Search Results (160)

Background: Rhythmic sensory stimulation, including structured musical interventions, has gained renewed interest as a non-pharmacological strategy that may modulate cortical excitability and network stability in focal epilepsy. Although several small studies have reported changes in seizure frequency or epileptiform activity during rhythmic or music exposure, the underlying mechanisms and translational relevance remain insufficiently synthesized. Objective: This narrative review summarizes clinical evidence on music-based and rhythmic sensory interventions in focal epilepsy, outlines plausible neurophysiological mechanisms related to neural entrainment and large-scale network regulation, and discusses emerging opportunities for digital delivery of rhythmic protocols in everyday self-management. Methods: A structured search of recent clinical, neurophysiological, and rehabilitation literature was performed with emphasis on rhythmic auditory, tactile, and multimodal stimulation in epilepsy or related conditions. Additional theoretical and translational sources addressing oscillatory dynamics, entrainment, timing networks, and patient-centered digital tools were reviewed to establish a mechanistic framework. Results: Existing studies—although limited by small cohorts and heterogeneous methodology—suggest that certain rhythmic structures, including specific musical compositions, may transiently modulate cortical synchronization, reduce epileptiform discharges, or alleviate seizure-related symptoms in selected patients. Evidence from neurologic music therapy and rhythmic stimulation in other neurological disorders further supports the concept that externally delivered rhythms can influence timing networks, attentional control, and interhemispheric coordination. Advances in mobile health platforms enable structured rhythmic exercises to be delivered and monitored in real-world settings. Conclusions: Music-based and rhythmic sensory interventions represent a promising but underexplored adjunctive approach for focal epilepsy. Their effectiveness likely depends on individual network characteristics and on the structure of the applied rhythm. Digital integration may enhance personalization and adherence. Rigorous clinical trials and mechanistic studies are required to define optimal parameters, identify responders, and clarify the role of rhythmic stimulation within modern epilepsy care. Full article

A new type of household/therapeutic air freshener is proposed, in which beneficial components are released from compositions containing plant raw materials through induction heating under an alternating-frequency electromagnetic field. The composition is heated by metal elements (e.g., pieces of metal foil) included in its composition. The advantage of the proposed air freshener is the possibility of using a wide range of plant raw materials without prior additional processing. Another advantage of this air freshener is the possibility of controlling it via a smartphone, which is in line with the concept of a ‘smart home.’ The proposed approach bypasses labour-intensive production of simple oils, reduces the product cost, and expands the number of plants (helpful for small-scale cultivation in countries such as Kazakhstan). At the same time, however, it remains possible to use traditional compositions based on industrially produced aromatic oils. Specific examples of the implementation of the proposed method are presented. Prospects include programme-controlled emission of odours from polymer matrices, Internet of Things applications, implementation of sound–visual effects (colour–aroma–music), and even integration with neuromorphic materials. Full article

The article focuses on demonstrating the connections between works of visual art and their musical representation—in the sense of a musical response to a work that served as a source of inspiration. The discussion focuses on works by outstanding composers: Zbigniew Bargielski (born 1937), Zygmunt Krauze (born 1938), and a younger composer, Bettina Skrzypczak (born 1961). Among the distinguished artists are also the authors of works of visual art that provided the “causative impulse” for musical compositions: Władysław Strzemiński (1893–1952), Tadeusz Mysłowski (born 1943), Alberto Giacometti (1901–1966). Their works, taken into account by the composers, belong to various genres of visual arts: Strzemiński’s unistic painting fascinated Z. Krauze (including Unistic Compositions for solo piano), Mysłowski’s multimedia objects inspired the musical imagination of Z. Bargielski (Shrine for Anonymous Victim, Light Cross, Towards Organic Geometry), while Giacometti’s sculptures prompted B. Skrzypczak to interpret them musically (Vier Figuren). The methodological basis for developing the topic was the concept of ekphrasis, introduced into the field of musical semiotics (as musical ekphrasis) by the German musicologist Siglind Bruhn, as well as the work by Jacek Szerszenowicz, Artistic Inspirations in Music (2008), whose author, in the Polish context, undertook research on capturing the nature of the relationship between the extra-musical source of inspiration (artistic works) and music. Full article

