The Relationship between Personality and Creative Self-Beliefs at Different Levels of Personality Hierarchy

In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors

The Relationship between Personality and Creative Self-Beliefs at Different Levels of Personality Hierarchy

In recent decades, research has shown that one set of individual factors contributing to creative self-beliefs are personality traits, with openness showing the strongest relationship. However, these associations have been studied at higher levels of the personality hierarchy and mostly in non-musician samples. The aim of this study was to examine the relationship between personality (measured at factor and facet levels) and two types of creative self-beliefs, trait-like creative self-efficacy (tCSE) and creative personal identity (CPI), in a sample of a cappella singers. A total of 128 individuals (64% women) participated in the study. Participants were members of 18 conveniently sampled traditional Croatian a cappella groups. Personality factors and facets were measured with the BFI-2 questionnaire (Soto & John, 2017), while creative self-beliefs were measured with the Short Scale of Creative Self (Karwowski et al., 2018). At the factor level, openness had the highest correlation with both tCSE and CPI. At the facet level, the highest correlations with tCSE were found for creative imagination, an openness facet, and energy level, an extraversion facet, while with CPI for all openness facets, creative imagination, aesthetic sensitivity and intellectual curiosity. In linear regression analyses, the only significant predictors of CPI were openness at the factor level and creative imagination at the facet level. Significant predictors of tCSE were openness and neuroticism at the factor level and creative imagination and sociability at the facet level. Personality facets explained more variance in both types of creative self-beliefs than factors

The role of retrieval type and feedback in test-potentiated new learning

This study explored the effects of retrieval and feedback on test-potentiated new learning. Participants read a text divided into three parts, between which they engaged in either episodic retrieval, semantic retrieval, or rereading. Participants in the retrieval conditions were randomly assigned to either receive or not to receive feedback on their achievement. We administered multiple choice questions whose distractors were designed specifically to facilitate proactive interference. Planned analyses showed that participants in the episodic retrieval condition scored higher on the final test than participants in the other two groups. Feedback was found to have no bearing on new learning --- neither on its own, nor via interaction with the interpolated activity type. No effect regarding the number of proactive intrusions was found, although exploratory Bayesian analyses preclude rejecting an effect. Results are interpreted in terms of integration and metacognitive frameworks that have previously been suggested as explanations of the effect

