΡ†ΠΎΠΌ ΠΏΡ€ΠΎΠ΄ΡƒΠΆΠΈΠ»ΠΎ. Π’Π°ΠΊΠΎ сС ΡšΠ΅ΠΌΡƒ ΠΏΡ€ΠΈΠ΄Ρ€ΡƒΠΆΡƒΡ˜Π΅ ΠΈ Π“Π»Π°Π²Π½Π° Ρ‚Π΅ΠΌΠ° Ρƒ Π½ΠΎΠ²ΠΎΠΌ Π±Ρ€ΠΎΡ˜Ρƒ ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π΅ (34), с Π½ΠΈΠ·ΠΎΠΌ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° посвСћСних Бтравинском, којС ΠΏΠΎΡ‚ΠΈΡ‡Ρƒ ΠΈΠ· излагања Π½Π° Π‘Ρ‚ΡƒΠ΄ΠΈΡ˜ΡΠΊΠΎΠΌ Π΄Π°Π½Ρƒ ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΎΠΌ 2021. Π³ΠΎΠ΄ΠΈΠ½Π΅ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини. ЗаступљСнС Ρ‚Π΅ΠΌΠ΅ ΠΏΠΎΠΊΡ€ΠΈΠ²Π°Ρ˜Ρƒ ΡˆΠΈΡ€ΠΎΠΊ спСктар ΠΏΡ€ΠΎΠ±Π»Π΅ΠΌΠ°Ρ‚ΠΈΠΊΠ΅ Ρƒ Π²Π΅Π·ΠΈ са свим Ρ‚Ρ€ΠΈΠΌΠ° Ρ„Π°Π·Π°ΠΌΠ° ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског (руска, нСокласична ΠΈ ΡΠ΅Ρ€ΠΈΡ˜Π°Π»Π½Π°), ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ ΠΏΡ€ΠΈ Ρ‚ΠΎΠΌΠ΅ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠ° СстСтикС, ΠΊΠ°ΠΎ ΠΈ ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΈ Ρ€Π΅Ρ†Π΅ΠΏΡ†ΠΈΡ˜Π΅ њСговог Π΄Π΅Π»Π°. Бтаматис Зохиос ΠΈΠ·Π½ΠΎΠ²Π° ΠΎΡ‚Π²Π°Ρ€Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ Π²Π΅Π·Π΅ Бтравинског с руским Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€ΠΎΠΌ, ΠΊΠΎΠ½Ρ‚Π΅ΠΊΡΡ‚ΡƒΠ°Π»ΠΈΠ·ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π΅Π»Π° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈΠ· Ρ‚Π°ΠΊΠΎΠ·Π²Π°Π½ΠΎΠ³ β€žΡ€ΡƒΡΠΊΠΎΠ³β€ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Π° с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° Π½Π° ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜Π°Ρ‚ рускС фолклористикС. Зохиос Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜Π΅ Π΄Π° јС Бтравински ΠΏΡ€Π°Ρ‚ΠΈΠΎ ΠΏΡƒΡ‚ ΡΠ²ΠΎΡ˜ΠΈΡ… ΠΏΡ€Π΅Ρ‚Ρ…ΠΎΠ΄Π½ΠΈΠΊΠ° ΠΈΠ· 19. Π²Π΅ΠΊΠ° (Π“Π»ΠΈΠ½ΠΊΠ° ΠΈ ΠŸΠ΅Ρ‚ΠΎΡ€ΠΈΡ†Π°) Ρƒ ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±ΠΈ Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Π½ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° Π·Π° својС ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π΅, Π°Π»ΠΈ, Π·Π° Ρ€Π°Π·Π»ΠΈΠΊΡƒ ΠΎΠ΄ ΡšΠΈΡ…, нијС користио ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Π½Π°ΡΡ‚Π°Ρ˜Π°Π»Π΅ Ρƒ њСговом Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ; стога, нијС сС упустио Ρƒ СкстСнзивну ΠΈ дубинску ΠΏΡ€Π΅Ρ‚Ρ€Π°Π³Ρƒ ΠΏΠΎΡΡ‚ΠΎΡ˜Π΅Ρ›ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° ΠΎ руском Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Ρƒ, Π²Π΅Ρ› сС умСсто Ρ‚ΠΎΠ³Π° ослањао Π½Π° ΠΏΡ€ΠΎΠ²Π΅Ρ€Π΅Π½Π΅ ΠΈΠ·Π²ΠΎΡ€Π΅ ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ ΠΈΠ· 19. Π²Π΅ΠΊΠ°. Π§Π»Π°Π½Π°ΠΊ Ивана ΠœΡƒΠ΄ΠΈΡ˜Π° освСтљава Π΄Π΅ΠΎ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског с фокусом Π½Π° њСгова Π΄ΡƒΡ…ΠΎΠ²Π½Π° Π΄Π΅Π»Π° ΠΈΠ· пСрспСктивС њСговог познавања Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜Π΅ Π–Π°ΠΊΠ° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½Π°, Π° Ρƒ контСксту филозофских потрСса Ρƒ ΠΌΠ΅Ρ’ΡƒΡ€Π°Ρ‚Π½ΠΎΡ˜ Π€Ρ€Π°Π½Ρ†ΡƒΡΠΊΠΎΡ˜. ΠœΡƒΠ΄ΠΈ ΠΎΠ±Ρ€Π°Ρ›Π° посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π° Ρ‚ΠΎ ΠΊΠ°ΠΊΠΎ Бтравински ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚ΠΈΡ€Π° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½ΠΎΠ²Ρƒ ΠΈΠ΄Π΅Ρ˜Ρƒ homo faber-a, β€žΡ‡ΠΎΠ²Π΅ΠΊΠ°-творца”. Π˜ΡΡ‚ΠΎΠ²Ρ€Π΅ΠΌΠ΅Π½ΠΎ, ΠΎΠ½ Π½Π΅ Π·Π°Π½Π΅ΠΌΠ°Ρ€ΡƒΡ˜Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²ΠΎ руско ΠΏΠΎΡ€Π΅ΠΊΠ»ΠΎ, Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π° су Π΄Π΅Π»Π° која су ΠΎΠ²Π΄Π΅ саглСдавана јСднако ΡƒΡ‚Π΅ΠΌΠ΅Ρ™Π΅Π½Π° Ρƒ руском ΠΏΠΎΡ€Π΅ΠΊΠ»Ρƒ Бтравинског ΠΊΠ°ΠΎ ΠΈ Ρƒ њСговим искуствима Π½Π° Π—Π°ΠΏΠ°Π΄Ρƒ. ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½Π° Π›Π΅Π²ΠΈΠ΄Ρƒ дајС Π½ΠΎΠ²ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄ Π½Π° ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΡƒ ΠΌΡƒΠ·ΠΈΠΊΠ΅, Π° Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ Π½Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ доприноса ΠŸΡ˜Π΅Ρ€Π° Бувчинског ΠΎΠ²ΠΎΠΌ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Ρƒ. ЊСно ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠΊΡ€Π΅Ρ›Π΅ сС ΠΈΠ·Π²Π°Π½ ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½ΠΈΡ… мСста Π·Π° ΠΏΠΎΡΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅, односно ΠΈΠ·Π²Π°Π½ ΠΏΠ΅Ρ‚ΠΎΠ³ ΠΏΠΎΠ³Π»Π°Π²Ρ™Π° (којС јС написао Бувчински) ΠΈ Π΄ΠΎΠ±Ρ€ΠΎ ΠΏΠΎΠ·Π½Π°Ρ‚Π΅ Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π΅ ΠΊΠ° идСјама Бувчинског ΠΎ ΠΌΡƒΠ·ΠΈΡ†ΠΈ ΠΈ Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ. На Ρ‚Π°Ρ˜ Π½Π°Ρ‡ΠΈΠ½ Ρ›Π΅ ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΠ° ΠΈΠ½Ρ‚Ρ€ΠΈΠ³Π°Π½Ρ‚Π½ΠΎ постати најмањС ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½Π° ΠΏΠ»Π°Ρ‚Ρ„ΠΎΡ€ΠΌΠ° Π·Π° ΠΏΡ€Π΅Π·Π΅Π½Ρ‚Π°Ρ†ΠΈΡ˜Ρƒ ΠΈ Π΄ΠΈΡΠ΅ΠΌΠΈΠ½Π°Ρ†ΠΈΡ˜Ρƒ ΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° ΠΏΠΎΠ²Π΅Π·Π°Π½ΠΈΡ… с ΠΎΠ΄Ρ€Π΅Ρ’Π΅Π½ΠΈΠΌ Π½ΠΈΡ‚ΠΈΠΌΠ° β€žΠ΅Π²Ρ€ΠΎΠ°Π·ΠΈΡ˜ΡΡ‚Π²Π°β€, руског Смигрантског ΠΈΠ½Ρ‚Π΅Π»Π΅ΠΊΡ‚ΡƒΠ°Π»Π½ΠΎΠ³ ΠΈ ΠΏΠΎΠ»ΠΈΡ‚ΠΈΡ‡ΠΊΠΎΠ³ ΠΏΠΎΠΊΡ€Π΅Ρ‚Π°, с којим јС Бувчински Π±ΠΈΠΎ Π±Π»ΠΈΠ·Π°ΠΊ. ΠšΡ€ΠΈΡΡ‚ΠΎΡ„ Π€Π»Π°ΠΌ фокусирао сС Π½Π° касно ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²ΠΎ Бтравинског ΠΈ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΠΎ Π³Π° ΠΈΠ· пСрспСктивС СкспрСсивности. ΠšΠΎΠ½ΠΊΡ€Π΅Ρ‚Π½ΠΎ, овај Π°ΡƒΡ‚ΠΎΡ€ јС истакао СкспрСсивнС, сСмантичкС ΠΈ ΡΠ°ΠΌΠΎΡ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜Π°Π»Π½Π΅ димСнзијС Ρƒ касним Π΄Π΅Π»ΠΈΠΌΠ°, којС сС Ρƒ њима ΠΏΠΎΡ˜Π°Π²Ρ™ΡƒΡ˜Ρƒ с Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎΠΌ Ρ˜Π°ΡΠ½ΠΎΡ›ΠΎΠΌ ΠΈ Π΄Π΅Π»ΠΈΠΌΠΈΡ‡Π½ΠΎ ΠΏΡ€ΠΎΡ‚ΠΈΠ²Ρ€Π΅Ρ‡Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ΠΈΠΌ ΠΎΡ†Π΅Π½Π°ΠΌΠ° ΠΎΠ²Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΊΠ°ΠΎ апстрактнС ΠΈ конструктивистичкС, Π° Ρ‚Π°ΠΊΠΎΡ’Π΅ ΠΈΠ·Π°Π·ΠΈΠ²Π°Ρ˜Ρƒ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²Π΅ Π»ΠΈΡ‡Π½Π΅ изјавС. Π‘ Ρ‡Π»Π°Π½ΠΊΠΎΠΌ Π•Π΄Π²Π°Ρ€Π΄Π° КСмбСла ΠΎΡΡ‚Π°Ρ˜Π΅ΠΌΠΎ Ρƒ послСратном Π΄ΠΎΠ±Ρƒ, Π°Π»ΠΈ сС фокус ΠΏΠΎΠΌΠ΅Ρ€Π° с Π΄Π΅Π»Π° Бтравинског ΠΏΠΎ сСби Π½Π° ΡƒΡ‚ΠΈΡ†Π°Ρ˜ њСговог Ρ€Π°Π΄Π° Π½Π° Ρ„Ρ€Π°Π½ΠΊΠΎΡ„ΠΎΠ½Ρƒ послСратну Π°Π²Π°Π½Π³Π°Ρ€Π΄Ρƒ, односно Π½Π° ΠŸΡ˜Π΅Ρ€Π° Π‘ΡƒΠ»Π΅Π·Π°, Π–Π°Π½Π° Π‘Π°Ρ€Π°ΠΊΠ°, ΠΠ½Ρ€ΠΈΡ˜Π° ΠŸΡƒΡΠ΅Ρ€Π° ΠΈ МишСла Π€ΠΈΠ»ΠΈΠΏΠΎΠ°. КСмбСлова Π°Π½Π°Π»ΠΈΠ·Π° ΠΈΠ·Π²Π»Π°Ρ‡ΠΈ Π½Π° ΠΏΠΎΠ²Ρ€ΡˆΠΈΠ½Ρƒ ΡƒΡ‚ΠΈΡ†Π°Ρ˜ који јС Бтравински ΠΈΠΌΠ°ΠΎ Π½Π° ΠΎΠ²Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π΅ Π½Π° Π½ΠΈΠ²ΠΎΠΈΠΌΠ° Ρ€ΠΈΡ‚ΠΌΠΈΡ‡ΠΊΠ΅ ΠΈΠ½ΠΎΠ²Π°Ρ†ΠΈΡ˜Π΅, ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±Π΅ звучности, Ρ…Π°Ρ€ΠΌΠΎΠ½ΠΈΡ˜Π°, инструмСнталнС бојС, ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ Ρ„ΠΎΡ€ΠΌΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΏΠΎΠ»Π°Ρ€ΠΈΡ‚Π΅Ρ‚Π° висинС Ρ‚ΠΎΠ½Π°. ПослСдња Π΄Π²Π° Ρ‡Π»Π°Π½ΠΊΠ° ΠΏΡ€ΠΈΠ»Π°Π·Π΅ Ρ€Π°Π΄Ρƒ Бтравинског ΠΈΠ· пСрспСктивС СстСтикС, с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° ΠΊΠ° Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜ΠΈ њСговог саврСмСника, Π₯Π΅Π»ΠΌΡƒΡ‚Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€Π°. Јаковос Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ расправља ΠΎ Π·Π½Π°Ρ‡Π΅ΡšΡƒ тСлСсности ΠΈ плСса Ρƒ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Ρƒ Бтравинског, ΠΎΠ΄Π»Π°Π·Π΅Ρ›ΠΈ ΠΈΠ·Π²Π°Π½ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π΄ΠΎΠΊΡƒΠΌΠ΅Π½Ρ‚ΠΎΠ²Π°Π½ΠΎΠ³ ΠΈΠ½Ρ‚Π΅Ρ€Π΅ΡΠΎΠ²Π°ΡšΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° Π·Π° балСтску ΠΌΡƒΠ·ΠΈΠΊΡƒ. БалСтска ΠΌΡƒΠ·ΠΈΠΊΠ° Бтравинског, ΠΊΠ°ΠΊΠΎ Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜Π΅, постиТС ΡΡ‚Π°ΡšΠ΅ β€žΠΏΠΎΡΡ€Π΅Π΄ΠΎΠ²Π°Π½Π΅ нСпосрСдности”, ΠΎΠ΄Ρ€ΠΆΠ°Π²Π°Ρ˜ΡƒΡ›ΠΈ Ρ‚Π°ΠΊΠΎ дистанцу Ρƒ односу Π½Π° ΡΡƒΠ±Ρ˜Π΅ΠΊΡ‚ΠΈΠ²Π½ΠΈ ΠΈΠ·Ρ€Π°Π·, Π±Π΅Π· којСг, ΠΏΠ°ΠΊ, ΠΏΠΎΡΡ‚Π°Ρ˜Π΅ апстрактна. ΠšΠΎΠ½Π°Ρ‡Π½ΠΎ, ΠœΠ°Ρ€ΠΊΠΎΡ ЦСцос Π½ΡƒΠ΄ΠΈ Π½ΠΎΠ²Ρƒ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΡƒ АдорновС ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ΅ Бтравинског, Ρ€Π΅Ρ„Π΅Ρ€ΠΈΡ€Π°Ρ˜ΡƒΡ›ΠΈ Π½Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€ΠΎΠ²Ρƒ филозофску Π°Π½Ρ‚Ρ€ΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡ˜Ρƒ. Он, стога, ΠΈΠ·Π°Π·ΠΈΠ²Π° АдорновС ΠΏΠΎΠ³Π»Π΅Π΄Π΅ који Бтравинског ΡΠ²Ρ€ΡΡ‚Π°Π²Π°Ρ˜Ρƒ Ρƒ Π½Π΅Ρ…ΡƒΠΌΠ°Π½Π΅ ΠΈ ΠΏΡ€ΠΈΠΌΠΈΡ‚ΠΈΠ²Π½Π΅, ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜ΡƒΡ›ΠΈ умСсто Ρ‚ΠΎΠ³Π° Π΄Π° њСгова ΠΌΡƒΠ·ΠΈΠΊΠ° достиТС, Ρƒ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π°Π΄Π΅ΠΊΠ²Π°Ρ‚Π½ΠΈΠΌ ΠΌΠΎΠ΄Π΅Ρ€Π½ΠΈΠΌ Ρ‚Π΅Ρ€ΠΌΠΈΠ½ΠΈΠΌΠ°, конститутивну рСфлСксивност људског ΠΎΡ‚Π΅Π»ΠΎΡ‚Π²ΠΎΡ€Π΅Π½ΠΎΠ³ ΡΡ‚Π°ΡšΠ°. Π ΡƒΠ±Ρ€ΠΈΠΊΠ° Varia ΠΎΠ²ΠΎΠΌ јС ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ Π½Π΅ΡˆΡ‚ΠΎ ΡΠ°ΠΆΠ΅Ρ‚ΠΈΡ˜Π° – доноси Ρ‚Ρ€ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅, Π°Π»ΠΈ су њима ΠΌΠ°Ρ€ΠΊΠΈΡ€Π°Π½Π° Ρ€Π°Π·Π»ΠΈΡ‡ΠΈΡ‚Π° ΠΏΠΎΡ™Π° ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΡˆΠΊΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ°. Π‘ΠΎΡ˜Π°Π½Π° Π Π°Π΄ΠΎΠ²Π°Π½ΠΎΠ²ΠΈΡ› студиозно сС Π±Π°Π²ΠΈΠ»Π° ΠΏΡ€ΠΎΡƒΡ‡Π°Π²Π°ΡšΠ΅ΠΌ СкспрСсивних срСдстава Ρƒ Π΄Π΅Π»ΠΈΠΌΠ° Π·Π° глас српског ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠˆΡƒΠ³Π° ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π°, Π°Π»ΠΈ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠΈΠΌΠ° ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° односа ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈ Π²ΠΎΠΊΠ°Π»Π½ΠΎΠ³ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π°. Π¦ΠΈΡ™ ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Π° Π±ΠΈΠΎ јС Π΄Π° ΠΏΡƒΡ‚Π΅ΠΌ Π°Π½Π°Π»ΠΈΠ·Π΅ ΠΎΠ΄Π°Π±Ρ€Π°Π½ΠΈΡ… ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° допринСсС ΠΎΡΠ²Π΅Ρ‚Ρ™Π°Π²Π°ΡšΡƒ ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π΅Π²ΠΎΠ³ Π΅ΠΊΠ»Π΅ΠΊΡ‚ΠΈΡ‡Π½ΠΎΠ³ стила, ΠΊΠ°ΠΎ ΠΈ Π΄Π° сС ΠΎΠ½ ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π° Ρƒ ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½Π΅ ΠΊΡ€ΡƒΠ³ΠΎΠ²Π΅ стваралаца који сС гласом Π±Π°Π²Π΅ Π½Π° Π½Π΅Ρ‚Ρ€Π°Π΄ΠΈΡ†ΠΈΠΎΠ½Π°Π»Π½Π΅ Π½Π°Ρ‡ΠΈΠ½Π΅. Π˜ΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠœΠ°Ρ€ΠΈΡ˜Π΅ Π”ΠΈΠ½ΠΎΠ² прСдстављСно ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ односи сС Π½Π° кинСстСтичкС гСстовС, односно тСлСснС ΠΏΠΎΠΊΡ€Π΅Ρ‚Π΅ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π° Ρ‚ΠΎΠΊΠΎΠΌ пСрформанса, Π° ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ сопствСна ΠΏΠΈΡ˜Π°Π½ΠΈΡΡ‚ΠΈΡ‡ΠΊΠ° искуства, посСбну јС ΠΏΠ°ΠΆΡšΡƒ посвСтила Π‘Π΅Ρ‚ΠΎΠ²Π΅Π½ΠΎΠ²ΠΈΠΌ клавирским сонатама. ОбјашњСњС ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΊΠ°Ρ€Π°ΠΊΡ‚Π΅Ρ€Π° Ρ„ΠΈΠ·ΠΈΡ‡ΠΊΠΈΡ… ΠΏΠΎΠΊΡ€Π΅Ρ‚Π° Ρ‚Π΅Π»Π° Π½Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎ Π΄Π΅Π»ΠΎ ΡƒΠΊΡ™ΡƒΡ‡ΠΈΠ»ΠΎ јС осврт Π½Π° ΡΡ‚Π²Π°Ρ€Π°ΡšΠ΅ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΠ³ Π΄Π΅Π»Π°, Π° с Π΄Ρ€ΡƒΠ³Π΅ странС ΠΈ Π½Π° ΡΠ΅Π½Π·Π°Ρ†ΠΈΡ˜Π΅ Ρ‚ΠΎΠΊΠΎΠΌ њСговог ΠΈΠ·Π²ΠΎΡ’Π΅ΡšΠ°, ΡˆΡ‚ΠΎ јС сугСрисало ΡˆΠΈΡ€ΠΈ Π·Π°ΠΊΡ™ΡƒΡ‡Π°ΠΊ ΠΎ посСбној ваТности Ρ€Π°Π·ΡƒΠΌΠ΅Π²Π°ΡšΠ° ’кинСтичкС Π΅Π½Π΅Ρ€Π³ΠΈΡ˜Π΅ музикС’. ПослСдњи Ρƒ ΠΎΠ²ΠΎΠΌ Π΄Π΅Π»Ρƒ часописа јС Ρ‡Π»Π°Π½Π°ΠΊ Π”ΠΈΠ½Π΅ Π’ΠΎΡ˜Π²ΠΎΠ΄ΠΈΡ› Николић, посвСћСн ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΠΌ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° ΠŸΠ΅Ρ‚Ρ€Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ†Π°, ΠΊΠ°ΠΎ посСбно Π²Π°ΠΆΠ½ΠΎΠΌ Π΄Π΅Π»Ρƒ њСговог доприноса ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π½ΠΎΡ˜ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΠΈ ΠΈ ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜ΠΈ. Анализирани су тСкстови ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈ Ρƒ часопису Мисао, ΡƒΠΊΠ°Π·Π°Π½ΠΎ јС Π½Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ‡Π΅Π² Π½Π°Ρ‡ΠΈΠ½ ΠΌΠΈΡˆΡ™Π΅ΡšΠ° ΠΈ ΠΌΠ΅Ρ‚ΠΎΠ΄ Ρ€Π°Π΄Π°, Π° ΠΊΠΎΠΌΠΏΠ°Ρ€Π°Ρ‚ΠΈΠ²Π½ΠΎΠΌ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ с ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° Π΄Ρ€ΡƒΠ³ΠΈΡ… Π°ΡƒΡ‚ΠΎΡ€Π° Π΄Π°Ρ‚Π° јС основа Π·Π° њСгово ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π°ΡšΠ΅ Ρƒ ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΡ˜ ΠΊΡ€ΠΈΡ‚ΠΈΡ†ΠΈ Ρƒ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Ρƒ ΠΈΠ·ΠΌΠ΅Ρ’Ρƒ Π΄Π²Π°Ρ˜Ρƒ свСтских Ρ€Π°Ρ‚ΠΎΠ²Π°, ΠΊΠ°Π΄Π° јС ΠΏΠΎΠΌΠ΅Π½ΡƒΡ‚ΠΈ часопис ΠΈΠ·Π»Π°Π·ΠΈΠΎ. ΠŸΡ€ΠΈΠ»ΠΎΠ·ΠΈ Ρƒ Ρ€ΡƒΠ±Ρ€ΠΈΡ†ΠΈ Научна ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° односС сС Π½Π° Π½Π΅Π΄Π°Π²Π½ΠΎ ΠΎΠ΄Ρ€ΠΆΠ°Π½ Π½Π°ΡƒΡ‡Π½ΠΈ скуп ΠΈ Π½Π° Π·Π±ΠΎΡ€Π½ΠΈΠΊ Π·Π° који јС изостала Π΄ΡƒΠΆΠ½Π° паТња Π·Π±ΠΎΠ³ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡšΠ° Ρ‚ΠΎΠΊΠΎΠΌ пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°. ΠœΠ°Ρ€ΠΈΡ˜Π° Маглов ΠΏΡ€ΠΈΠΏΡ€Π΅ΠΌΠΈΠ»Π° јС ΠΊΡ€ΠΈΡ‚ΠΈΡ‡ΠΊΠΈ осврт Π½Π° ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½ΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌ посвСћСн Ρ€Π°Π½ΠΎΡ˜ Π΄ΠΈΡΠΊΠΎΠ³Ρ€Π°Ρ„ΡΠΊΠΎΡ˜ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜ΠΈ, Π°ΠΊΡ‚ΡƒΠ΅Π»Π½ΠΎΡ˜ Ρ‚Π΅ΠΌΠΈ Ρƒ контСксту ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° ΠΌΠ΅Π΄ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΈ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅, који су ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»Π΅ хрватскС ΠΊΠΎΠ»Π΅Π³Π΅, ΠΌΠ°Ρ€Ρ‚Π° ΠΎΠ²Π΅ Π³ΠΎΠ΄ΠΈΠ½Π΅. Овај ΠΏΡ€ΠΈΠ»ΠΎΠ³ Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ јС Π²Π°ΠΆΠ°Π½, с ΠΎΠ±Π·ΠΈΡ€ΠΎΠΌ Π½Π° Ρ‚ΠΎ Π΄Π° сС Π½Π΅ ΠΎΡ‡Π΅ΠΊΡƒΡ˜Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ тСматски Π·Π±ΠΎΡ€Π½ΠΈΠΊ Ρ€Π°Π΄ΠΎΠ²Π° свих учСсника ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌΠ°. Ни Π·Π±ΠΎΡ€Π½ΠΈΠΊ Rethinking Prokofiev, који јС прСдставио Милош Π‘Ρ€Π°Π»ΠΎΠ²ΠΈΡ›, нијС настао Π½Π° основу Π½Π°ΡƒΡ‡Π½ΠΎΠ³ скупа, Π²Π΅Ρ› јС Ρ€Π΅Π·ΡƒΠ»Ρ‚Π°Ρ‚ ΠΎΡ€ΠΈΠ³ΠΈΠ½Π°Π»Π½ΠΈΡ… архивских, Π°Π½Π°Π»ΠΈΡ‚ΠΈΡ‡ΠΊΠΈΡ…, односно ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡ΠΊΠΎ-ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ‚ΠΈΠ²Π½ΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° опуса ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π°. Π Π΅Ρ‡ јС ΠΎ ΠΈΠ·Π΄Π°ΡšΡƒ Π½Π° којСм су Π°Π½Π³Π°ΠΆΠΎΠ²Π°Π½ΠΈ Π²ΠΎΠ΄Π΅Ρ›ΠΈ ΡΡ‚Ρ€ΡƒΡ‡ΡšΠ°Ρ†ΠΈ Ρƒ ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ†ΠΈΡ˜ΠΈ ΠΎΡΡ‚Π²Π°Ρ€Π΅ΡšΠ° ΠŸΡ€ΠΎΠΊΠΎΡ„Ρ˜Π΅Π²Π°, ΠΎΠ΄ ΡƒΡ€Π΅Π΄Π½ΠΈΠΊΠ° Π΄ΠΎ Π°ΡƒΡ‚ΠΎΡ€Π°, Ρ‚Π΅ Π·Π°Π²Ρ€Π΅Ρ’ΡƒΡ˜Π΅ посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π°ΡƒΡ‡Π½Π΅ Ρ˜Π°Π²Π½ΠΎΡΡ‚ΠΈ. Π Π΅Π΄Π°ΠΊΡ†ΠΈΡ˜Π° часописа ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° срдачно Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ Π½Π° ΡΠ°Ρ€Π°Π΄ΡšΠΈ Π΄Ρ€ ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½ΠΈ Π›Π΅Π²ΠΈΠ΄Ρƒ, Π΄ΠΎΡ†Π΅Π½Ρ‚Ρƒ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини, која јС ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΏΡ€Π΅ΡƒΠ·Π΅Π»Π° дуТност Π³ΠΎΡˆΡ›Π΅-ΡƒΡ€Π΅Π΄Π½ΠΈΡ†Π΅ Π·Π° Ρ€ΡƒΠ±Ρ€ΠΈΠΊΡƒ Π’Π΅ΠΌΠ° Π±Ρ€ΠΎΡ˜Π°. Π˜Π·ΡƒΠ·Π΅Ρ‚Π½Ρƒ захвалност ΠΈΠ·Ρ€Π°ΠΆΠ°Π²Π°ΠΌΠΎ свим ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° којС су ΠΏΡ€ΠΈΡ…Π²Π°Ρ‚Π°Π»Π΅ посао Ρ€Π΅Ρ†Π΅Π½Π·Π΅Π½Π°Ρ‚Π° ΠΈ Π΄ΠΎΠΏΡ€ΠΈΠ½Π΅Π»Π΅ ΠΊΠ²Π°Π»ΠΈΡ‚Π΅Ρ‚Ρƒ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈΡ… ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π°.The commemoration of the fiftieth anniversary