RELATIONSHIP BETWEEN EDUCATION OF PREGNANT WOMEN AND LISTENING TO CLASSICAL MUSIC WITH THE EXPERIENCE OF PAIN IN CHILDBIRTH AND THE OCCURRENCE OF PSYCHOLOGICAL SYMPTOMS IN PUERPERIUM

Introduction: Pregnancy is a unique experience accompanied by significant physiological, biochemical, and psychological changes that may affect a women\u27s health status.With the development of a holistic approach midwives have became continuous support during pregnancy and childbirth. Childbirth education is an intervention that affects delivery outcomes and the experience of childbirth. Music therapy has been proven to be a safe and effective non - pharmacological method to gain in pregnancy and puerperium. The study aimed to prove the impact of educating pregnant women and listening to classical music on the experience of childbirth pains and the occurrence of psychological symptoms during puerperium. Methods: A prospective randomized controlled trial (n=198) was conducted. The experimental group of pregnant women was educated during pregnancy and listened to classical music the rest of the pregnancy, while the control group received the usual care. The VAS scale was used to assess pain, and the 90 - point scale was used to assess the incidence of psychological symptoms. Results: The difference in pain assessment between the experimental and control groups was significant (p<0.001). The experimental group rated their childbirth pain as moderate (M=5.98), while the control group experienced severe pain (M=8.42). A significant difference in the incidence of psychological symptoms between groups was found in the dimensions of interpersonal sensitivity, hostility, phobic anxiety, and paranoid ideations (p=0.042; p=0.014; p=0.013; p=0.008). Conclusion: This study demonstrated the impact of midwifery education and listening to classical music on the perception of childbirth pain and mental health in the puerperium. The experimental group rated childbirth pain significantly lower compared to the control group and had significantly fewer psychological symptoms 6 weeks after delivery

RELATIONSHIP BETWEEN EDUCATION OF PREGNANT WOMEN AND LISTENING TO CLASSICAL MUSIC WITH THE EXPERIENCE OF PAIN IN CHILDBIRTH AND THE OCCURRENCE OF PSYCHOLOGICAL SYMPTOMS IN PUERPERIUM

Introduction: Pregnancy is a unique experience accompanied by significant physiological, biochemical, and psychological changes that may affect a women\u27s health status.With the development of a holistic approach midwives have became continuous support during pregnancy and childbirth. Childbirth education is an intervention that affects delivery outcomes and the experience of childbirth. Music therapy has been proven to be a safe and effective non - pharmacological method to gain in pregnancy and puerperium. The study aimed to prove the impact of educating pregnant women and listening to classical music on the experience of childbirth pains and the occurrence of psychological symptoms during puerperium. Methods: A prospective randomized controlled trial (n=198) was conducted. The experimental group of pregnant women was educated during pregnancy and listened to classical music the rest of the pregnancy, while the control group received the usual care. The VAS scale was used to assess pain, and the 90 - point scale was used to assess the incidence of psychological symptoms. Results: The difference in pain assessment between the experimental and control groups was significant (p<0.001). The experimental group rated their childbirth pain as moderate (M=5.98), while the control group experienced severe pain (M=8.42). A significant difference in the incidence of psychological symptoms between groups was found in the dimensions of interpersonal sensitivity, hostility, phobic anxiety, and paranoid ideations (p=0.042; p=0.014; p=0.013; p=0.008). Conclusion: This study demonstrated the impact of midwifery education and listening to classical music on the perception of childbirth pain and mental health in the puerperium. The experimental group rated childbirth pain significantly lower compared to the control group and had significantly fewer psychological symptoms 6 weeks after delivery

Vocal eaesthetics, technique and ornamentation of early baroque singing

Glavni cilj diplomskog rada pod naslovom Vokalna estetika, tehnika i ornamentacija ranobaroknog pjevanja je opis posebnosti vokalne glazbe 17. stoljeća i praksi koje su se koristile. Kroz rad su obrađeni pojmovi barokne vokalne tehnike i estetike koja je bila preferirana u ranom baroku, te su opisane razne vrste vokalne ornamentacije. Rani barok je pronašao najplodnije tlo u talijanskoj, engleskoj i francuskoj glazbi, stoga je rad podijeljen po tom principu opisujući posebnosti vokalne glazbe u svakoj od navedenih zemalja. Nadam se da će svi pjevači zainteresirani za izvođenje vokalnih djela 17. stoljeća moći koristiti ovaj rad kao priručnik pri konzultaciji izbora ornamentacije te tehničkog i stilskog pristupa ranoj glazbiThe main focus of thesis entitled Vocal eaesthetics, technique and ornamentation of early baroque singing is a description of 17th century vocal music specialty and pratcices used in that period. The thesis describes the terms of baroque vocal technique, preferred aesthetics in the early baroque and variety of vocal ornamentation. Early baroque was the most prolific in the Italian, English and French music hence this thesis is divided according to this principle, describing peculiarities of vocal music in all of the mentioned countries. I hope all singers interested in performing vocal pieces of 17th century will find this work useful as a manual for choosing the ornamentation for their performances and as a source of technical and stylistic approach to early baroque music

