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24, May 2022
What are the Powers of Professionalism and Partnerships in Health and Social Care?

The NHS and Social Care Reforms are a platform to increase competition and collaboration between the sectors. It is not a new concept, but competition should be welcomed openly. The NHS and Community Care Act (1990), that introduced the “Internal Market” and GP Fundholding, is our example. Despite the many changes in these organisations, competition has not been weakened and is still a daily practice in various forms. On reflection, the delivery of services would synchronise to policies on resource availability and would continue to do so in today’s economic climate. The powers of professionalism in partnerships would create opportunities to reformulate strategies capable of managing competition within the sector.

The competition within an organisation should not be seen as a fight between departments, but rather as a market opportunity that encourages negotiation along specialist service delivery. The new delivery methods for health and social care will require that GPs compete with other local authorities to obtain hospital services/treatments, mental healthcare services, community clinics, and any other contracts. The health bill, which will give legal certainty and legality to high quality service delivery and maximum utilization of resources, will be a key element in the implementation of the new approaches to health and social care. Competition has been a practice in private sector for many years and has maximized the quality of services delivery as well as flexibility on the wider consumer market.

Why should professionals and other support staff be ambivalent about the concept of competition and partnership work, which has been the buzzword of recent years? According to professionals, integrated care results in efficiency, effectiveness, and efficient utilisation of skills, as well as maximisation of resources, and reductions in duplication between agencies. This indicates savings across the sector. Critics might argue that competition leads to a loss of social and health care. Patients become commodities, which means that profits are passed on or taken from one profit center to the next. However, this could be true in some cases. In any business, whether it’s a welfare service, profit-making organization, the main objectives are to minimize waste, delegate responsibilities and create a cost center that is capable of monitoring spending according to budgets.

Competition could be seen in the current economic climate as an antithesis to collaboration between agencies. It ensures maximum financial resources and labour capital. In the private sector, however, government legislation, regulations, and courts can strengthen cooperation if they believe companies are “collaborating” over price fixing, or practicing monopoly. Our references can be drawn from superstores that are regulated by the “Trading Standards”. This means that they cannot fix prices or charge too much to consumers. Practically, no superstore would be able to dominate the entire grocery market. The public sector cannot have both its cake and eat it, and that is in parallel with health and social care organizations. The legislation and policies that limit monopoly within the sectors allow agencies to enjoy the cost-cutting forces of competition without having to atomize services and disregard the public’s interests.

Retrospectively, the greatest strengths of the agencies are their professionalism. Social workers, nurses, occupational therapists, and doctors will all agree that their ethical and training commitments put the needs of patients and users first. Other interests are important, such as their own pay, safety, and standard of living. One way to put it is that clinicians internalize the conflicts that will inevitably arise, and we are happy for them to move on to the reconciliation. Recent times have seen services and care prioritized within the eligibility matrix. However, professionals can still practice their principles.

Although the fundholders (GPs, Social Workers and Commissioners) can compete, their shared professional identity does not allow for competition that could lead to anarchy. The NHS and social services rely on non-professionalised staff such as managers and support staff, including commercial departments, facilities management teams, and financial services personnel to manage their budgets. Competition can be accepted as long as everyone believes they are part and parcel of the same organisation, such as the chief executive of the local authority, the chief physiotherapist, and the receptionist for the sector.

According to legislation and policies that govern welfare institutions, professionalism and organisational behavior are both restraints on reckless trade. Restricting economic principles and markets in modernized services will not provide protection for service users or patients. They would otherwise be treated as consumers who have no choice in the market. The GPs, social services, and hospital consultants are considered partners in care. This is due to their professionalism and shared sense of belonging to the larger welfare system. A contract is the best way to support legality and agreements. It will, by its very nature, supervise and regulate social and health care delivery. This is to protect patients and service users who may be at risk due to the nature of their condition.

The term partnership has been a common word in the public service, especially when spending is high. The previous government spent a lot of energy and time trying to align the interests between councils, NHS, and other service providers in health and social care. The coalition government, on the other hand, should provide details about what is working and support policies that were put in place by the New Labour administration.


23, May 2022
Three Things to Remember About Catering Services

You should plan the food for the event. It is important to plan a menu for your friends, family, and coworkers if you’re hosting a gathering. Catering services are a great option if you don’t want to cook for large numbers of people.

These services offer a wide range of food and drink options that allow event planners to have fun and mix with guests rather than being stuck in the kitchen. These are the 3 things you should remember when hiring this type of service.

1. Size – Consider the size of your party as well as the space available. Catering companies will likely have to plan a menu that takes into account the space available and how many guests are expected. You will be able hire someone who has your exact requirements by having an accurate estimate.

2. Food Options – This is the second thing you should consider. Are you limiting your options to appetizers? Will you request main courses and desserts? This planning is vital because it involves pre-cooking and setting up. Finger foods are fine if you don’t plan to host a formal gathering. However, full-course meals are best for large groups.

3. Drinks – It is crucial to choose the right drinks for your party. Careful consideration should be given. You should ensure that the service you choose allows alcohol, soft drinks, or both. Consider the cost of both alcohol and soft drinks. Also, think about whether there will be a bar with a full-stocked bar or only wine and beer. You can make your event epic by sifting through the options.

Catering services are not just for parties and get-togethers. You can also use them for wedding ceremonies. They can be used for wedding ceremonies. When you are looking for a caterer to cater your party, event, or reception, make sure to consider the following options. A person won’t be able get the right food, drink, or seating choices if they don’t plan ahead. You should consider the location, the number of people attending, and your budget. Keeping these things in mind will help you move forward with ease.


22, May 2022
Proposed Rule on Recommended Prevention Services Policy – Public Input Required

The Obama administration released proposed rules that are open for public comment on contraceptive coverage without cost sharing under the Health Care Act. Proposed rules offer women coverage for preventive care, which includes contraceptive services without co-pays. They also take into account the concerns of religious organizations.

This Notice of Proposed Rule Making reflects the public feedback from the Advance Notice of Proposed Rule Making issued in March 2012. These proposed rules can also be viewed by the public through April 8, 2013.

Kathleen Sebelius, Secretary of Health and Human Services, said that the administration was taking the next step to provide women in the country with preventive care coverage at no cost. She also acknowledged religious concerns. To achieve these goals, we will continue to collaborate with faith-based and women’s groups, insurance companies, and other organizations.

These proposed rules outline how non-profit religious institutions, such as religious hospitals and higher education institutions, can get accommodation to provide contraceptive coverage to their enrollees with separate coverage. There are no co-pays and no cost to them.

These religious groups would notify their insurer about any insured plans, even student health plans. The insurer would notify the enrollees that they are providing no-cost contraceptive coverage through individual health insurance policies.

These religious groups would notify their third-party administrator about self-insured and student health plans. The third party administrator would then work with an insurance company to arrange contraceptive coverage at no cost through individual policies.

Third party administrators and insurers would collaborate to ensure seamless enrollment. The proposed rules outline how both the third-party administrator and the insurer would be covered without charge to the religious organization or enrollees.

The proposed rules also simplify and clarify what constitutes a “religious employer” in order to exempt contraceptive coverage from their requirements. These employers, which include houses of worship and other religious organizations, may exclude contraception coverage from their employees’ health plans.
Below are details about these policies.

Exemption for Religious Employers

If religious employers have group health plans, they are exempt from the requirement to provide contraceptive coverage.
The NPRM would simplify existing definitions of “religious employers” in relation to contraceptive coverage.
The NPRM would remove the requirement that a religious employer be listed:
1. Its purpose is to inculcate religious values;
2. Only employ people who are religiously aligned with it;
3. To serve only those who agree with its religious principles.

For the purposes of exemption, the simple definition of “religious employers” would be based on a section in the Internal Revenue Code. It would include churches, other places of worship and their affiliated organizations as per Section 6033(a.(3)(A)(iii).

