19 research outputs found
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. stoljeÄa i praksi koje su se koristile. Kroz rad su obraÄeni pojmovi barokne vokalne tehnike i estetike koja je bila preferirana u ranom baroku, te su opisane razne vrste vokalne ornamentacije. Rani barok je pronaÅ”ao najplodnije tlo u talijanskoj, engleskoj i francuskoj glazbi, stoga je rad podijeljen po tom principu opisujuÄi posebnosti vokalne glazbe u svakoj od navedenih zemalja. Nadam se da Äe svi pjevaÄi zainteresirani za izvoÄenje vokalnih djela 17. stoljeÄa moÄi koristiti ovaj rad kao priruÄnik pri konzultaciji izbora ornamentacije te tehniÄkog 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. stoljeÄa i praksi koje su se koristile. Kroz rad su obraÄeni pojmovi barokne vokalne tehnike i estetike koja je bila preferirana u ranom baroku, te su opisane razne vrste vokalne ornamentacije. Rani barok je pronaÅ”ao najplodnije tlo u talijanskoj, engleskoj i francuskoj glazbi, stoga je rad podijeljen po tom principu opisujuÄi posebnosti vokalne glazbe u svakoj od navedenih zemalja. Nadam se da Äe svi pjevaÄi zainteresirani za izvoÄenje vokalnih djela 17. stoljeÄa moÄi koristiti ovaj rad kao priruÄnik pri konzultaciji izbora ornamentacije te tehniÄkog 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. stoljeÄa i praksi koje su se koristile. Kroz rad su obraÄeni pojmovi barokne vokalne tehnike i estetike koja je bila preferirana u ranom baroku, te su opisane razne vrste vokalne ornamentacije. Rani barok je pronaÅ”ao najplodnije tlo u talijanskoj, engleskoj i francuskoj glazbi, stoga je rad podijeljen po tom principu opisujuÄi posebnosti vokalne glazbe u svakoj od navedenih zemalja. Nadam se da Äe svi pjevaÄi zainteresirani za izvoÄenje vokalnih djela 17. stoljeÄa moÄi koristiti ovaj rad kao priruÄnik pri konzultaciji izbora ornamentacije te tehniÄkog 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 MuziÄke akademije u Zagrebu, 28.3.2021.)
Diplomski ispit Jurice Petra PetraÄa (dirigiranje), studenta MA. Ispit je održan na MA u Koncertnoj dvorani "Blagoje Bersa" 28.3.2021. IzvoÄaÄi: Simfonijski orkestar MuziÄke akademije u Zagrebu; Zbor MuziÄke akademije u Zagrebu; solisti MuziÄke akademije u Zagrebu: Darija AuguÅ”tan (sopran), Josipa BiliÄ (sopran), Nikolina HrkaÄ (sopran), Patricia ŽudetiÄ (sopran), Lucija Ercegovac (alt), Franko KlisoviÄ (kontratenor), Luka Å indija (tenor), Emanuel TomljenoviÄ (tenor), Mislav LuciÄ (tenor), Davor Nekjak (bariton), Marin Vitas (kontratenor); dirigent: Jurica Petar PetraÄ; mentor dirigenta: Tomislav FaÄini; voditeljica Zbora: Jasenka OstojiÄ. Program: Johann Sebastian Bach: Muka po Marku, BWV 247
Igor KuljeriÄ: Animal Farm (Simfonijski orkestar, Zbor i solisti MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, 28. 11. 2021.)