Attraction Effect in the Visual Working Memory

Temeljno obilježje vidnoga radnog pamćenja jest da preciznost dosjećanja opada porastom broja podražaja koji se pamti. Ovaj se nalaz tumači kao posljedica raspodjele ograničene količine resursa, pri čemu porastom broja podražaja koji se pamti pada količina resursa pridana svakom podražaju. Nedavna istraživanja pokazuju kako dosjećanje u zadacima vidnoga radnog pamćenja ovisi i o karakteristikama seta podražaja koji se pamti. Konkretno, u zadatku pamćenja jednostavnih vidnih karakteristika dvaju podražaja (npr. orijentacije) dosjećanje jednog podražaja karakterizira sustavna pogreška u smjeru drugog zapamćenog podražaja, tzv. efekt privlačenja. U ovom smo istraživanju željeli provjeriti koliko je ovaj efekt otporan na eksperimentalne manipulacije preciznosti pamćenja podražaja. U četiri su eksperimenta sudionici (N = 33) pamtili i dosjećali se istovremeno prikazanih orijentacija podražaja. U prvom je eksperimentu redoslijed dosjećanja odabiran po slučaju; u drugom su eksperimentu sudionici trebali samostalno birati redoslijed kojim će se dosjećati, a u trećem i četvrtom eksperimentu redoslijed dosjećanja ponovno je odabiran po slučaju, no sudionicima je na svakoj sekvenci unaprijed (eksp. 3) ili unatrag (eksp. 4) signalizirano kojeg će se podražaja najvjerojatnije morati dosjetiti prvog. Efekt privlačenja bio je vidljiv u sva četiri eksperimenta, i to pri dosjećanju obaju podražaja. Ovo istraživanje demonstrira robusnost efekta privlačenja u vidnom radnom pamćenju, što implicira da mehanizmi u podlozi tog efekta nisu podložni korekciji, odnosno da su sastavni dio temeljnih procesa kodiranja vidnih podražaja.One of the basic characteristics of visual working memory (VWM) is that recall precision declines with the number of items to be memorised. This finding is interpreted as a consequence of the allocation of a limited pool of resources, whereby the amount of resources allocated to each item drops with each additional stimulus. Recent studies show that recall in VWM tasks also depends on the characteristics of the stimulus set which is to be memorised. Specifically, when memorising simple visual features of two stimuli (e.g. their orientations), the recall of one stimulus\u27s features is marked by a systematic bias towards the other stimulus\u27s features. In this study, we wanted to examine how robust this effect is to experimental manipulations of memory precision. In four experiments, participants (N = 33) memorised and recalled the orientations of two simultaneously presented stimuli. In the first experiment, the recall order was chosen at random. In the second, participants had to choose the recall order themselves. In the third and fourth experiments, recall order was again chosen at random, but participants were presented with a cue before (exp. 3) or after (exp. 4) the stimuli were displayed, which indicated which of the stimuli is most likely to be recalled first. The attraction effect was observed in all four experiments and affected the recall of both stimuli. This study demonstrates the robustness of the attraction effect in VWM, implying that the mechanisms underlying the effect are not susceptible to correction, or in other words, that it is a part of the fundamental processes of coding visual stimuli

Influence of micronized zeolite clinoptilolite supplementation on udder health, milk production and composition of Holstein cows in different lactations under robotic milking conditions

Prirodni zeolit klinoptilolit je mikroporozni alumosilikatni mineral čvrste anionske rešetke, otvorene trodimenzionalne strukture u čijim porama su izmjenjivi kationi. Dodatak zeolita u obroku sve se više primjenjuje u hranidbi životinja. Cilj pokusa bio je ustanoviti utjecaj dodatka mikroniziranog zeolita klinoptilolita na zdravlje vimena i sastav mlijeka krava različitih laktacija u uvjetima robotizirane mužnje. Krave su hranjene parcijalnim obrokom za krave u mužnji (PMR) s dodatkom 200 g po kravi mikroniziranog zeolita klinoptilolita (Zeotex®, Mevex, Hrvatska) i koncentratom na robotskoj jedinici za hranjenje, tijekom 42 dana pokusa. Značajno (P0,05) smanjenje broja somatskih stanica nakon 42 dana primjene zeolita u obroku mliječnih krava potvrđuje sposobnost zeolita da pozitivno utječe na zdravlje vimena. Smanjenje broja somatskih stanica samo kod krava u 1. i 2. laktaciji daje naslutiti ograničenu sposobnost zeolita prema kroničnim infekcijama vimena kod krava viših laktacija. Značajno (P 0.05) reduction in the number of somatic cells after 42 days of zeolite application in the diet of dairy cows confirms the ability of zeolite to positively affect udder health. The decrease in the number of somatic cells in cows of only 1st and 2nd lactation suggests a limited ability of zeolites to chronic udder infections in higher lactating cows. Significant (P <0.05), but transient increase in urea in milk on day 21 of the experiment, is probably a reflection of the adaptation of the rumen micropopulation to the new feeding conditions with the addition of zeolite. The increase in the content of milk fat in cows in the first lactation speaks in favor of the positive effect of zeolite and the improvement of milk quality

The influence of priming and the need for cognitive closure on impression formation