The proposed amendment clarifies that a house or worship is not exempt from the exemption if it provides charitable social service to people of different faiths or employs people of different faiths. According to the Departments, this proposal would not increase the number of employer plans that could be eligible for the exemption beyond what was stated in the 2012 final rules.

Non Profit Religious Organizations: Creating Accommodations
The Advance NPRM also proposes accommodation for non-profit religious organizations. In addition, enrollees will be provided contraceptive coverage without co-pays. A qualified organization is one that meets the following criteria:
1. Opposes the provision of coverage for contraceptive services that are required to be covered under Section 271 of the PHS Act because of religious objections.
2. is a non-profit entity that is organized.
3. identifies itself as a religious organisation;
4. It self-certifies it meets these criteria, and specifies contraceptive services it does not want to provide coverage for.


21, May 2022
Soccer Live – Real Time truc tiep bong da hom Action

It’s no surprise that truc tiep bong da hom is loved by people all over the globe. You can watch soccer live on TV, via the Internet or through video streaming. But the best way to see it is in a stadium.

Many sport websites offer instant access to soccer streaming. Soccer fans have a better choice when it comes to watching soccer and other entertainment programs. Many soccer fans are willing to spend money to be able to quickly access their favorite team’s tournament games. Many people will sign up for different websites to watch live soccer streams. You will have instant access to all major soccer events with their advanced control panel system. They provide coverage of the best and most important soccer games, including Major League competitions. You can even access archived events to see if you missed one.

Millions of soccer fans are addicted to the game and enjoy it whenever it occurs.

You can now watch all the major soccer games live on your favorite website. Just log in and enjoy the action as it happens.

If you can watch soccer online, why miss the most anticipated game? You don’t have to spend a lot if you can get the same thrills for a fraction of the price. Enjoy the game, and engage in it. The ball will roll through the gadgets of time.

It is almost the same experience as watching a live game online. There aren’t many differences between watching the game on the web and seeing it live with the same players. Although it may be sad to not be able to sit on a stool at the soccer stadium, you can feel good that you aren’t exposing your skin so much that it hurts.

Because you’re at home, you might not be able to see where the ball goes and who kicks it into the goal cage. Let’s say, however, that you’re seated in the VIPs chair. This can be very expensive for someone who just wants to enjoy the game.

This is an excellent alternative to standing in a crowd. You can also enjoy the ambience of your own room. You can cheer loudly, cheer with other soccer fans, and really feel the emotion of the game. This alternative might be the best for you if your reasons for not being there are because you can’t afford it, because of your disability or other personal reasons.

21, May 2022
The Powers That Be – Is the Music Industry Buying The Music?

Many people give the music industry, which includes several record labels, a bad rap. They don’t force children to listen to negative music they sell. We all have the freedom to choose. They are guilty of flooding the market with the same music and making it difficult for people to hear music that is not in their profit margin. You won’t buy what you don’t see. This has been the norm for the music industry since its inception. However, their profits are declining due to online music sites that offer an extensive music library. Not only do they have a lot of familiar artists, but also new artists who have yet to make it big. Music labels are known for making sure music that promotes their interests is played on radio stations. What kind of deals do they make with music labels? Is this payola? It’s not clear – it is up to a legal mind. It is clear that certain music selections only are available on the radio. We listen to and buy the same song or a different artist, just as the music labels tell us.

The Pimp Factor

Recording labels are known to sign contracts with artists in order to own their music rights. Then they refuse to promote it. To be able to control the music you and I hear on, and to keep the type of music they wish to promote at the forefront. This would be called “pimping” in any other arena. Although this may sound harsh, what exactly is a Pimp? EduQna explains what pimping my ride means. The explanation is pretty simple. “Pimp my Ride” refers to the modification of (something), often in a very impractical, but flashy manner (think pimp-like). (making) modifications, etc. (something is) altered to make it appear (something other than real). EduQna is a great artist. Recording labels should wear the word if it fits. Many artists feel “pimped out” by the contracts they sign to get into the industry. While the signing may seem innocent, the contract’s wording is designed to give control over the music and the artist creating it.