The cultivation of aesthetic appreciation through engagement with exemplary artworks constitutes a fundamental pillar in fostering children’s cognitive and emotional development, while simultaneously facilitating multidimensional learning experiences across diverse perceptual domains. However, children in early stages of cognitive development frequently encounter substantial challenges when attempting to comprehend and internalize complex visual narratives and abstract artistic concepts inherent in sophisticated artworks. This study presents an innovative methodological framework designed to enhance children’s artwork comprehension capabilities by systematically leveraging the theoretical foundations of audio-visual cross-modal integration. Through investigation of cross-modal correspondences between visual and auditory perceptual systems, we developed a sophisticated methodology that extracts and interprets musical elements based on gaze behavior patterns derived from prior pilot studies when observing artworks. Utilizing state-of-the-art deep learning techniques, specifically Recurrent Neural Networks (RNNs), these extracted visual–musical correspondences are subsequently transformed into cohesive, aesthetically pleasing musical compositions that maintain semantic and emotional congruence with the observed visual content. The efficacy and practical applicability of our proposed method were validated through empirical evaluation involving 96 children (analyzed through objective behavioral assessments using eye-tracking technology), complemented by qualitative evaluations from 16 parents and 5 experienced preschool educators. Our findings show statistically significant improvements in children’s sustained engagement and attentional focus under AI-generated, artwork-matched audiovisual support, potentially scaffolding deeper processing and informing future developments in aesthetic education. The results demonstrate statistically significant improvements in children’s sustained engagement (fixation duration: 58.82 ± 7.38 s vs. 41.29 ± 6.92 s, p < 0.001, Cohen’s d ≈ 1.29), attentional focus (AOI gaze frequency increased 73%, p < 0.001), and subjective evaluations from parents (mean ratings 4.56–4.81/5) when visual experiences are augmented by AI-generated, personalized audio-visual experiences. Full article

This article examines how K-Pop Demon Hunters (2025) portrays women’s agency and sorority while curating Korean cultural specificity within the context of global streaming. Adopting a Gender Media Studies approach, the study conducts a scene-indexed close reading of nine key sequences, applying a coding scheme (co-presence, agency, solidarity, body framing, choreography–camera, colour) and a cultural-codes matrix that classifies elements as retained, hybridised, or globalised. Findings show a consistent pattern: when two or more women protagonists appear together, agency and sorority co-occur; this is visible in the narrative arcs and through full-body staging, ensemble composition, and a persistent we/together rhetoric. Korean local specificity is divided by purpose: English-led song hooks extend transnational reach; retained social anchors (space, ritual, foodways, and folklore) preserve locality; and hybridised cues (stylised folklore; idol/traditional blends) manage cultural density without erasure. Authorship and industry context align with this encoding, combining a women centred creative core and Korean cast with on-screen emphasis on women’s friendship, repair, and shared agency. Two tensions remain: traditional attire in spectacle numbers, and the narrow body diversity in the idol-slim body ideal, inviting comparative and interpretative scrutiny. Overall, the case demonstrates how an animated musical can emphasise women’s empowerment and cultural specificity without reducing either to mere marketing tools. Full article

This article was born from an artistic collaboration between a Sámi textile artist and me as a composer. At the heart of our work, Spirit Land/Vuoiŋŋalaš Eanadat, three woven triptychs inspired by Sámi cosmology, met newly composed music shaped through my engagement with chi-based practices of flow and awareness. The creative process unfolded as a spiritual journey; a path of listening, learning, and standing with indigenous knowledge while acknowledging my position as a non-Sámi artist. Drawing on decolonial research, autoethnography, and relational methodologies, I describe how embodied practices, attention to breath, body, and energy flow, opened space for creativity and for dialogue. Rather than presenting measurable outcomes, I trace small yet significant shifts in how moments where music, weaving, and improvisation re-coded church spaces marked by colonial inheritance, and where relational gestures carried possibilities of reconciliation. The article contributes to current discussions in artistic research by showing how composition can be both intellectual and corporeal, both personal and political. In doing so, it suggests that creative flow, when rooted in collaboration and relationship with fellow artists and more-than-human entities, can contribute to a decolonial practice. The results are fragile and partial, but filled with resonance and hope. Full article

This paper presents Macalla, a practice-based research project investigating how architectural spaces function as co-creative instruments in Ambisonic choral composition. Comprising four original compositions, Macalla employed Nelson’s praxis model, integrating creative practice with critical reflection through iterative cycles of composition, anechoic vocal recording, and site-specific re-recording. The project explored six contrasting architecturally significant spaces including a gaol, churches, and civic offices. Using a stop-motion stem playback methodology, studio-recorded vocals were reintroduced to architectural spaces, revealing emergent sonic properties that challenged compositional intentions and generated new musical possibilities. The resulting Ambisonic works were disseminated through multiple formats including VR/360 video via YouTube, Octophonic concert performance, and immersive headphone experiences to maximize accessibility. Analysis of listener behaviours identified distinct engagement patterns, seekers actively hunting optimal positions and dwellers settling into meditative reception, suggesting spatial compositions contain multiple potential works activated through listener choice. The project contributes empirical evidence of acoustic agency, with documented sonic transformations demonstrating that architectural spaces actively participate in composition rather than passively containing it. This research offers methodological frameworks for site-specific spatial audio creation while advancing understanding of how Ambisonic technology can transform the composer-performer-listener relationship in contemporary musical practice. Full article