Teorija potrebe za kognitivnom zatvorenošću (PKZ) nastoji postaviti okvir za razumijevanje motivacijskih aspekata odlučivanja i prosuđivanja. PKZ je želja za čvrstim odgovorom na pitanje i averzija spram neodređenosti. Cilj ovog istraživanja bio je ispitati pretpostavljeni moderacijski utjecaj PKZ na efekte udešavanja pri stvaranju dojmova. Očekivali smo da će sudionici izlagani pozitivnim udešivačima stvoriti pozitivniji dojam od onih udešavanih negativnim udešivačima. Također, očekivali smo da će sudionici s visokom PKZ biti podložniji utjecaju udešavanja u odnosu na sudionike s niskom PKZ. Postavljene hipoteze provjerene su 2 x 2 potpuno nezavisnim eksperimentalnim nacrtom. Sudionici, studenti Filozofskog fakulteta Sveučilišta u Zagrebu (N = 198; MDOB = 22.2; SDDOB = 2.42), su podijeljeni po slučaju u dvije skupine. Jedna je izlagana pozitivnim, a druga negativnim udešivačima. Obje skupine su zatim pročitale dvosmisleni opis osobe, procijenile su je na nizu dimenzija, te ispunile ljestvicu PKZ. Unutar obje skupine, sudionici su po medijanu na ljestvici PKZ podijeljeni na niske i visoke na PKZ. Interakcija nezavisnih varijabli pokazala se statistički značajnom. Kod sudionika s niskom PKZ, oni koji su udešavani pozitivnim riječima stvorili su pozitivniji dojam od onih koji su udešavani negativnim riječima. Kod sudionika s visokom PKZ, oni koji su udešavani pozitivnim riječima stvorili su negativniji dojam od onih koji su udešavani negativnim riječima.The need for cognitive closure (NFC) theory aims to provide a framework for understanding motivational aspects of decision making and judgment. NFC is a desire for a firm answer to a question and an aversion toward ambiguity. The aim of this study was to examine the hypothesised moderational influence of NFC on the effects of priming on impression formation. We expected that participants primed with positive positive trait primes would form a more positive impression than participants primed with negative trait primes. We also expected high-NFC participants to be more prone to priming effects than low-NFC participants NFC. The hypotheses were tested with a 2 x 2 between-subjects experimental design. The participants, students of the Faculty of Humanities and Social Sciences of the University of Zagreb (N = 198; MAGE = 22.2; SDAGE = 2.42), were randomly assigned to two groups. One was primed with positive, and the other with negative trait primes. Both groups proceeded to read a paragraph describing a person in ambiguous terms, rated them on a series of dimensions and filled the NFC scale. Afterwards, both groups were subjected to a median split based on their results on the NFC scale. The interaction of the independent variables proved statistically significant. Within the group classified as low on the NFC scale, participants primed with positive trait primes created a more positive impression than those primed with negative trait primes. Within the group of high-NFC participants, those primed with positive trait primes formed a more negative impression than those primed with negative trait primes

Koncert praizvedbi (studenti Muzičke akademije Sveučilišta u Zagrebu, 31. 5. 2022.)