Music industry is seriously shooting itself in its own foot by not joining online music sites that both can profit. In its efforts to control the music industry, it is missing a huge opportunity to sell more music to the target audience of 13-18 year olds. These listeners are becoming more sophisticated and, with their internet and computer skills, they “hack” into an online music market that the mainstream music industry cannot touch – Online Streaming Music.

Gentle Down the (Music)

Shawn Fanning, an 18 year old college dropout, revolutionized music exchange with his file-sharing software Napster. He had an idea, but not the 60 hours it took to code it. His program allowed computers to swap and share files, including music, via a central file server. To address the problems of downloading and finding music online, he stayed awake for 60 hours to write the source code. This program combined a music-search function and a file-sharing system. It also included instant messaging to facilitate communication. Napster was born. Shawn was rewarded for his genius. Are you kidding? Napster was sued by the Recording Industry Association of America for tributary copyright violation. This means that Napster was not accused of copyright infringement but of helping to facilitate other people’s copyright infringement. Napster claimed that Napster was not illegally acting because the files were never in Napster’s possession but instead transferred from user to use. P2P applications (Peer to Peer), are based on the assumption that Napster is guilty in copyright infringement. If Napster is guilty, then Napster’s consumers are also guilty. If the consumers aren’t guilty, how can Napster be held accountable?

Shawn, his small company with 50 employees, was facing media giants such as Sony, Universal and BMG. The music industry didn’t realize that regardless of the outcome of Napster’s lawsuit, Napster had opened up a window of opportunity on the Internet. More companies would and did emerge over time. The site was eventually shut down after a lengthy legal battle. It would resurface as a popular online music service years later after Roxio bought it. There are now thousands of websites worldwide that have taken Shawn’s idea and improved it. They also offer quality music online through “streaming”, which is a method that allows them to provide high-quality music to their customers. Streaming is a general term used in the computer industry. It simply means that data can be transferred immediately without the need to download the entire song. You can stream audio (music) or video (that’s a topic for another article) with high quality results.

Apple Computers is one of the most well-known providers of streaming audio or video. Apple Computers created I-Tunes to allow customers to purchase songs and complete albums from a vast library. I-Tunes, along with other streaming music companies, have formed partnerships with artists and music labels through licensing agreements. With the I-Phone becoming more popular, anyone can access any number of “streams” or media players.

Despite technological advancements in this area, megalomania persists. Record labels and companies that have not partnered with streaming music companies or digital music companies still exist. Why? Control – The music companies want to control the majority of music and artists that you listen too.

Where is the “Buck?” Stop

The majority of record labels in the music industry still hold around 75% of the most famous recordings worldwide. All streaming music companies are looking for new media to market their customers. The recording labels offer licensing agreements that would allow for wider distribution of legal music download and streaming. This is without the need for a license for each song. Companies can now be sued after the Napster controversy has led to successful ligation. If a record label refuses to license a song or record, it cannot be made available online for consumers to listen to or buy. It is because of this that you can’t find the songs or artists you love on streaming music websites. This is because major record labels have not yet agreed to license these sites for their music. Who is the victim? Everyone. The music label is hurt, as are we, the consumers, and artists. Artists lose out on the chance to be heard on one of the most important media networks in the world, the internet. Although money is a factor, it is more about control than anything else. Fear of losing it has driven many people to make poor decisions, unfortunately, music labels are no exception.

Until major record labels smell the MP3, and artists insist on contracts that include the right to sell their product via other media OR artists can peddle their music online, as many artists are doing, our ability increase our music library will be limited. Technology is available, but music is being held captive. The ransom is a purchase of a CD in cellophane. Every year there are thousands of new artists, offering new and exciting music from every genre. Hopefully these artists will partner with record labels that actually live in the 21st Century and form a strong partnership to distribute their music online.

In conclusion, I think Gangsta Rap did something positive in one instance, and gave a line that fits the situation in a limited way – until we “fight to the powers that be”in music, we will have to continue listening to the same song, but with a different beat, over and over.