of Igor Stravinsky’s death (1882–1971) remained in the shadows of the covid-19 pandemic, which caused the prolonged response of the scientific community in terms of new readings of the composer’s opus. The Main Theme in the new issue of Muzikologija-Musicology (No. 34) makes a contribution to this response with a series of studies dedicated to Stravinsky, originating from presentations at the Study Day organized in 2021 by the Department of Music Studies of the National and Kapodistrian University of Athens. The topics cover a wide range of issues relating to all three phases of Stravinsky’s creation (the Russian, the Neoclassical and the Serial), including questions of aesthetics, as well as the impact and reception of his work. Stamatis Zochios revisits the question of Stravinsky’s relationship with Russian folklore, by contextualising the composer’s output of the so-called β€œRussian” period with reference to the history of Russian folkloristics. Zochios concludes that Stravinsky followed in the footsteps of his nineteenth-century predecessors (Glinka and the Mighty Five) in drawing on folk sources for his compositions, yet unlike them, he did not make use of studies from his own time; hence, he did not delve into an extensive and in-depth survey of the existing sources of Russian folklore but, instead, relied on established sources and studies from the nineteenth century. Ivan Moody’s article sheds light on Stravinsky’s output with a focus on his religious works through the perspective of his acquaintance with Jacques Maritain’s philosophy, in the context of the philosophical ferment in Interwar France. Moody pays particular attention to Stravinsky’s interpretation of Maritain’s idea of homo faber, β€œman the maker”. At the same time, he does not ignore the composer’s Russian origins, concluding that the works under examination are equally grounded in Stravinsky’s Russian background and his experiences in the West. Katerina Levidou sheds new light on the Poetics of Music, specifically the question of Pierre Souvtchinsky’s contribution. Her examination moves beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky’s ideas on music and time. The Poetics thus emerges as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of β€œEurasianism”, the Russian Γ©migrΓ© intellectual and political movement, with which Souvtchinsky was closely associated. Christoph Flamm focuses on Stravinsky’s late output and considers it from the perspective of expressiveness. Specifically, he highlights expressive, semantic and self-referential dimensions in the late compositions, which emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist, but also challenge the composer’s own statements. With Edward Campbell’s article we remain in the post-War era, yet the focus shifts from Stravinsky’s work per se to the impact his output had on the Francophone post-war avant-garde, namely Pierre Boulez, Jean BarraquΓ©, Henri Pousseur and Michel Philippot. Campbell’s analysis brings to the surface the influence Stravinsky had on such composers on the level of rhythmic innovation, and the use of sonorities, harmonies, instrumental colour, musical form as well as pitch polarity. The last two articles approach Stravinsky’s work from the perspective of aesthetics, with reference specifically to the philosophy of Stravinsky’s contemporary, Helmuth Plessner. Iakovos Steinhauer discusses the meaning of corporeality and dance in Stravinsky’s work, moving beyond Stravinsky's historically-documented interest in ballet music. Stravinsky’s ballet music, as Steinhauer demonstrates, attains a β€œmediated immediacy”, thus maintaining a distance from subjective expression, without, however, becoming