Site preference and alloying effect of Re atoms in the edge dislocation cores in Ni3Al

Using Cambridge sequential total energy package method based on the density functional theory, we investigated the site preference and alloying effect of Re atoms in the [1 0 0] (0 1 0) edge dislocation cores in Ni₃Al. Due to the introduction of a Re atom, the energetic and electronic structure of dislocation core systems have been changed a lot. The binding energy results suggest Re atom prefers Al site, especially the centre site in the centre-Al system, which can be explained by the results of Mulliken orbital population and density of states. When Re atom occupies the centre site in the centre-Al system, the DC system has the highest stability and stronger bonds formed between the Re atom and its nearest neighbouring atom due to hybridization of the Re-5d and Ni-3d orbitals.     

Structural,elastic, electronic,phonon and thermal properties of Ir3Ta and Rh3Ta alloys

We have studied the structural, elastic, electronic, phonon and thermodynamic properties of Ir₃Ta and Rh₃Ta alloys, using ab initio calculations. For the L1₂ phase, we report the calculated lattice constants, bulk modulus and elastic constants, and these values are compared with previously published values. We also derive the elastic constants from the values of the slopes of the acoustic branches in the phonon dispersion curves. The band structures show that both materials are metallic. The phonon dispersion curves, and their corresponding total and projected densities of states, are obtained using a linear response in the framework of the density functional perturbation theory. The specific heat capacity at constant volume and different temperatures is calculated, and this aspect is discussed using the quasi-harmonic approximation.     

La traviata and Oedipus

This paper explores the oedipal themes of Verdi's La Traviata, and proposes that it is his masterly treatment of their complexity which accounts for the psychological power of the opera. It is suggested that a particular quality of this opera lies in its ordinariness: no gross psychopathology is displayed, and yet it is mesmerizing. The claims of the eminent musicologist Joseph Kerman are explored that, in opera, music trumps words when there is a conflict between the apparent meanings of the libretto and the feel of the music, with special reference to the famous duet between Violetta (the ‘fallen woman’ – the traviata) – and her lover's father, Giorgio Germont, in which his harsh condemnation of her as conveyed by the libretto text seems to be softened, indeed quite altered, by the music. Other contradictions between the apparently explicit meaning of the text and the implicit sense of the music are also examined. These conflicts are illuminated by John Steiner's theory of two versions of the Oedipus situation, one paranoid–schizoid and the other depressive, which are contrasted with Grunberger's Oedipal views.     

“This beastly science…”: On the reception of psychoanalysis by the composers of the Second Viennese School, 1908–1923

This paper explores the links between psychoanalysis and music in Vienna between the years 1908 and 1923, focusing in particular on two members of the highly influential Second Viennese School, the composers Alban Berg and Anton Webern. While there is little evidence of an actual interaction between Freud and his circle and contemporaneous musicians in Vienna, this paper discusses the direct personal and professional contact Webern and Berg had with Freud, and also with Freud's one-time colleague Alfred Adler; Berg's wife Helene also underwent psychoanalytic treatment. Both composers documented their experiences with and feelings about psychoanalysis, offering critical insights into the reception of psychoanalysis in musical circles in Vienna, and into the actual connections between psychoanalysis and Vienna's most important musical figures. This paper examines Berg and Webern in the context of Freud's Vienna, Adler's musical background and his treatment of Webern, and Berg's knowledge of psychoanalysis and strong ambivalence towards his wife's psychoanalytic treatment, and concludes by considering Berg's opera Wozzeck (1925) as an example of a musical work influenced by contemporary Viennese attitudes towards psychoanalysis.     

Analysis of the Impact of Creative Technique on the Motivation of Physical Education Students in Dance Content: Gender Differences

The aim of this study was to learn about the effectiveness of two dance teaching techniques, the creative examination technique and the direct instruction technique, on the satisfaction of basic psychological needs, the level of self‐determination, the perception of usefulness, enjoyment and effort of physical education students. Likewise, it purports to analyze the gender difference in the psychological variables addressed in agreement with the teaching technique used, to guide and personalize the treatment of these contents in physical education. A quasi‐experimental design was carried out with four natural groups from two school centers. The direct instruction technique was applied with two groups and the creative examination technique with the other two, in a total of 12 sessions. An initial and final measurement was taken in both groups, and the results revealed the complexity to motivate students after 12 sessions. However, the gender‐dependent analyses offer methodological guidelines, as the creative technique causes adaptative consequences on the male gender and disadaptative consequences on the female gender. By way of conclusion, we can highlight the need to devote more sessions to dance teaching and to apply different treatments depending on the gender.     