Prvi dio snimke koncerta praizvedbi skladbi studenata Muzičke akademije Sveučilišta u Zagrebu. Koncert je održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 31. 5. 2022. Izvođači: Doris Tkalčević (violina), Luka Jalšovec (klavir), Niko Kos (kontrabas), Svit Štarkl (udaraljke), Paula Bukvić (violina), Dora Šimunić (viola), Karla Kostović (violončelo), Matej Vukić (truba), Shushan Ghukasyan (klavir), Ana Labazan Brajša (violina), Marija Matshkalyan (violina), Tin Reba (viola), Janko Franković (violončelo), Mateo Narančić (klavir), Lovro Čutić (truba), Marko Mumlek (truba), Filip Pavlić (truba), Kristina Strinić (truba), Barbara Kšenek (flauta), Sunčica Hadaš (klarinet), Petar Krokar (klavir), Jana Palac (violina), Ema Perić (violina), Ana Majer (violončelo), Ante Labetić (violina), Filip Nemet Gužvić (viola), Bruno Tarbuk (viola), Zoran Resnik (violončelo), Damir Gregurić, v. umj. sur. (klavir), mješoviti zbor (soprani: Dora Ćutić, Vita Jozić, Latica Kovačević, Sara Vrdoljak, Antonija Žarković; alti: Karla Bakter, Katarina Boras, Lovorka Brkić, Valeria Markić, Gabriela Posavec, Marina Veža, Noemi Vučković; tenori: Lovro Bzdilik, Emanuel Tomljenović; baritoni: Lovro Ivić, Bruno Kota, Šime Vuksan; basovi: Mihael Horvat, Ivan Makar, Ronald Strabić). Program: 1. Tin Ujević: Prva studija za violinu (izvođač: Doris Tkalčević); 2. Luka Jalšovec: Chiaroscuro (izvođači: Luka Jalšovec, Niko Kos); 3. Svit Štarkl: Prelude (izvođač: Svit Štarkl); 4. Bruno Kota: Horloge za mješoviti zbor i gudački kvartet (izvođači: mješoviti zbor, Ante Labetić, Filip Nemet Gužvić, Bruno Tarbuk, Zoran Resnik); 5. Ivan Makar: Stavak za klavir (izvođač: Damir Gregurić, v. umj. sur.); 6. Karlo Bogatac: Nokturno (izvođači: Paula Bukvić, Doris Tkalčević, Dora Šimunić, Karla Kostović, Matej Vukić); 7. Fabijan Košćak: Les Episodes, kvintet za klavir i gudače (izvođači: Shushan Ghukasyan, Ana Labazan Brajša, Marija Matshkalyan, Tin Reba, Janko Franković); 8. Josip Prajz: Omne vivum ex vivo (izvođači: Mateo Narančić, Lovro Čutić, Marko Mumlek, Filip Pavlić, Kristina Strinić); 9. Fabijan Košćak: Tri večernje slike (izvođači: Barbara Kšenek, Sunčica Hadaš, Petar Krokar, Jana Palac, Ema Perić, Tin Reba, Ana Majer)

Koncert praizvedbi (studenti Muzičke akademije Sveučilišta u Zagrebu, 31. 5. 2022.)

Drugi dio snimke koncerta praizvedbi skladbi studenata Muzičke akademije Sveučilišta u Zagrebu. Koncert je održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 31. 5. 2022. Izvođači: Doris Tkalčević (violina), Luka Jalšovec (klavir), Niko Kos (kontrabas), Svit Štarkl (udaraljke), Paula Bukvić (violina), Dora Šimunić (viola), Karla Kostović (violončelo), Matej Vukić (truba), Shushan Ghukasyan (klavir), Ana Labazan Brajša (violina), Marija Matshkalyan (violina), Tin Reba (viola), Janko Franković (violončelo), Mateo Narančić (klavir), Lovro Čutić (truba), Marko Mumlek (truba), Filip Pavlić (truba), Kristina Strinić (truba), Barbara Kšenek (flauta), Sunčica Hadaš (klarinet), Petar Krokar (klavir), Jana Palac (violina), Ema Perić (violina), Ana Majer (violončelo), Ante Labetić (violina), Filip Nemet Gužvić (viola), Bruno Tarbuk (viola), Zoran Resnik (violončelo), Damir Gregurić, v. umj. sur. (klavir), mješoviti zbor (soprani: Dora Ćutić, Vita Jozić, Latica Kovačević, Sara Vrdoljak, Antonija Žarković; alti: Karla Bakter, Katarina Boras, Lovorka Brkić, Valeria Markić, Gabriela Posavec, Marina Veža, Noemi Vučković; tenori: Lovro Bzdilik, Emanuel Tomljenović; baritoni: Lovro Ivić, Bruno Kota, Šime Vuksan; basovi: Mihael Horvat, Ivan Makar, Ronald Strabić). Program: 1. Tin Ujević: Prva studija za violinu (izvođač: Doris Tkalčević); 2. Luka Jalšovec: Chiaroscuro (izvođači: Luka Jalšovec, Niko Kos); 3. Svit Štarkl: Prelude (izvođač: Svit Štarkl); 4. Bruno Kota: Horloge za mješoviti zbor i gudački kvartet (izvođači: mješoviti zbor, Ante Labetić, Filip Nemet Gužvić, Bruno Tarbuk, Zoran Resnik); 5. Ivan Makar: Stavak za klavir (izvođač: Damir Gregurić, v. umj. sur.); 6. Karlo Bogatac: Nokturno (izvođači: Paula Bukvić, Doris Tkalčević, Dora Šimunić, Karla Kostović, Matej Vukić); 7. Fabijan Košćak: Les Episodes, kvintet za klavir i gudače (izvođači: Shushan Ghukasyan, Ana Labazan Brajša, Marija Matshkalyan, Tin Reba, Janko Franković); 8. Josip Prajz: Omne vivum ex vivo (izvođači: Mateo Narančić, Lovro Čutić, Marko Mumlek, Filip Pavlić, Kristina Strinić); 9. Fabijan Košćak: Tri večernje slike (izvođači: Barbara Kšenek, Sunčica Hadaš, Petar Krokar, Jana Palac, Ema Perić, Tin Reba, Ana Majer)