abstract. Finally, Markos Tsetsos offers a new critique of Adorno’s criticism of Stravinsky with reference to Plessner’s philosophical anthropology. He, therefore, challenges Adorno’s view that Stravinsky regresses to the inhuman and primitive, demonstrating, instead, that his music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition. On this occasion, the Varia section is more concise, to balance out the breadth of the Main Theme. It contains three studies that map out three different fields of musicological research. Bojana RadovanoviΔ‡ has studiously examined the expressive means in the works for the voice of the Serbian composer Jug MarkoviΔ‡, including the questions from the domain of the relationship between the composer and the vocal performer. By analysing Marković’s selected works, she aims to illuminate his eclectic style and situate him in the international circles of composers who deal with the voice in non-traditional ways. Marija Dinov’s research presented in this issue deals with kinesthetic gestures, i.e. bodily movements of pianists (including herself) during performances, focusing on the performances of Beethoven’s piano sonatas. The explanation of the influence of physical movements on the musical work includes an overview of the creation of the musical work, and, on the other hand, of the sensations during its performance, which leads to a broader conclusion about the special importance of understanding the β€œkinetic energy of music”. The last article in this section of the journal is Dina VojvodiΔ‡ Nikolić’s article dedicated to Petar Bingulac’s music criticism, as a particularly important segment of his contribution to Serbian cultural history and musicology. The author analyses Bingulac’s texts published in the journal Misao [Thought] and points to Bingulac’s way of thinking and methods of work, whilst also providing a comparative analysis with the music reviews of other contemporary critics and thus situating Bingulac’s writings within Serbian music criticism from the interwar period, when the journal Misao was published. Contributions in the section Scientific criticism and polemics refer to the recently held conference and to the collection which has hitherto attracted insufficient attention due to its publication during the covid-19 pandemic. Marija Maglov has prepared a review of the international symposium dedicated to the early recording industry, a current topic in the context of studies of medialisation and industrialisation of music, which was organized by Croatian colleagues in March 2023; this contribution is particularly important considering that the publication of the proceedings of the symposium is not expected. The collection Rethinking Prokofiev, reviewed by MiloΕ‘ BraloviΔ‡, did not result from a scientific conference either; it is the outcome of original archival, analytical, and performance-interpretive research of Sergei Prokofiev’s oeuvre. This collection has gathered together leading experts on Prokofiev’s works, from the editors to the authors, and it deserves special attention from the scientific community. The Editorial Board of the journal Muzikologija-Musicology would like to thank Dr Katerina Levidou, Assistant Professor at the Department of Music Studies of the National and Kapodistrian University of Athens, who served as Guest Editor of the Main Theme. We are very grateful to all colleagues who accepted the roles of peer reviewers and contributed to the quality of published studies

    Japanese Expert Teachers' Understanding of the Application of Rhythm in Judo: a New Pedagogy