This study introduces a novel generative approach for crafting phrase-oriented rhythmic patterns in jazz solos, leveraging statistical analyses of a comprehensive corpus, the Weimar Jazz Database. Jazz solos, celebrated for their improvisational complexity, require a delicate interplay between rhythm and melody, making the generation of authentic rhythmic patterns a challenging task. This work systematically explores the relationships among rhythmic elements, including phrases, beats, divisions, and patterns. The generative method employs a Markov chain framework to synthesize rhythmic divisions and patterns, ensuring stylistic coherence and diversity. An extensive evaluation compares original and generated datasets through statistical and machine learning metrics, validating the generative model’s ability to replicate key rhythmic characteristics while fostering innovation. The findings underscore the potential of this approach to contribute significantly to the fields of computational creativity and algorithmic music composition, providing a robust tool for generating compelling jazz solos. Full article

This article explores how Toru Takemitsu transforms literary and natural imagery into sacred soundscapes in his Rain Tree Sketches, drawing on Ōe Kenzaburō’s short story “The Clever Rain Tree” as a starting point for musical meditation on nature and spirituality. This research employs three different approaches to study the transformation process. First, it traces the transformation of Ōe’s literary symbols into Takemitsu’s musical vocabulary while explaining how Zen aesthetics and Japanese shizen (nature) concepts unite text and sound domains. Second, it undertakes a systematic study of musical parameters in the composition to show how motivic development, textural transformation, and temporal organization express water imagery and embody the Zen principle of ma (emptiness). Third, it critically examines modern multimedia visualizations of Rain Tree Sketches to explore both the potential and the limitations of digital technology in mediating the composition’s spiritual dimensions. The analysis demonstrates how Takemitsu created a modernist sacred space through musical techniques that enable listeners to experience transcendence via the deliberate orchestration of sound, silence, and suspended time. More broadly, it shows how modern composers can transform literary spiritual content into abstract musical compositions while preserving their meditative character. This article significantly expands upon preliminary ideas presented at KAMC 2024 conference, 2024, incorporating new theoretical frameworks, extensive analysis of spiritual dimensions, and critical examination of digital mediation not present in the original conference presentation. Full article

The article analyzes the responsory O vis eternitatis, the symbolic opening of Hildegard von Bingen’s primary music collection, to show how Hildegard’s musical choices support the key words and concepts of the composition. It examines usual components of construction, such as mode, melisma, range, and repetition, and shows that the piece is suffused with repetition in a manner not previously detailed. The article also explores a feature usually overlooked in writings on Hildegard’s music: the employment of ornamental neumes to highlight text, identifying instances of unusual frequency or rare use of specific neumes. The article then compares three significantly different recordings of O vis eternitatis, concluding that modern difficulties in the performance of ornamental neumes mean that our renditions today can never fully realize Hildegard’s conceptions. Stripped of their ornaments, Hildegard’s compositions resemble statuary from antiquity that has lost its original paint over the centuries—no longer as the creator intended, but still beautiful and deeply pleasing. Full article

The objective of this article is to present an original approach for modern composers to construct their musical work regarding its structural and dramaturgical aspects. The concept of Expressive circles originated primarily in inspirations taken from the movement in art called Surrealism and from music composed by Hanna Kulenty (which she describes as musique surrealistique). There are also parallels to other concepts (unism in music, surconventional deconstruction of the musical material) or to other composers (Witold Lutosławski). In the article, I present three types of Expressive circles (i.e., three form models)—closed structure, open structure and inverted structure. Each model is characterised by different approach to the musical theme and to its development in the musical piece. Considering the dramaturgical aspects of the work, the trance-like character of the music is important and there are two types of musical trances that I distinguish in Expressive circles, logarithm and drive; both are achieved differently in the musical work. The theoretical assumptions of the concept presented in the article are illustrated by chosen fragments from the score of my composition (EXPRESSIVE CIRCLES—Three pieces for piano trio) and by colourful schemes showing how the concept translates from theory to music. Full article