20, May 2022
Technology in and for the Instrumental Music Class

Music education in any form can be traced back to the beginning of education. Although it has sometimes struggled for legitimacy, there have been its champions. As technology has grown in education, there have been many technological applications that can be used to teach music. Although most of the technology is intended for classroom use, there are some programs that can be used at home by students who have internet access and a computer.

Music education in America dates back to 1838, when Lowell Mason started singing classes at Boston grammar schools. Over the next 50 years, instrumental music was introduced in spurts but it was not included in the school day. Instead, it was added to the list of extracurricular activities. Instrumental music was accepted into the classroom around the turn of the century. However, it was often taught by people who were not trained in music education. There was also little standardization in the music literature and instrumentation. (Rhodes, 2007)

The quality of school music started to improve after the end of World War I. This was mainly due to the fact that veterans, who had been musically trained in various branches of the military, started to teach music in schools. Band was, however, still considered an extracurricular activity. (Ibid)

The Music Supervisors National Conference (now the Music Educators National Conference, or MENC), was established in 1907 to support school music. A proposal was made in 1912 to add music activities, including choruses, as subjects to be accredited. Band was included, but with a lower priority. Edgar B. Gordon made the following statement at the Cleveland MSNC conference, 1923.

The high school band is not an incidental school venture that was largely prompted by volunteer efforts of a high-school teacher with some band experience. It is a school undertaking that is assigned a specific place in the school calendar with a daily class period with a trained instructor, and credit for the satisfactory work accomplished. (Ibid)

The first National Band Contest was held in Chicago in the same year. This is likely because of the increased acceptance and importance. In 1928, he led the Conn company in its contribution to the creation of the National Music Camp in Interlochen. He also supported publications that support band directors. These efforts, while they may seem self-serving given his position with Conn in the company, helped to establish school band as an important part of school curriculum. (Banks, 1997)

Budget cuts often resulted in the curtailing or elimination of instrumental music programs, despite a gradual acceptance, though still limited, of it within schools’ curriculum. Due to state mandates and pressures, there has been a decline in support for music inclusion in schools. Michelle R. Davis stated in “Education Week” that “the federal No Child Left Behind Act is causing many schools to cut back music, social studies, and art to make room for reading and mathematics (Davis 2006). This is extremely unfortunate, considering that music has proven to be beneficial to all students, even increasing their ability for problem-solving and reasoning.

Many thinkers have helped to elevate music’s importance in education or, at the very minimum, shown that restricting the school environment to only the “Three R’s is not a good idea. Howard Gardner’s “Multiple Intelligences Theory” was based on the realization that not all children have the same learning propensities. They have different learning abilities and have different learning capacities in many areas. These are the areas of his varying intelligences, he explained. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” Gardner, 1999, p41. Gardner knew that education was not suitable for all students. He only wanted to reach those who could do school well. Gardner’s study did not focus on the existence of multiple intelligences. He demonstrated that one person can have strong intelligences in several, which allows them to interact with each other. Gardner explained that different intelligences can interact in other ways. One intelligence can constrain or mediate the other; one intelligence can help to catalyze another. (Gardner 2, 2006 p219) He also emphasized the benefits of musical intelligence, explaining that “…a person who is engaged in a linguistic task may be more sensitive to both the rhythmic properties and the meaning of the language. (Ibid, p223)

Many people assume that music and its study are primarily associated with what is heard. However, mathematics is closely related to music. Dahlhaus stated, in a reflection of Rameau, that music had its origins within the Pythagorean proportions (i.e., it is a math). (Gargarian 1996, p137-138). Regardless of one’s opinion on the theory that music is mathematical, it should not be disputed that music has a relative status to mathematics. In fact, the introduction of the coordinate or Cartesian , plane seems to help the new music student understand the horizontal (x) and vertical (y), axes in music notation. The horizontal (x), on the music staff, refers to duration and the vertical (y), relates to pitched. This is obviously a reflection of Gardner’s intelligence interaction theory.