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    Aim The aim of this research is to understand the application of rhythm in judo through the experience of expert Japanese coaches. Background Scientists and experienced coaches agree rhythm is an important skill in people’s everyday life. There is currently no research that investigates the importance of rhythm in judo. People with a highly developed sense of rhythm, move properly, breathe properly, or begin and finish work at the right time. Where sport is concerned, motion and dance can play an important role not only in the improvement of performance, but also in the reduction, or even prevention of, injuries. Those who are naturally musically inclined (have a musical ear) may find they can improve their technique faster than others, and this is something that, by investigating the way expert coaches understand the application of rhythm in judo, this research seeks to understand. As Lange, (1970) stated, factors of movement are β€˜weight, space, time, and flow on the background of the general flux of movement in proportional arrangements’ (Bradley, 2008; Selioni, 2013; Youngerman, 1976), therefore, this research will investigate the interaction of body and mind. Dance training as well as judo are somatic experiences that have as their ultimate goal the attainment of a skilled body. With quality training an athlete gains an increased awareness of their body which leads to better control of movement and is very important for judo athletes. This training is found in Japanese kabuki dance (Hahn, 2007), the Greek syrtaki dance (Zografou & Pateraki, 2007), and in walking techniques used in the traditional and Olympic sports of Japanese judo and Greek wrestling. Methods Interpretative phenomenological analysis (IPA) was the most suitable data analysis approach for this study for a number of reasons, mainly because it was considered to most closely reflect the author's realist epistemological view. The idiographic approach and framework, particularly on IPA, was regarded as a useful framework in which the current topic could meaningfully be explored. As this study is one of the first to explore this new thematic area, IPA was the preferred approach to address the goal of providing a detailed account of the expert’s experience. Therefore, semi-structured interviews were used as a data source. This is the most conventional form of data collection using IPA and most closely reflects the researcher-participant relationship. Semi-structured interviews provide considerable flexibility by allowing the researcher to be guided by the phenomena of interest to the participant. In this study, purposive sampling was achieved using inclusion criteria pertaining to the research question. Using the ranking system criteria based on the belt in combination with age employed by the International Judo Federation (IJF) and Kodokan Judo Institute, six expert coaches of forty years old and over with a minimum belt rank of 6th dan were selected as a sample. Results Both interviews and the codification process contributed to new findings regarding the application of rhythm to judo, and judo itself as a pedagogical tool. The diagrammatic model can be considered a 'guideline' to the phenomena deemed most significant. The personal significance of rhythm in judo was evidenced by the frequency with which the interviewees naturally referred to it during the interviews. A number of interviewees said that it was important for rhythm to be second nature. Rhythm was also described as an integrated and representative element in the context of training. This framework was seen as essential in providing the reader with a contextualised understanding of the phenomena considered most important for the current