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The Auditory System and Nutrition
Published in Alan R. Hirsch, Nutrition and Sensation, 2023
Not only tempo, but volume also impacts upon consumption. Auditory stimulation increased consumption of soda, and the louder the music, the more soft drinks patrons drank (McCarron and Tierney 1989). When loud (88–91 dB) top 40 music is broadcast, bar customers drank more than when the same music of lower volume was played (Gueguen, Jacob, LeGuellec, Morineau, and Lourel 2008). In another study, ten men were exposed to low volume noise (70 dB), high volume noise (90 dB), loud noise of their individual choice (90 dB), and a silent control period, while tasting sweet and salty solutions (Fantino and Goillot 1986). The volume of noise was selected because it simulated levels at a public cafeteria. While no effect on hedonics was seen for salt solution, at 90 dB sound, sucrose was rated more pleasant. The mechanism of such action was postulated to be due, not to the direct effect of noise or music, but rather due to the loud sounds causing a stress response, with an increase in endorphins, which then increase hedonics toward sucrose.
Middle- and long-distance running
Published in R. C. Richard Davison, Paul M. Smith, James Hopker, Michael J. Price, Florentina Hettinga, Garry Tew, Lindsay Bottoms, Sport and Exercise Physiology Testing Guidelines: Volume I – Sport Testing, 2022
The results from both phases of the test can be used to inform appropriate training zones, shown in Figure 4.1.2 (Jones, 2007). In addition, results from phase 1 can be used to calculate equivalent heart rate zones for easy, steady and tempo running. As heart rate provides an index of internal load, these zones can be effective for guiding training intensity on different terrains (off road, hills, etc.) or in extreme environments (heat or altitude), accounting for the additional load an athlete might experience for a given running speed.
Cultural issues and management
Published in Robert Jones, Fiona Jenkins, Managing and Leading in the Allied Health Professions, 2021
For some people, particularly those with communication disabilities, the issue of time can be crucial to an inclusive communication environment. For people with communication disabilities a slower tempo can be the only accessible pace to ensure understanding. Two participants within the research by Knight et al50 explain: I would rather repeat myself ten times than have someone finish a sentence for me. This is why I won’t use a communication aid.I prefer to speak for myself and I would rather repeat myself several times than have someone say they understood me when they did not.
The Impact of Limb Velocity Variability on Mallet Accuracy in Marimba Performance
Published in Journal of Motor Behavior, 2022
Tristan Loria, Jessica Elizabeth Teich, Marija Pranjić, Melissa Tan, Aiyun Huang, Michael H. Thaut
Participants were provided with the excerpt at the start of the testing session and allowed to practice for ten minutes prior to the experimental trials. Participants practiced at a tempo of their choice. During the practice blocks, participants were explicitly instructed to practice terminating mallet movements onto the target (i.e., the piece of tape). Because participants were trained percussionists, they were accustomed to aiming to the location of the resonator, albeit in the absence of a visual target. In addition, the practice trials enabled participants to practice performing with the markers affixed to the mallets. During the experimental trials, the tempo conditions were blocked and counterbalanced. Tempo-specific practice trials provided at the start of each block to further practice terminating movements onto the target location with markers on the mallets. A metronome set to the tempo conditions played continuously during and between trials. Five trials per condition were performed and a brief break was provided in between blocks. Within the trials, participants were instructed to terminate mallet trajectories onto, or as close to the target as possible. Thus, spatial accuracy was emphasized over temporal accuracy.
Comparing graduate occupational therapy students’ perceived time use, temporality, and tempo of occupational participation before and during the COVID-19 pandemic
Published in Journal of Occupational Science, 2022
Julie M. Werner, Amanda C. Jozkowski
Within the occupational science line of inquiry, researchers distinguish between time use, temporality, and tempo. Time use is described as simply what persons do with their time (Clark, 1997; Farnworth, 2003; Farnworth & Fossey, 2003). It may be quantified or qualitatively described and may span any range of time from minutes to years. Temporality is defined as the human subjective experience of time, in the context of past, present, and future (Farnworth, 2003) and sense of where occupations exist in time (Clark, 1997). We may perceive events as suspended in time and engage in rituals to recognize and recreate events situated within time, such as civic or religious holidays in which we reenact events annually. Tempo is one’s perception of the pace of life, sometimes described as biological rhythms or time pressure (Farnworth, 2003). Occupational scientists have proposed that there is an intricate link between human adaptation and perceptions of time, tempo, and feelings of temporal fit (Christiansen & Matuska, 2006; Clark, 1997; Persson & Erlandsson, 2002). Thus, inquiry into actual and perceived time use is of consequence particularly as a revealing proxy of human adaptation.
This Lyrical Life: Music Therapy in Oncology
Published in Oncology Issues, 2021
Although there are key differences in virtual music therapy compared to in-person sessions, the increased access has been beneficial. Challenges of music therapy in the virtual setting include delayed audio and difficulty seeing a patient’s breathing pattern. Several technical considerations keep the music therapist and patient from truly creating music together. Audio delay and syncing issues make it difficult and unreliable to create music over an Internet connection. During in-person treatments, the music therapist often adjusts the music tempo to match the respiratory or heart rate of the patient. Because of the inability to move camera angles in some computer or phone setups, the music therapist may be unable to see a patient’s breathing pattern. This limits traditional music therapy in a virtual environment.