Koncert praizvedbi (studenti Muzičke akademije Sveučilišta u Zagrebu, 31. 5. 2022.)

Prvi dio snimke koncerta praizvedbi skladbi studenata Muzičke akademije Sveučilišta u Zagrebu. Koncert je održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 31. 5. 2022. Izvođači: Doris Tkalčević (violina), Luka Jalšovec (klavir), Niko Kos (kontrabas), Svit Štarkl (udaraljke), Paula Bukvić (violina), Dora Šimunić (viola), Karla Kostović (violončelo), Matej Vukić (truba), Shushan Ghukasyan (klavir), Ana Labazan Brajša (violina), Marija Matshkalyan (violina), Tin Reba (viola), Janko Franković (violončelo), Mateo Narančić (klavir), Lovro Čutić (truba), Marko Mumlek (truba), Filip Pavlić (truba), Kristina Strinić (truba), Barbara Kšenek (flauta), Sunčica Hadaš (klarinet), Petar Krokar (klavir), Jana Palac (violina), Ema Perić (violina), Ana Majer (violončelo), Ante Labetić (violina), Filip Nemet Gužvić (viola), Bruno Tarbuk (viola), Zoran Resnik (violončelo), Damir Gregurić, v. umj. sur. (klavir), mješoviti zbor (soprani: Dora Ćutić, Vita Jozić, Latica Kovačević, Sara Vrdoljak, Antonija Žarković; alti: Karla Bakter, Katarina Boras, Lovorka Brkić, Valeria Markić, Gabriela Posavec, Marina Veža, Noemi Vučković; tenori: Lovro Bzdilik, Emanuel Tomljenović; baritoni: Lovro Ivić, Bruno Kota, Šime Vuksan; basovi: Mihael Horvat, Ivan Makar, Ronald Strabić). Program: 1. Tin Ujević: Prva studija za violinu (izvođač: Doris Tkalčević); 2. Luka Jalšovec: Chiaroscuro (izvođači: Luka Jalšovec, Niko Kos); 3. Svit Štarkl: Prelude (izvođač: Svit Štarkl); 4. Bruno Kota: Horloge za mješoviti zbor i gudački kvartet (izvođači: mješoviti zbor, Ante Labetić, Filip Nemet Gužvić, Bruno Tarbuk, Zoran Resnik); 5. Ivan Makar: Stavak za klavir (izvođač: Damir Gregurić, v. umj. sur.); 6. Karlo Bogatac: Nokturno (izvođači: Paula Bukvić, Doris Tkalčević, Dora Šimunić, Karla Kostović, Matej Vukić); 7. Fabijan Košćak: Les Episodes, kvintet za klavir i gudače (izvođači: Shushan Ghukasyan, Ana Labazan Brajša, Marija Matshkalyan, Tin Reba, Janko Franković); 8. Josip Prajz: Omne vivum ex vivo (izvođači: Mateo Narančić, Lovro Čutić, Marko Mumlek, Filip Pavlić, Kristina Strinić); 9. Fabijan Košćak: Tri večernje slike (izvođači: Barbara Kšenek, Sunčica Hadaš, Petar Krokar, Jana Palac, Ema Perić, Tin Reba, Ana Majer)