research. Interviewees reported various motives for employing training in rhythm such as faster technical development, better attack/defence, fitness, speed, skills acquisition, personal and spiritual growth, competition results. Conclusions This study offers first-hand accounts from professional coaches of a previously unknown phenomena, namely the use of rhythm in judo, and sheds insight on how judo experts understand rhythm in terms of training, competition, and personal growth. These findings suggest that outside of training, coaches play an important role in teaching, mentoring, and leading students. In conclusion, the research revealed four important points which form the basis of a new method of teaching judo: pedagogy, skills, rhythm and movement

    Beam scanning by liquid-crystal biasing in a modified SIW structure

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    A fixed-frequency beam-scanning 1D antenna based on Liquid Crystals (LCs) is designed for application in 2D scanning with lateral alignment. The 2D array environment imposes full decoupling of adjacent 1D antennas, which often conflicts with the LC requirement of DC biasing: the proposed design accommodates both. The LC medium is placed inside a Substrate Integrated Waveguide (SIW) modified to work as a Groove Gap Waveguide, with radiating slots etched on the upper broad wall, that radiates as a Leaky-Wave Antenna (LWA). This allows effective application of the DC bias voltage needed for tuning the LCs. At the same time, the RF field remains laterally confined, enabling the possibility to lay several antennas in parallel and achieve 2D beam scanning. The design is validated by simulation employing the actual properties of a commercial LC medium

    Introduction to Facial Micro Expressions Analysis Using Color and Depth Images: A Matlab Coding Approach (Second Edition, 2023)

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    The book attempts to introduce a gentle introduction to the field of Facial Micro Expressions Recognition (FMER) using Color and Depth images, with the aid of MATLAB programming environment. FMER is a subset of image processing and it is a multidisciplinary topic to analysis. So, it requires familiarity with other topics of Artifactual Intelligence (AI) such as machine learning, digital image processing, psychology and more. So, it is a great opportunity to write a book which covers all of these topics for beginner to professional readers in the field of AI and even without having background of AI. Our goal is to provide a standalone introduction in the field of MFER analysis in the form of theorical descriptions for readers with no background in image processing with reproducible Matlab practical examples. Also, we describe any basic definitions for FMER analysis and MATLAB library which is used in the text, that helps final reader to apply the experiments in the real-world applications. We believe that this book is suitable for students, researchers, and professionals alike, who need to develop practical skills, along with a basic understanding of the field. We expect that, after reading this book, the reader feels comfortable with different key stages such as color and depth image processing, color and depth image representation, classification, machine learning, facial micro-expressions recognition, feature extraction and dimensionality reduction. The book attempts to introduce a gentle introduction to the field of Facial Micro Expressions Recognition (FMER) using Color and Depth images, with the aid of MATLAB programming environment.Comment: This is the second edition of the boo
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