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Skončí koncert, gitarista Long Hand vezme, zloží zo zosilovača, hodí ho do tašky a môže ísť domov. Ale pri jednaní s výrobcami sme si uvedomili, že ukazovať len prototyp nestačí. Long Hand tak rozširuje využitie zosilňovačov, vďaka možnosti diaľkovej regulácie hlasitosti a skreslenia, napríklad Volume a Gain, čím sa mení farba zvuku od čistého po skreslený a súčasne mení úroveň hlasitosti, aby nebol príliš nahlas.

Jordan Peele's lauded film Get Out (2017) constitutes a serious aesthetic reckoning with what it means to help (make, force, compel) someone to \"see what you see,\" postulating the intimacy of understanding and aggression in its navigation of an already-understood logic of racialized violence alongside the status of descriptions of photographic form within a cinematic regime. The film stages Roland Barthes's worry of the dangers of \"a little bit of formalism,\" suggesting that a mode of understanding not co-optable by violence requires a radical formalism, whose critical value is precisely that it disaffords every effort at a better understanding of violence.

The ‘nirai’ instrument is a mix of ‘sanshin’ and guitar. In this study, the sound was analysed with a PicoScope oscilloscope. The ‘sanshin’ tuning is a fifth, root, and fifth. In the key of C, these notes are G, C, G (GCG). When a low C is added in ‘nirai’ it makes the tuning a root, fifth, root, fifth. The ‘nirai’ was tuned to the key of G; the 4th, 3rd, 2nd and 1st string was G2 (100 Hz), D3 (147 Hz), G3 (197 Hz), and D4 (296 Hz). String 4, 3, 2 and 1 displayed 25, 25, 19 and 12 partials frequencies, respectively. The 24th, 17th and 13th harmonics are missing in string 4, 3 and 2. The difference in numbers of partials reflect dissimilar timbre. The findings provide information on hybrid instruments. Understanding of musical aspects aspires to modern, creative and technological demands by looking at the design, construction, and cultural importance. The results contribute to creating new hybrid instruments that blend the sounds, styles and aesthetics of other musical traditions, making them more widely available. By informing educational initiatives, instrument production and performance techniques, these findings can foster innovation and cultural preservation in the world of music.

A video of a children’s nurse singing to one of her young patients has prompted an outpouring of emotion on social media.

Purpose This paper aims to explore the reasons why descriptive phenomenology (DP) can provide an improved understanding of hospitality, tourism and event experiences. This is achieved through two objectives: first, by revealing the complexities and philosophical depths of DP; second, by providing a practical, stepped method that offers rigour and transparency. Design/methodology/approach This paper is based upon a study that explored the lived experience of the popular music festival-goer. It generally discusses the phenomenological philosophies of Husserl (1965 [1911]) and the descriptive phenomenological method in psychology of Giorgi (2009). It identifies not only some of the challenges and criticisms of DP but also the strengths of using a scientific approach to phenomenological research. Findings The philosophical strengths underlying DP afford a deeper understanding of the phenomenon being studied. The lived experience music festival study illustrates that the method of data collection and analysis highlights the intricacy of the philosophical debate and research findings. Although the bracketing, or epoché, method of DP has been criticised, the actual application is far more complex than trying to blank out prior knowledge. The aim is to ensure that it is the participants’ experiences that are used to identify the structure that is the phenomenon rather than the personal interpretation of the researcher. Originality/value It is recognised that researching the lifeworld affords a greater depth of understanding of experiences in people’s lives. One of the disappointments has been that one branch of phenomenological research, DP, has been underutilised and at times misunderstood in hospitality, tourism and event research. This paper aims to demonstrate and illustrate why and how DP should be considered in the future research of such experiences.

This autoethnographic essay critically examines my teaching experiences across various school settings, reflecting on the need for transformation within music education spaces. Through personal anecdotes, I explore key moments in my career where student responses to materials, techniques, and strategies suggested a necessity for change. Notable interactions include the mispronunciation of names in diverse classrooms and student calls for \"real\" music, prompting a consideration of dominant perceptions of what constitutes \"authentic\" music in the classroom. I also examine how students\" cultural backgrounds shape their musical experiences and challenge conventional frameworks in music education. The narrative concludes with the impact of pandemic-related restrictions, which further underscored the demand for adaptation and innovation in teaching practices. Through critical reflection, I highlight the importance of embracing change to meet the needs of students and nurture their diverse musical identities. Additionally, I present recent resources that align with these evolving pedagogical approaches.

This article presents a practice-based exploration of how two music therapists used sound recording equipment as a therapeutic tool in music therapy sessions across two aged care facilities in Auckland. Over a 10- week period from 4th October to 6th December 2024, sound recording equipment was integrated into music therapy sessions at the facilities with clients recording vocals alongside a range of instruments including guitar, ukulele and percussion. The therapists aim to share their recording process and, by drawing on their reflective practice, offer insights into the psychological benefits observed for clients.

Nadia Shireen and Frank Cottrell Boyce's new podcast takes the form of the pair having been shipwrecked on the Island of Brilliant with nothing but 3,000 children's books and hammocks in which to lie and read. Nadia and Frank chat about what they have enjoyed reading either recently or in their childhood and what's new, and they welcome different visitors each episode who arrive by various bizarre means -- Cressida Cowell on the back of a dragon (how else), Maise Chan on a carousel. The trio then chat more about their visitor's books. They also have a seashell which relays them messages from children's literature critic and Head of Children's Books Promotion at Booktrust, Emily Drabble. The world's greatest ukulele band, the Ukulele Uff Trio, also make appearances at the beginning and end and from time to time as they are the indigenous inhabitants of the island. The pair have an easy, chatty relationship with jokes -- Nadia asks each guest if they have snacks and gets excited about jammy dodgers. This is very much a conversation to explore important topics in the children's literature world.