Lord Byron’s life and poetic works have inspired musical compositions across genres even during his lifetime. The English author’s fictional characters and themes impressed nineteenth-century European composers, especially since his Byronic heroes were often conflated with their creators’ own melancholy and revolutionary personas. In contrast to Byron-inspired songs and operas, instrumental programme music has raised doubts towards a direct correlation with its poetic sources. While epigraphs help direct listeners to specific ideas, their absence has prompted dismissals of intermedial relationships, even those proposed by the composers themselves. This essay explores major connections between Hector Berlioz’s Harold in Italy, a Symphony in Four Parts with Viola Obbligato (premiered 1834), and Byron’s semi-autobiographical narrative poem Childe Harold’s Pilgrimage: A Romaunt (published 1812–1818). Although Berlioz’s titles and memoirs partially identify Byron’s Childe Harold as his inspiration, other references, including his visits to the Abruzzi mountains, his fascination with Italian folk music, his reuse of earlier material, and his reflections on brigands and solitude, have fuelled ongoing debates about the work’s programmatic content. Combining historical-biographical research, melopoetics, and musical semiotics, this essay clarifies how indefinite elements were transmitted from poetic source to musical target. Particular focus is placed on the “Harold theme”, which functions as a Byronic microcosm: a structural, thematic, and gestural condensation of Byron’s poem into music. Observing the interactions between microcosmic motifs and macrocosmic forms in Berlioz’s symphony and their poetic analogues, this study offers a new reading of how Byron’s legacy is encoded in musical terms. Full article

High-grade serous ovarian cancer (HGSC) is a heterogeneous disease. RNA sequencing (RNAseq) of bulk solid tissue is of limited use in these populations due to heterogeneity. Single-cell RNA-seq (scRNA-seq) allows for the identification of diverse genetic compositions of heterogeneous cell populations. New computational methodologies are now available that use scRNAseq results to estimate cell type proportions in bulk RNAseq data. We performed bulk RNA-seq gene expression analysis on 112 HGSC specimens and 12 benign fallopian tube (FT) controls. We identified several publicly available scRNAseq datasets for use as annotation and reference datasets. Deconvolution was performed with MUlti-Subject SIngle Cell Deconvolution (MuSiC) to estimate cell type proportions in the bulk RNA-seq data. Datasets from the Cancer Genome Atlas (TCGA). HGSC repositories were also evaluated. Clinical variables and percentages of cell types were compared for differences in clinical outcomes and treatment results. Pathway enrichment analysis was also performed. Different annotations for referenced scRNA-seq datasets used for deconvolution of bulk RNA-seq data revealed different cellular proportions that were significantly associated with clinical outcomes; for example, higher proportions of macrophages were associated with a better response to primary chemotherapy. Our deconvolution study of bulk RNAseq HGSC samples identified cell populations within the tumor that may be associated with some of the observed clinical outcomes. Full article

(1) Background: Physical inactivity is a major public health concern in modern society. Group fitness programs are widely used to promote physical activity, combining choreographed movements with various dance steps and music. This study aimed to examine the effects of Zumba and MoFit group fitness programs on body composition parameters in women. (2) Methods: The study included 98 female participants (Mean age = 27.8 ± 2.9 years), divided into three groups: E1 (n = 33), which followed the experimental Zumba program; E2 (n = 31), which followed the experimental MoFit program; and a control group (n = 34), which continued with their usual daily activities for 10 weeks. Body composition was assessed using 14 variables measured with the InBody 270 analyser. Statistical analyses included paired t-tests, MANCOVA, and ANCOVA. (3) Results: The findings confirmed the positive effects of both group fitness programs on most body composition parameters in women (p < 0.001). However, Bonferroni post hoc test results indicated that the Zumba program led to significantly greater improvements in most body composition variables compared to the MoFit program. (4) Conclusions: Both Zumba and MoFit programs were effective in reducing body fat, increasing muscle mass, total body water, and mineral content, whereas the control group did not achieve positive changes. Full article

Artificial intelligence (AI) has emerged as a significant driving force in the development of technology and industry. It is also integrated with music as music AI in music generation and analysis. It originated from early algorithmic composition techniques in the mid-20th century. Recent advancements in machine learning and neural networks have enabled innovative music generation and exploration. This article surveys the development history and technical route of music AI, analyzes the current status and limitations of music artificial intelligence across various areas, including music generation and composition, rehabilitation and treatment, as well as education and learning. It reveals that music AI has become a promising creator in the field of music generation. The influence of music AI on the music industry and the challenges it encounters are explored. Additionally, an emotional music generation system driven by multimodal signals is proposed. Although music artificial intelligence technology still needs to be further improved, with the continuous breakthroughs in technology, it will have a more profound impact on all areas of music. Full article