Snimka izvedbe održane 28. 11. 2021. u Koncertnoj dvorani Vatroslava Lisinskog. Na projektu postavljanja opere sudjelovale su Äetiri sastavnice SveuÄiliÅ”ta u Zagrebu: MuziÄka akademija, Akademija dramske umjetnosti, Akademija likovnih umjetnosti i Tekstilno-tehnoloÅ”ki fakultet. IzvoÄaÄi: Simfonijski orkestar MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, Zbor MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, solisti Davor Nekjak (uloga: Major, svinja), Nikolina HrkaÄ (uloga: Squealer, svinja), Emilia Rukavina (uloga: Napoleon, svinja), Katarina Kopjar (uloga: Snowball, svinja), Gabriela Hrženjak (uloga: Mollie, kobila), Lobel Barun (uloga: Moses, gavran), Benjamin Å uran (uloga: Benjamin, magarac), Stefani PijetloviÄ (uloga: Clover, kobila), Roko Radovan (uloga: Boxer, konj), Laura Marincel Haller (uloga: Muriel, koza) i Aljaž Žgavc (uloga: Mr. Pilkington). Dirigent: Mateo NaranÄiÄ. Voditeljica Zbora: red. prof. art. Jasenka OstojiÄ. Redatelji: izv. prof. art. KreÅ”imir DolenÄiÄ, Kristina GrubiÅ”a. Program: Igor KuljeriÄ: Animal Farm, opera-basna
Igor KuljeriÄ: Animal Farm (Simfonijski orkestar, Zbor i solisti MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, 28. 11. 2021.)
Snimka izvedbe održane 28. 11. 2021. u Koncertnoj dvorani Vatroslava Lisinskog. Na projektu postavljanja opere sudjelovale su Äetiri sastavnice SveuÄiliÅ”ta u Zagrebu: MuziÄka akademija, Akademija dramske umjetnosti, Akademija likovnih umjetnosti i Tekstilno-tehnoloÅ”ki fakultet. IzvoÄaÄi: Simfonijski orkestar MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, Zbor MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, solisti Davor Nekjak (uloga: Major, svinja), Nikolina HrkaÄ (uloga: Squealer, svinja), Emilia Rukavina (uloga: Napoleon, svinja), Katarina Kopjar (uloga: Snowball, svinja), Gabriela Hrženjak (uloga: Mollie, kobila), Lobel Barun (uloga: Moses, gavran), Benjamin Å uran (uloga: Benjamin, magarac), Stefani PijetloviÄ (uloga: Clover, kobila), Roko Radovan (uloga: Boxer, konj), Laura Marincel Haller (uloga: Muriel, koza) i Aljaž Žgavc (uloga: Mr. Pilkington). Dirigent: Mateo NaranÄiÄ. Voditeljica Zbora: red. prof. art. Jasenka OstojiÄ. Redatelji: izv. prof. art. KreÅ”imir DolenÄiÄ, Kristina GrubiÅ”a. Program: Igor KuljeriÄ: Animal Farm, opera-basna
Johann Sebastian Bach: Muka po Marku, BWV 247 (Simfonijski orkestar, Zbor i solisti MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, 27. 3. 2021.)
Koncert je održan na MuziÄkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 27. 3. 2021. IzvoÄaÄi: Simfonijski orkestar MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, Zbor MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, solisti Darija AuguÅ”tan (sopran), Josipa BiliÄ (sopran), Nikolina HrkaÄ (sopran), Patricia ŽudetiÄ (sopran), Lucija Ercegovac (alt), Franko KlisoviÄ (kontratenor), Luka Å indija (tenor), Emanuel TomljenoviÄ (tenor), Matic ZakonjÅ”ek (tenor), Jurica JurasiÄ Kapun (bariton) i Marin Vitas (kontratenor). Dirigent: Hansjƶrg Albrecht. Voditeljica Zbora: red. prof. art. Jasenka OstojiÄ. Program: Johann Sebastian Bach: Muka po Marku, BWV 247
Johann Sebastian Bach: Muka po Marku, BWV 247 (Simfonijski orkestar, Zbor i solisti MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, 27. 3. 2021.)
Koncert je održan na MuziÄkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 27. 3. 2021. IzvoÄaÄi: Simfonijski orkestar MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, Zbor MuziÄke akademije SveuÄiliÅ”ta u Zagrebu, solisti Darija AuguÅ”tan (sopran), Josipa BiliÄ (sopran), Nikolina HrkaÄ (sopran), Patricia ŽudetiÄ (sopran), Lucija Ercegovac (alt), Franko KlisoviÄ (kontratenor), Luka Å indija (tenor), Emanuel TomljenoviÄ (tenor), Matic ZakonjÅ”ek (tenor), Jurica JurasiÄ Kapun (bariton) i Marin Vitas (kontratenor). Dirigent: Hansjƶrg Albrecht. Voditeljica Zbora: red. prof. art. Jasenka OstojiÄ. Program: Johann Sebastian Bach: Muka po Marku, BWV 247