Untrained listeners demonstrate implicit knowledge of syntactic patternsand principles. Untrained generative music ability, for example singing,humming, and whistling, is a largely unconscious or intuitive applicationof these patterns and principles. From the viewpoint of embodied cognition,listening to music should evoke an internal representation or motorimage which, together with the perception of organized music, shouldform the basis of musical cognition. Indeed, that is what listeners demonstratewhen they sing, hum, or whistle familiar and unfamiliar tunes orwhen they vocally or orally improvise continuations to interruptedphrases. Research on vocal improvisation using continuations sung to aninterrupted musical phrase, has shown that one’s cultural backgroundinfluences the music generated. That should be the case for instrumentalistsas well: when they play familiar or unfamiliar tunes by ear in differentkeys (transposition) or when they improvise variations,accompaniments, or continuations to interrupted phrases, the music theygenerate should reflect the same cognitive structures as their oral improvisations.This study is attempting to validate a test of (non) scoredependencythat will enable assessment of the music student’s implicitknowledge of these structures during performance on the principal instrument.
DOCUMENT
Untrained listeners demonstrate implicit knowledge of syntactic patternsand principles. Untrained generative music ability, for example singing,humming, and whistling, is a largely unconscious or intuitive applicationof these patterns and principles. From the viewpoint of embodied cognition,listening to music should evoke an internal representation or motorimage which, together with the perception of organized music, shouldform the basis of musical cognition. Indeed, that is what listeners demonstratewhen they sing, hum, or whistle familiar and unfamiliar tunes orwhen they vocally or orally improvise continuations to interruptedphrases. Research on vocal improvisation using continuations sung to aninterrupted musical phrase, has shown that one’s cultural backgroundinfluences the music generated. That should be the case for instrumentalistsas well: when they play familiar or unfamiliar tunes by ear in differentkeys (transposition) or when they improvise variations,accompaniments, or continuations to interrupted phrases, the music theygenerate should reflect the same cognitive structures as their oral improvisations.This study is attempting to validate a test of (non) scoredependencythat will enable assessment of the music student’s implicitknowledge of these structures during performance on the principal instrument.
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Background: The purpose of this study was to explore physiotherapists’ knowledge, attitude, and practice behavior in assessing and managing patients with non-specific, non-traumatic, acute- and subacute neck pain, with a focus on prognostic factors for chronification. Method: A qualitative study using in-depth semi-structured interviews was conducted with 13 physiotherapists working in primary care. A purposive sampling method served to seek the broadest perspectives. The knowledgeattitude and practice framework was used as an analytic lens throughout the process. Textual data were analyzed using qualitative content analysis with an inductive approach and constant comparison. Results: Seven main themes emerged from the data; physiotherapists self-estimated knowledge and attitude, role clarity, therapeutic relationship, internal- and external barriers to practice behavior, physiotherapists’ practice behaviors, and self-reflection. These findings are presented in an adjusted knowledge-attitude and practice behavior framework. Conclusion: A complex relationship was found between a physiotherapist’s knowledge about, attitude, and practice behavior concerning the diagnostic process and interventions for non-specific, non-traumatic, acute, and subacute neck pain. Overall, physiotherapists used a biopsychosocial view of patients with non-specific neck pain. Physiotherapists’ practice behaviors was influenced by individual attitudes towards their professional role and therapeutic relationship with the patient, and individual knowledge and skills, personal routines and habits, the feeling of powerlessness to modify patients’ external factors, and patients’ lack of willingness to a biopsychosocial approach influenced physiotherapists’ clinical decisions. In addition, we found self-reflection to have an essential role in developing self-estimated knowledge and change in attitude towards their therapeutic role and therapist-patient relationship.
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