Further evidence supports the claim that instrumental music studies are beneficial for students. Gottfried Schlaug et al published a 1995 study entitled “Increased Corpus Callosum size in Musicians”. They described a rise in neural fibers along the Corpus Callosum (CC) which contributed to its enlargement. Further, they were able to prove that instrumental music was responsible for the increase in fibers/CC sizes. (Schlaug et al. 1995) It is clear that if there is more cross-talk between the two brain hemispheres (specifically the left – thought of being the analytical and the right – thought to represent the creative), then the result would be someone with greater problem-solving abilities.

It shouldn’t surprise anyone that other studies have also confirmed the connection between music and other skills. Bahr, Christiansen published results in “Inter-Domain transfer between Mathematical Skill & Musicianship”. They found that students who studied music performed better on math tasks when there was some musical overlap. (Bahr and Christiansen, 2000). This “structural overlap” could include the ability to divide measures into fractions or relate pitch to frequency or establish the link between the coordinate plane (Cartesian), and the music staff.

This enhanced problem-solving ability and increased awareness of mathematical concepts makes it plausible that music students could be proficient with classroom technology. Music students should perform at least as well with technology as other students. If this is true, then we can assume that they will do well with technology that is tailored specifically to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Many music theory websites were created by symphonic orchestras and linked to them. Some were created by graduate students and teachers as part of their coursework. Others are available for anyone who wants to use the application. It is easy to find a variety of technological tools that are available online for music students by doing a quick internet search. Interactive music games, online music theory apps, numerous online pitch and rhythm websites and the most powerful applications called “computer assisted instruction (CAI)” are just a few of the many available. These tools can be used in both the classroom and for students. Steven Estrella published his findings from a January 2005 study that showed how U.S. music teachers used music technology. He discovered that around twenty percent of survey participants used CAI in their instruction. SmartMusic was the most popular software application, according to the survey. (Estrella, 2005)

SmartMusic allows students to practice at home with an orchestral accompaniment or synthesized band. With an included microphone, the program can record student’s performances and give them a grade using pitch and rhythm data. Students can instantly see their results and can retry any time they like. The student’s teacher/director will receive the recording and accompanying grade and it will be automatically entered into their teacher’s grade book. The program contains accompaniments for approximately thirty-thousand compositions, including those from the orchestra method book. (Nagel 2007) Although early reviews were mixed about SmartMusic, the company behind it, “MakeMusic,” responded to consumer and teacher complaints. The home version must be installed on students’ computers. In earlier versions, it was difficult to install, set up, and place microphones. Many of these problems were solved in SmartMusic 11, the most recent version. (Whaley, 2008)

SmartMusic has a variety of applications for classroom use. SmartMusic’s most basic functions include a metronome and a displayed tuner. SmartMusic’s utilities can be used in a music class with an interactive whiteboard. A teacher can play a prerecorded version to be studied, and the students can play along. The teacher can also instantly record the pieces for future playback. It also contains fingering charts for each instrument so that students can quickly check if they need additional instruction. You can easily change the keys and tempi. If a single performer wants to play with a prerecorded accompaniment to accompany them, the accompaniment can “listen” to the performer through a microphone and follow their changes in tempo. This is similar to what a conductor in a symphony orchestra would do during a live performance.
SmartMusic’s importance and power in the classroom is great, but its greatest application and primary purpose is as a home practice and assessment tool. The software includes thousands of scales and accompaniments, as well as thousands upon thousands of music titles. After students have signed up, downloaded the software (or installed it from a CD), and set the program up at home, teachers can create playing assignments that the student can access at home on their computer.

The program’s accompaniment is played through the microphone. Students can hear the music and see the correct notes. Mistakes are highlighted in red. The student is able to choose their own pace and practice with the computer-generated accompaniment before recording for a grade. The student has complete control of their own home. Students who have access to broadband internet and a fairly up-to-date PC can fully benefit from the program. (Rudolph, 2006)
What about those students who don’t have access to the internet?

SmartMusic’s power would be lost on students who don’t have access to the internet or a computer at home. The home version costs very little and some districts even offer the subscription for free to their students. (Nagel 2007) But can all districts afford a computer and internet access for their students?

