Performance recordivity : studio music in a live context

A broad range of positions is articulated in the academic literature around the relationship between recordings and live performance. Auslander (2008) argues that “live performance ceased long ago to be the primary experience of popular music, with the result that most live performances of popular music now seek to replicate the music on the recording”. Elliott (1995) suggests that “hit songs are often conceived and produced as unambiguous and meticulously recorded performances that their originators often duplicate exactly in live performances”. Wurtzler (1992) argues that “as socially and historically produced, the categories of the live and the recorded are defined in a mutually exclusive relationship, in that the notion of the live is premised on the absence of recording and the defining fact of the recorded is the absence of the live”. Yet many artists perform in ways that fundamentally challenge such positions. Whilst it is common practice for musicians across many musical genres to compose and construct their musical works in the studio such that the recording is, in Auslander’s words, the ‘original performance’, the live version is not simply an attempt to replicate the recorded version. Indeed in some cases, such replication is impossible. There are well known historical examples. Queen, for example, never performed the a cappella sections of Bohemian Rhapsody because it they were too complex to perform live. A 1966 recording of the Beach Boys studio creation Good Vibrations shows them struggling through the song prior to its release. This paper argues that as technology develops, the lines between the recording studio and live performance change and become more blurred. New models for performance emerge. In a 2010 live performance given by Grammy Award winning artist Imogen Heap in New York, the artist undertakes a live, improvised construction of a piece as a performative act. She invites the audience to choose the key for the track and proceeds to layer up the various parts in front of the audience as a live performance act. Her recording process is thus revealed on stage in real time and she performs a process that what would have once been confined to the recording studio. So how do artists bring studio production processes into the live context? What aspects of studio production are now performable and what consistent models can be identified amongst the various approaches now seen? This paper will present an overview of approaches to performative realisations of studio produced tracks and will illuminate some emerging relationships between recorded music and performance across a range of contexts

Current End-of-Life Care Needs and Care Practices in Acute Care Hospitals

A descriptive-comparative study was undertaken to examine current end-of-life care needs and practices in hospital. A chart review for all 1,018 persons who died from August 1, 2008 through July 31, 2009 in two full-service Canadian hospitals was conducted. Most decedents were elderly (73.8%) and urbanite (79.5%), and cancer was the most common diagnosis (36.2%). Only 13.8% had CPR performed at some point during this hospitalization and 8.8% had CPR immediately preceding death, with 87.5% having a DNR order and 30.8% providing an advance directive. Most (97.3%) had one or more life-sustaining technologies in use at the time of death. These figures indicate, when compared to those in a similar mid-1990s Canadian study, that impending death is more often openly recognized and addressed. Technologies continue to be routinely but controversially used. The increased rate of end-stage CPR from 2.9% to 8.8% could reflect a 1994+ shift of expected deaths out of hospital

An Examination of Palliative or End-of-Life Care Education in Introductory Nursing Programs across Canada

An investigation was done to assess for and describe the end-of-life education provided in Canadian nursing programs to prepare students for practice. All 35 university nursing schools/faculties were surveyed in 2004; 29 (82.9%) responded. At that time, all but one routinely provided this education, with that school developing a course (implemented the next year). As compared to past surveys, this survey revealed more class time, practicum hours, and topics covered, with this content and experiences deliberately planned and placed in curriculums. A check in 2010 revealed that all of these schools were providing death education similar to that described in 2004. These findings indicate that nurse educators recognize the need for all nurses to be prepared to care for dying persons and their families. Regardless, more needs to be done to ensure novice nurses feel capable of providing end-of-life care. Death education developments will be needed as deaths increase with population aging

Curricular Change in Collegiate Programs: Toward a More Inclusive Music Education