Koncert praizvedbi (studenti Muzičke akademije Sveučilišta u Zagrebu, 31. 5. 2022.)

Drugi dio snimke koncerta praizvedbi skladbi studenata Muzičke akademije Sveučilišta u Zagrebu. Koncert je održan na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 31. 5. 2022. Izvođači: Doris Tkalčević (violina), Luka Jalšovec (klavir), Niko Kos (kontrabas), Svit Štarkl (udaraljke), Paula Bukvić (violina), Dora Šimunić (viola), Karla Kostović (violončelo), Matej Vukić (truba), Shushan Ghukasyan (klavir), Ana Labazan Brajša (violina), Marija Matshkalyan (violina), Tin Reba (viola), Janko Franković (violončelo), Mateo Narančić (klavir), Lovro Čutić (truba), Marko Mumlek (truba), Filip Pavlić (truba), Kristina Strinić (truba), Barbara Kšenek (flauta), Sunčica Hadaš (klarinet), Petar Krokar (klavir), Jana Palac (violina), Ema Perić (violina), Ana Majer (violončelo), Ante Labetić (violina), Filip Nemet Gužvić (viola), Bruno Tarbuk (viola), Zoran Resnik (violončelo), Damir Gregurić, v. umj. sur. (klavir), mješoviti zbor (soprani: Dora Ćutić, Vita Jozić, Latica Kovačević, Sara Vrdoljak, Antonija Žarković; alti: Karla Bakter, Katarina Boras, Lovorka Brkić, Valeria Markić, Gabriela Posavec, Marina Veža, Noemi Vučković; tenori: Lovro Bzdilik, Emanuel Tomljenović; baritoni: Lovro Ivić, Bruno Kota, Šime Vuksan; basovi: Mihael Horvat, Ivan Makar, Ronald Strabić). Program: 1. Tin Ujević: Prva studija za violinu (izvođač: Doris Tkalčević); 2. Luka Jalšovec: Chiaroscuro (izvođači: Luka Jalšovec, Niko Kos); 3. Svit Štarkl: Prelude (izvođač: Svit Štarkl); 4. Bruno Kota: Horloge za mješoviti zbor i gudački kvartet (izvođači: mješoviti zbor, Ante Labetić, Filip Nemet Gužvić, Bruno Tarbuk, Zoran Resnik); 5. Ivan Makar: Stavak za klavir (izvođač: Damir Gregurić, v. umj. sur.); 6. Karlo Bogatac: Nokturno (izvođači: Paula Bukvić, Doris Tkalčević, Dora Šimunić, Karla Kostović, Matej Vukić); 7. Fabijan Košćak: Les Episodes, kvintet za klavir i gudače (izvođači: Shushan Ghukasyan, Ana Labazan Brajša, Marija Matshkalyan, Tin Reba, Janko Franković); 8. Josip Prajz: Omne vivum ex vivo (izvođači: Mateo Narančić, Lovro Čutić, Marko Mumlek, Filip Pavlić, Kristina Strinić); 9. Fabijan Košćak: Tri večernje slike (izvođači: Barbara Kšenek, Sunčica Hadaš, Petar Krokar, Jana Palac, Ema Perić, Tin Reba, Ana Majer)