Young children and spirituality: understanding children’s connectedness in a group music class

In a fast-paced materialistic world, it is important to create opportunities for spirituality in early childhood music education, a developmental element often neglected in the scholarly literature. The purpose of the present hermeneutic phenomenological study is to understand the meanings that children ascribe to their experiences of connectedness in a group music class for 15 children, aged 4–5 years, at a nursery school in Potchefstroom, South Africa. Data were collected by means of interviews, close observations, diaries and drawings. In a qualitative data analysis, the following themes emerged regarding the children’s experiences in the music class: Music is the best; My body dances; Music takes me places; We can play together; You and me; I feel better and You can have mine. Music group classes in early childhood education could be useful in creating opportunities for spiritual experiences, promoting connectedness and consequently fostering children’s spiritual well-being.     

Adolescents’ perceptions of health and well-being: Influences of urban contemporary music

The study aimed to explore adolescents’ perceptions of how urban contemporary music influences health and well-being among them. Data on health and well-being effects of music consumption were gathered from a convenience sample of 16 participants (male = 50%, females = 50%) between the ages of 15 and 17 in a series of two focus group interviews. The data were analysed using thematic analysis. Findings suggest the adolescents to perceive both positive and negative influences of contemporary music on their health and well-being. Positive influences included emotional well-being and sense of social belongingness. Negative influences included promotion of risky behaviours, including substance use, misogyny, sexual behaviour and violence. The findings suggest that urban contemporary music serves as a tool of normalisation as well as a catalyst for encouraging risky behaviour in adolescence.     

Evidence for early arousal‐based differentiation of emotions in children’s musical production

Accurate perception and production of emotional states is important for successful social interactions across the lifespan. Previous research has shown that when identifying emotion in faces, preschool children are more likely to confuse emotions that share valence, but differ in arousal (e.g. sadness and anger) than emotions that share arousal, but differ on valence (e.g. anger and joy). Here, we examined the influence of valence and arousal on children's production of emotion in music. Three‐, 5‐ and 7‐year‐old children recruited from the greater Hamilton area (N = 74) ‘performed’ music to produce emotions using a self‐pacing paradigm, in which participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting the same key on a MIDI piano. Key press velocity controlled the loudness of each chord. Results showed that (a) differentiation of emotions by 5‐year‐old children was mainly driven by arousal of the target emotion, with differentiation based on both valence and arousal at 7 years and (b) tempo and loudness were used to differentiate emotions earlier in development than articulation. The results indicate that the developmental trajectory of emotion understanding in music may differ from the developmental trajectory in other domains.     

共情与中国民族音乐情绪识别的关系：来自ERP的证据

音乐情绪识别能力是利用音乐开展情绪调节的基本条件。传统的以五声音阶为基础的具有独特韵味的中国民族音乐反映了中国人独有的情感和价值观念, 在情绪调节和音乐治疗方面具有积极的作用, 是研究音乐情绪识别的有效音乐刺激。本研究采用跨通道情绪启动范式, 通过人际反应指针问卷筛选出高、低共情组被试各36人参加脑电实验, 考察共情能力对中国民族音乐情绪识别的影响。脑电数据显示, 在进行中国民族音乐情绪内隐识别时, 将宫调和羽调音乐作为启动刺激, 诱发了中期的P2、N400以及晚期正成分LPC (Late Positive Component)。低共情组P2和N400成分的波幅大于高共情组, 高共情组LPC成分的波幅大于低共情组。本研究第一次从电生理层面考察了不同共情能力的个体在进行中国民族音乐情绪识别时的神经反应差异。高低共情组在中国民族音乐情绪识别不同阶段的注意投入可能影响了其对音乐刺激的感受, 进而影响音乐情绪识别。