Despite decades of discussion, debate, and incremental gains, acceptance of popular music education in collegiate institutions is still in its inception. Higher education (and indeed, education in general) in the United States is rife with pervasive inequality and injustice, excluding large numbers of potential students on the basis of race, class, income, and cultural orientation. If music education is to continue and thrive in the 21st century and beyond, widespread curricular changes are needed in preservice music teacher education to move toward a model that is inclusive, equitable, diverse, and culturally responsive. The purpose of this paper is to illuminate several music programs across the United States as samples of the numerous collegiate institutions wrestling with curricular change. Though differing in size, scope, and population, these programs have one thing in common: faculty with a desire to enact change. Through the examples illustrated here, it is our hope that others wishing to initiate change may have some possible paths from which to choose on their journey toward making music education more accessible for all

Midwife-centred management : a qualitative study of midwifery group practice management and leadership in Australia

Background Midwifery group practice (MGP) has consistently demonstrated optimal health and wellbeing outcomes for childbearing women and their babies. In this model, women can form a relationship with a known midwife, improving both maternal and midwife satisfaction. Yet the model is not widely implemented and sustained, resulting in limited opportunities for women to access it. Little attention has been paid to how MGP is managed and led and how this impacts the sustainability of the model. This study clarifies what constitutes optimal management and leadership and how this influences sustainability. Methods This qualitative study forms part of a larger mixed methods study investigating the management of MGP in Australia. The interview findings presented in this study are part of phase one, where the findings informed a national survey. Nine interviews and one focus group were conducted with 23 MGP managers, clinical midwife consultants, and operational/strategic managers who led MGPs. Transcripts of the audio-recordings were analysed using inductive, reflexive, thematic analysis. Results Three themes were constructed, namely: The manager, the person, describing the ideal personal attributes of the MGP manager; midwifing the midwives, illustrating how the MGP manager supports, manages, and leads the group practice midwives; and gaining acceptance, explaining how the MGP manager can gain acceptance beyond group practice midwives. Participants described the need for MGP managers to display midwife-centred management. This requires the manager to have qualities that mirror what is generally accepted as requirements for good midwifery care namely: core beliefs in feminist values and woman-centred care; trust; inclusiveness; being an advocate; an ability to slow down or take time; an ability to form relationships; and exceptional communication skills. Since emotional labour is a large part of the role, it is also necessary for them to encourage and practice self-care. Conclusions Managers need to practice in a way that is midwife-centred and mimics good midwifery care. To offset the emotional burden and improve sustainability, encouraging and promoting self-care practices might be of value

Age-Based Differences in Care Setting Transitions over the Last Year of Life

Context. Little is known about the number and types of moves made in the last year of life to obtain healthcare and end-of-life support, with older adults more vulnerable to care setting transition issues. Research Objective. Compare care setting transitions across older (65+ years) and younger individuals. Design. Secondary analyses of provincial hospital and ambulatory database data. Every individual who lived in the province for one year prior to death from April 1, 2005 through March 31, 2007 was retained (N = 19, 397). Results. Transitions averaged 3.5, with 3.9 and 3.4 for younger and older persons, respectively. Older persons also had fewer ER and ambulatory visits, fewer procedures performed in the last year of life, but longer inpatient stays (42.7 days versus 36.2 for younger persons). Conclusion. Younger and older persons differ somewhat in the number and type of end-of-life care setting transitions, a matter for continuing research and healthcare policy

Voices Within Voices: Developing a New Analytical Approach to Vocal Timbre by Examining the Interplay of Emotionally Valenced Vocal Timbres and Emotionally Valenced Lyrics