David Thomas stated that schools have made significant progress in introducing internet and computer access to their classrooms. Access to the internet is still available at schools for students with disabilities. (Thomas 2003). Thomas also quoted Rod Paige, the then U.S. Secretary of Education.

“We must address the lack of technology access for students outside of school. We can do more. The digital divide can also be closed to reduce the achievement gap in schools. (Thomas, 2003)

New York University’s 2007 study found that between 75% and 88% of students have computers at their homes. (Traber 2007) It is possible to conclude that cross-country numbers are much lower.

Many music students are dependent on school-provided instrument, method books, or even supplies like valve oil and reeds (usually paid out of the teacher’s pocket). These students are often less fortunate than their more wealthy counterparts. They cannot afford private lessons and a computer or internet access. These students would be the most benefit from SmartMusic. SmartMusic can’t bridge the “digital divide”, however, no matter how powerful and useful it may be.

The student musician will be able to take advantage of the great potential offered by educational technology, but only if equitable access is possible, will there be a disproportionate level of success?

Refer to

Bahr, N. & Christensen C.A. (2000). Inter-Domain Transfer between Mathematical Skill & Musicianship. In Journal of Structural Learning & Intelligent Systems (Vol. 14(3), 2000, pp. 187 – 197). US: Gordon & Breach Science Publishers

Banks, Margaret Downie (1997). A Brief History of The Conn Company (1874-1999). The National Music Museum.

Davis, Michelle R. (2006, April). Study: NCLB Leads To Cuts in Some Subjects. Education Week

Estrella, Steven (2005). Survey of Music Educators & Music Technology. Shearspire.

Gardner, Howard (1999). Intelligence Reframed: Multiple Intelligences For the Twenty First Century. New York: Basic Books/Perseus Books Group

Gardner, Howard (2006). Multiple Intelligences – New Horizons. New York: Basic Books/Perseus Books Group

Gregory Gargarian (1996) The Art of Design. In Kafai, Y., & Resnick, M. (Eds.). Constructionism: Designing, thinking, learning and teaching in a digital age. Mahwah, NJ: Lawrence Erlbaum Associates

Nagel, Dave (2007 August). Tucson USD Offers SmartMusic Subscriptions for Students, THE Journal

Rhodes, Stephen L. (2007). A History of the Wind Band-The American School Band Movement. Lipscomb University.

Rudolph, Tom (February 2006). SmartMusic. Music Education Technology.

19, May 2022
Music Therapy – Music Therapy as a Catalyst for Health and Wellness

“If music is the food of love, then play on.”
Don’t give me too much of it. That is, surfing.
You may feel hungry and eventually die.
It was again that strain! It died in its final days.
O, it came to my ear like a sweet sound
It breathes on a bank of violets
Stealing and giving off odor !……”

Act 1, Scene 1 of Shakespeare’s romantic comedy “Twelfth night” begins with the Duke Orsino asking his musicians to provide him with music throughout the night. He wants to satisfy his love for romance and has the musicians play the music. He describes the music as an “energizing food of love” and then proceeds to speak sweet words of passion. These are all derived from the relaxing effects of the music.

While this play was staged centuries ago, it is clear that the cultivation of music and other arts was not only a way to relax the mind and soul, but also as an aesthetic pursuit. Today, despite numerous breakthrough researches showing that music as an entity has a profound impact on the body of all living organisms and the psyche, what was once considered an aesthetic pursuit, is now regarded as a therapy that addresses the physical, emotional and cognitive needs of people of all ages. Researches have shown that music can be used to bring about qualitative changes in people and animals, as well as in plants and animals.

Scientists have shown that beats and rhythms can have a profound effect on how people feel today. Think about how mentally stimulating music such as the Symphonies of Bach and Beethoven can be. Can anyone deny the power of music to inspire creativity and positive energy? Every classical music has been shown to have profound effects on the body and psyche. It plays an important role in healing and harmonizing the mind, body, and spirit. Any form of “positive music,” including classical music, has been long accepted as a stimulant and soother. It has been shown to have profound effects on the cognitive abilities, creativity, optimism, and overall state of mind. Researchers have used the term “positive music” to refer to music that is emotionally and spiritually uplifting and has healing properties. Pop songs with romantic lyrics and music are part of “positive music”. The vast array of world music today, which is a wide range of music that celebrates the great non-western traditions, such as Indian, Persian (Iranian), and Sufi musics, all comfortably fall under the “positive music” category, according to scholars and musicologists.