Vocal eaesthetics, technique and ornamentation of early baroque singing

Glavni cilj diplomskog rada pod naslovom Vokalna estetika, tehnika i ornamentacija ranobaroknog pjevanja je opis posebnosti vokalne glazbe 17. stoljeća i praksi koje su se koristile. Kroz rad su obrađeni pojmovi barokne vokalne tehnike i estetike koja je bila preferirana u ranom baroku, te su opisane razne vrste vokalne ornamentacije. Rani barok je pronašao najplodnije tlo u talijanskoj, engleskoj i francuskoj glazbi, stoga je rad podijeljen po tom principu opisujući posebnosti vokalne glazbe u svakoj od navedenih zemalja. Nadam se da će svi pjevači zainteresirani za izvođenje vokalnih djela 17. stoljeća moći koristiti ovaj rad kao priručnik pri konzultaciji izbora ornamentacije te tehničkog i stilskog pristupa ranoj glazbiThe main focus of thesis entitled Vocal eaesthetics, technique and ornamentation of early baroque singing is a description of 17th century vocal music specialty and pratcices used in that period. The thesis describes the terms of baroque vocal technique, preferred aesthetics in the early baroque and variety of vocal ornamentation. Early baroque was the most prolific in the Italian, English and French music hence this thesis is divided according to this principle, describing peculiarities of vocal music in all of the mentioned countries. I hope all singers interested in performing vocal pieces of 17th century will find this work useful as a manual for choosing the ornamentation for their performances and as a source of technical and stylistic approach to early baroque music

Vocal eaesthetics, technique and ornamentation of early baroque singing

Glavni cilj diplomskog rada pod naslovom Vokalna estetika, tehnika i ornamentacija ranobaroknog pjevanja je opis posebnosti vokalne glazbe 17. stoljeća i praksi koje su se koristile. Kroz rad su obrađeni pojmovi barokne vokalne tehnike i estetike koja je bila preferirana u ranom baroku, te su opisane razne vrste vokalne ornamentacije. Rani barok je pronašao najplodnije tlo u talijanskoj, engleskoj i francuskoj glazbi, stoga je rad podijeljen po tom principu opisujući posebnosti vokalne glazbe u svakoj od navedenih zemalja. Nadam se da će svi pjevači zainteresirani za izvođenje vokalnih djela 17. stoljeća moći koristiti ovaj rad kao priručnik pri konzultaciji izbora ornamentacije te tehničkog i stilskog pristupa ranoj glazbiThe main focus of thesis entitled Vocal eaesthetics, technique and ornamentation of early baroque singing is a description of 17th century vocal music specialty and pratcices used in that period. The thesis describes the terms of baroque vocal technique, preferred aesthetics in the early baroque and variety of vocal ornamentation. Early baroque was the most prolific in the Italian, English and French music hence this thesis is divided according to this principle, describing peculiarities of vocal music in all of the mentioned countries. I hope all singers interested in performing vocal pieces of 17th century will find this work useful as a manual for choosing the ornamentation for their performances and as a source of technical and stylistic approach to early baroque music

Johann Sebastian Bach: Muka po Marku, BWV 247 (Simfonijski orkestar, Zbor i solisti Muzičke akademije u Zagrebu, 28.3.2021.)

Diplomski ispit Jurice Petra Petrača (dirigiranje), studenta MA. Ispit je održan na MA u Koncertnoj dvorani "Blagoje Bersa" 28.3.2021. Izvođači: Simfonijski orkestar Muzičke akademije u Zagrebu; Zbor Muzičke akademije u Zagrebu; solisti Muzičke akademije u Zagrebu: Darija Auguštan (sopran), Josipa Bilić (sopran), Nikolina Hrkać (sopran), Patricia Žudetić (sopran), Lucija Ercegovac (alt), Franko Klisović (kontratenor), Luka Šindija (tenor), Emanuel Tomljenović (tenor), Mislav Lucić (tenor), Davor Nekjak (bariton), Marin Vitas (kontratenor); dirigent: Jurica Petar Petrač; mentor dirigenta: Tomislav Fačini; voditeljica Zbora: Jasenka Ostojić. Program: Johann Sebastian Bach: Muka po Marku, BWV 247

Igor Kuljerić: Animal Farm (Simfonijski orkestar, Zbor i solisti Muzičke akademije Sveučilišta u Zagrebu, 28. 11. 2021.)