Aims/Goals This thesis presents a new analytical technique for vocal timbre based on the hypothesis that emotion expressed in vocal timbre impacts emotional perception of lyrics. Background information Vocal timbre is a highly salient musical feature that, arguably, contributes significantly to our emotional experience of a song. Despite this, analytical techniques for vocal timbre remain in their infancy. Today, this is changing as technological developments increasingly allow for vocal timbre to be preserved and studied in a systematic way. The present research capitalises on these developments, using them to facilitate the examination of how emotional vocal timbres impact emotional perception of lyrics. Methodology Since there exists little empirical research on the hypothesis which underlies this analytical technique, and since the experience of vocal timbre could be considered highly subjective, it was necessary to first experimentally test if/how vocal timbre impacts lyric perception. To this end, a reception test was conducted to examine whether vocal timbre on its own has emotional valence, and whether this emotional valence is salient enough to impact emotional perception of words. Results from this test supported the hypothesis, showing that participants were significantly less accurate at identifying the emotional valence of words when these words were sung with a mismatched emotional vocal timbre. The analytical technique itself is multilayered. First, the recording is taken as the basis of analysis. Then, the vocal timbre is described, and its emotional valence is assessed, through Vocal Timbre Features (a system, inspired by the work of van Leeuwen (1999) defined and developed to aid in describing vocal timbre and, potentially, categorising its emotional valence). Observations made by aurally detecting and annotating the Vocal Timbre Features can be confirmed visually through spectrographs. The synergies between emotions identified in the vocal timbre and that conveyed through lyrics can then be assessed using adapted diagrammatic vocabulary sets (inspired by the work of Dennis Smalley (1986, 1997)). Conclusions In summary, this thesis presents a new analytical technique that allows one to analyse vocal timbre in terms of its emotional meaning, and in terms of how this emotional meaning impacts emotional perception of lyrics. It also offers a framework through which one may conduct efficient, aurally based, analyses of vocal timbre more generally. This thesis has also shown that the experience of emotion in vocal timbre, and its impact on lyric perception, may be similar across listeners (i.e., intersubjective)

Understanding acceptable level of risk: Incorporating the economic cost of under-managing invasive species

Management of nonindigenous species includes prevention, early detection and rapid response and control. Early detection and rapid response depend on prioritizing and monitoring sites at risk for arrival or secondary spread of nonindigenous species. Such monitoring efforts require sufficient biosecurity budgets to be effective and meet management or policy directives for reduced risk of introduction. Such consideration of risk reduction is rarely considered, however. Here, we review the concepts of acceptable level of risk (ALOR) and associated costs with respect to nonindigenous species and present a framework for aligning risk reduction priorities with available biosecurity resources. We conclude that available biosecurity resources may be insufficient to attain stated and desired risk reduction. This outcome highlights the need to consider policy and management directives when beginning a biosecurity program to determine the feasibility of risk reduction goals, given available resources

Set up and assessment of progression criteria for internal pilots:the Brushing RemInder 4 Good oral HealTh (BRIGHT) trial example

Background Dental caries is common in young people and has wide-ranging ramifications for health and quality of life. Text messaging interventions show promise as a means to promote oral health behaviour change among young people. This paper reports the internal pilot of the Brushing RemInder 4 Good oral HealTh (BRIGHT) trial, which is evaluating an intervention comprising an oral health classroom lesson and text messages about toothbrushing, on caries in young people. Pilot trial objectives were to evaluate the feasibility and appropriateness of recruitment and data collection methods, the randomisation strategy, and intervention delivery against progression criteria for the main trial. Methods This is an internal pilot trial embedded within an assessor-blinded, two-arm, cluster randomised controlled trial. Participants were pupils aged 11–13 years (in year 7/S1 or year 8/S2) in secondary schools in England, Scotland, and Wales with above average pupil eligibility for free school meals. Following completion of pupil baseline questionnaires and dental assessments, year groups within schools were randomised to the intervention or control arm. Approximately 12 weeks later, participants completed a follow-up questionnaire, which included questions about sources of oral health advice to assess intervention contamination between year groups. At the end of the pilot phase, trial conduct was reviewed against pre-specified progression criteria. Results Ten schools were recruited for the pilot, with 20 year groups and 1073 pupils randomised (average of 54 pupils per year group). Data collection methods and intervention delivery were considered feasible, the response rate to the follow-up questionnaire was over 80%, there was an indication of a positive effect on self-reported toothbrushing, and interest was obtained from 80% of the schools required for the main trial. Despite partial intervention contamination between year groups, within-school randomisation at the level of the year-group was considered appropriate for the main trial, and the sample size was revised to account for partial contamination. Facilitators and barriers to recruitment and data collection were identified and strategies refined for the main trial. Conclusions Progression to the main trial of BRIGHT, with some design refinements, was concluded. The internal pilot was an efficient way to determine trial feasibility and optimise trial processes