The ancient cultures, which included the Vedanta philosophy and the ancient Greek philosophy, had something to say about the effect of music on individuals:

We can see the profound spiritual and philosophical impact music had on human souls if we go back to the origins of ancient, age-old cultures and philosophies. The sound effects of music have been used by the Vedic culture for thousands of years to promote peace and harmony between body and soul. The Vedanta philosophers believed that ancient oriental music was a rich exercise for the mind as it explores the mysteries of Nature (the “Brahman”) and the ultimate truth. In ancient Vedanta philosophy music was considered a subtle divine thread that could link the “Jeevatma”, an individual soul, with the “Parmatma,” the Supreme Soul. Why not? Vedanta philosophers identified “shabda”, (sound), as “brahma”, the primordial source of creation of all things. Ancient Vedic philosophers had embraced the entire concept of “shabda brahma” to fully understand the beauty, depth, and elevating power of Indian music. The many benefits that classical Indian music has on the mind and the body are undisputed, however, cannot be denied. It is clear that the ancient form of spiritual music, known as the “Dhrupad”, was performed in temples and courts throughout the ancient and medieval periods. This is also the reason why modern researches continue to explore its magic effects on the body and soul.

Researchers have discovered that Pythagoras, an ancient Greek mathematician, believed that music could reduce or even eliminate negative emotions and energies from the human mind. The ethical power of music was also believed by other ancient Greek philosophers, such as philosophers who lived in the fifth century B.C. From the third century A.D. They all recognized the enormous impact music has on one’s personality development. Plato, Chinese writers of different documents and philosophers have repeatedly emphasized the stupendous influence of music on an individual’s ethos and overall disposition.

Modern science has established the healing properties of music:

Modern scientific researches are continually emphasizing the amazing healing powers of music. Recent scientific researches have shown that certain sounds and music can have multiple healing benefits. Music Therapy, a rapidly growing field in health care, is using music and its many forms to treat children with ADD and cancer patients. It’s amazing to see how hospitals and other health care providers are now treating music therapy as a separate research area to aid in pain management, depression prevention, movement promotion, muscle relaxation, and many other benefits.

Researches that have been conducted since 1950 to today have shown the powerful influence of music on the brain. Music’s beat and rhythm can trigger brainwaves to vibrate in tune with the beat. This can transport the mind to a state of calm, concentration and even promote meditation. Researches show that music’s beat and rhythm can have a profound effect on brainwaves and other physiological functions. Activities related to the autonomous nervous systems, such as breathing and heart rate, are also greatly affected by it. Music therapy practitioners today use music therapy to combat or prevent chronic stress. This results in relaxation, well-being, and health. Researchers have even claimed that “positive music” has the ability to reduce stroke risk and other health problems, increase immunity, relieve muscle tension, and act as a “stress buster”.

Most of the current research on the effects of music has been done after realizing that all bodily functions, from breathing, pulse, heart rate, and pumping blood, work in a coherent, cyclical, and rhythmical manner, just as music does. The rhythmic and cyclical movement of sound patterns are the foundations of music. However, it is the synchronization between the different sound patterns and rhythms which influences all of our physiological actions. Experts have developed music therapy interventions that promote wellness, stress management, pain relief, and physical rehabilitation. They emphasize the synchronization between various sound patterns and rhythms.

A new form of music therapy was recently offered to people with severe intellectual disabilities. The results were remarkable. According to The World Today music is similar to meditation and yoga, which are two natural tranquilizers. It gives people with profound disabilities a voice, providing them new insight into their emotional lives. According to The World Today, there are at least a half dozen cases of people with severe disabilities using music as a direct channel of communication. This is certainly a unique example.