Snimka izvedbe održane 28. 11. 2021. u Koncertnoj dvorani Vatroslava Lisinskog. Na projektu postavljanja opere sudjelovale su četiri sastavnice Sveučilišta u Zagrebu: Muzička akademija, Akademija dramske umjetnosti, Akademija likovnih umjetnosti i Tekstilno-tehnološki fakultet. Izvođači: Simfonijski orkestar Muzičke akademije Sveučilišta u Zagrebu, Zbor Muzičke akademije Sveučilišta u Zagrebu, solisti Davor Nekjak (uloga: Major, svinja), Nikolina Hrkać (uloga: Squealer, svinja), Emilia Rukavina (uloga: Napoleon, svinja), Katarina Kopjar (uloga: Snowball, svinja), Gabriela Hrženjak (uloga: Mollie, kobila), Lobel Barun (uloga: Moses, gavran), Benjamin Šuran (uloga: Benjamin, magarac), Stefani Pijetlović (uloga: Clover, kobila), Roko Radovan (uloga: Boxer, konj), Laura Marincel Haller (uloga: Muriel, koza) i Aljaž Žgavc (uloga: Mr. Pilkington). Dirigent: Mateo Narančić. Voditeljica Zbora: red. prof. art. Jasenka Ostojić. Redatelji: izv. prof. art. Krešimir Dolenčić, Kristina Grubiša. Program: Igor Kuljerić: Animal Farm, opera-basna

Igor Kuljerić: Animal Farm (Simfonijski orkestar, Zbor i solisti Muzičke akademije Sveučilišta u Zagrebu, 28. 11. 2021.)

Snimka izvedbe održane 28. 11. 2021. u Koncertnoj dvorani Vatroslava Lisinskog. Na projektu postavljanja opere sudjelovale su četiri sastavnice Sveučilišta u Zagrebu: Muzička akademija, Akademija dramske umjetnosti, Akademija likovnih umjetnosti i Tekstilno-tehnološki fakultet. Izvođači: Simfonijski orkestar Muzičke akademije Sveučilišta u Zagrebu, Zbor Muzičke akademije Sveučilišta u Zagrebu, solisti Davor Nekjak (uloga: Major, svinja), Nikolina Hrkać (uloga: Squealer, svinja), Emilia Rukavina (uloga: Napoleon, svinja), Katarina Kopjar (uloga: Snowball, svinja), Gabriela Hrženjak (uloga: Mollie, kobila), Lobel Barun (uloga: Moses, gavran), Benjamin Šuran (uloga: Benjamin, magarac), Stefani Pijetlović (uloga: Clover, kobila), Roko Radovan (uloga: Boxer, konj), Laura Marincel Haller (uloga: Muriel, koza) i Aljaž Žgavc (uloga: Mr. Pilkington). Dirigent: Mateo Narančić. Voditeljica Zbora: red. prof. art. Jasenka Ostojić. Redatelji: izv. prof. art. Krešimir Dolenčić, Kristina Grubiša. Program: Igor Kuljerić: Animal Farm, opera-basna

Johann Sebastian Bach: Muka po Marku, BWV 247 (Simfonijski orkestar, Zbor i solisti Muzičke akademije Sveučilišta u Zagrebu, 27. 3. 2021.)

Koncert je održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 27. 3. 2021. Izvođači: Simfonijski orkestar Muzičke akademije Sveučilišta u Zagrebu, Zbor Muzičke akademije Sveučilišta u Zagrebu, solisti Darija Auguštan (sopran), Josipa Bilić (sopran), Nikolina Hrkać (sopran), Patricia Žudetić (sopran), Lucija Ercegovac (alt), Franko Klisović (kontratenor), Luka Šindija (tenor), Emanuel Tomljenović (tenor), Matic Zakonjšek (tenor), Jurica Jurasić Kapun (bariton) i Marin Vitas (kontratenor). Dirigent: Hansjörg Albrecht. Voditeljica Zbora: red. prof. art. Jasenka Ostojić. Program: Johann Sebastian Bach: Muka po Marku, BWV 247

Johann Sebastian Bach: Muka po Marku, BWV 247 (Simfonijski orkestar, Zbor i solisti Muzičke akademije Sveučilišta u Zagrebu, 27. 3. 2021.)

Koncert je održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 27. 3. 2021. Izvođači: Simfonijski orkestar Muzičke akademije Sveučilišta u Zagrebu, Zbor Muzičke akademije Sveučilišta u Zagrebu, solisti Darija Auguštan (sopran), Josipa Bilić (sopran), Nikolina Hrkać (sopran), Patricia Žudetić (sopran), Lucija Ercegovac (alt), Franko Klisović (kontratenor), Luka Šindija (tenor), Emanuel Tomljenović (tenor), Matic Zakonjšek (tenor), Jurica Jurasić Kapun (bariton) i Marin Vitas (kontratenor). Dirigent: Hansjörg Albrecht. Voditeljica Zbora: red. prof. art. Jasenka Ostojić. Program: Johann Sebastian Bach: Muka po Marku, BWV 247