Scholarship@Western

Abouseta, Naima

Pani, Sharat Chandra

Gomaa, Noha

Dixon, S. Jeffrey

Tassi, Ali

Western University 
Scholarship@Western 
Inspiring Minds – A Digital Collection of 
Western’s Graduate Research, Scholarship and 
Creative Activity 
Inspiring Minds 
September 2023 
The relationship between cortisol, perceived stress, and dental 
caries experience in adolescents and young adults 
Naima Abouseta 
nabouset@uwo.ca 
Sharat Chandra Pani 
Schulich School of Medicine & Dentistry 
Noha Gomaa 
Schulich School of Medicine & Dentistry 
S. Jeffrey Dixon 
Schulich School of Medicine & Dentistry 
Ali Tassi 
Division of Graduate Orthodontics, Western University 
Follow this and additional works at: https://ir.lib.uwo.ca/inspiringminds 
Citation of this paper: 
Abouseta, Naima; Pani, Sharat Chandra; Gomaa, Noha; Dixon, S. Jeffrey; and Tassi, Ali, "The relationship 
between cortisol, perceived stress, and dental caries experience in adolescents and young adults" (2023). 
Inspiring Minds – A Digital Collection of Western’s Graduate Research, Scholarship and Creative Activity. 
487. 
https://ir.lib.uwo.ca/inspiringminds/487 
The dental literature extensively discusses the relationship between stress and dental caries. 
However, the role of stress in dental caries remains uncertain due to the confounding effect of 
inflammation caused by gingivitis and periodontal disease, leading to elevated cortisol levels. Few 
studies have investigated salivary cortisol levels in young adults without periodontal disease and 
well-controlled gingivitis. Young adults are more subject to increased levels of stress. This study 
collected hair and saliva samples from 93 participants aged 15 to 25.  
Participants completed a stress questionnaire and underwent oral examinations. Higher 
perceived stress was associated with increased dental caries likelihood. Participants with dental 
caries showed significantly higher hair cortisol levels, but no significant difference was found in 
salivary cortisol levels. Our study suggests that adolescents and young adults with dental caries 
experience higher perceived stress and exhibit elevated hair cortisol levels than those without 
dental caries. 


English

The relationship between cortisol, perceived stress, and dental caries experience in adolescents and young adults

Adu, Joseph

Western University 
Scholarship@Western 
Inspiring Minds – A Digital Collection of 
Western’s Graduate Research, Scholarship and 
Creative Activity 
Inspiring Minds 
September 2023 
The Experiences of Familial Mental Illness Stigma Among 
Individuals Living with Mental Illnesses 
Joseph Adu 
jadu@uwo.ca 
Joseph Adu 
The University of Western Ontario 
Follow this and additional works at: https://ir.lib.uwo.ca/inspiringminds 
Citation of this paper: 
Adu, Joseph and Adu, Joseph, "The Experiences of Familial Mental Illness Stigma Among Individuals 
Living with Mental Illnesses" (2023). Inspiring Minds – A Digital Collection of Western’s Graduate 
Research, Scholarship and Creative Activity. 506. 
https://ir.lib.uwo.ca/inspiringminds/506 
The Experiences of Familial Mental Illness Stigma Among Individuals Living with Mental 
Illnesses 
This study captured diverse forms of familial mental illness stigma that are the most hidden types 
of stigma. Familial mental illness stigma is simply family members or close relatives 
perpetrating stigma against their loved ones with mental health problems. Family members’ 
participants blamed the increasing stigma within the family system on the inadequate social and 
community services to support the well-being of affected persons, beside public stigma. Familial 
education by persons with mental illnesses was considered imperative to family members 
understanding of the complex interplay of mental illness stigma and the need for both emotional 
and practical support toward their recovery. Family members’ perceptions of this form of stigma 
will be useful in shaping existing policy interventions to create supportive environments 
necessary to sustain families and permit the inclusiveness of all persons. Family members 
involvement in this study helped in creating knowledge and understanding of the phenomenon to 
inspire future research-to-action. 
  
 


The Experiences of Familial Mental Illness Stigma Among Individuals Living with Mental Illnesses

Janowski, Donna

Western University 
Scholarship@Western 
Inspiring Minds – A Digital Collection of 
Western’s Graduate Research, Scholarship and 
Creative Activity 
Inspiring Minds 
September 2023 
Interconnected Pathways on YouTube and Music Education: 
YouTubers and Their Stories 
Donna Janowski 
Western University, djanowsk@uwo.ca 
Follow this and additional works at: https://ir.lib.uwo.ca/inspiringminds 
Citation of this paper: 
Janowski, Donna, "Interconnected Pathways on YouTube and Music Education: YouTubers and Their 
Stories" (2023). Inspiring Minds – A Digital Collection of Western’s Graduate Research, Scholarship and 
Creative Activity. 517. 
https://ir.lib.uwo.ca/inspiringminds/517 
Donna Janowski  
 
In 2013, I met John Valadez, a documentary filmmaker. On a trip, he met some people who 
made a campfire, sat in a circle, and told stories all night. John realized that we, as human 
beings, carry on this tradition—with or without the campfire. We go to the movies to listen to a 
story. We watch television shows to learn, laugh, and grow with our favorite characters. We visit 
YouTube to engage with stories in numerous ways. These are modern versions of storytelling, 
but it is storytelling, nonetheless. 
 
This research will explore forms of musicking—beyond the realms of performance and 
composition—through collaborations with YouTubers. The framework of narrative inquiry will 
encompass three different pathways—storytelling, participatory culture, and reflective and 
reflexive practice. By engaging with YouTube and individual creators, new stories, perspectives, 
and ideas will surely emerge. I will be waiting around the campfire, ready to listen. 
 
 
Additional file: https://www.youtube.com/watch?v=JM9wWUjGI_8 


Interconnected Pathways on YouTube and Music Education: YouTubers and Their Stories

Mukherjee, Chirantan

Western University 
Scholarship@Western 
Inspiring Minds – A Digital Collection of 
Western’s Graduate Research, Scholarship and 
Creative Activity 
Inspiring Minds 
September 2023 
Study of Higher Categories 
Chirantan Mukherjee 
Western University, cmukher@uwo.ca 
Follow this and additional works at: https://ir.lib.uwo.ca/inspiringminds 
Citation of this paper: 
Mukherjee, Chirantan, "Study of Higher Categories" (2023). Inspiring Minds – A Digital Collection of 
Western’s Graduate Research, Scholarship and Creative Activity. 534. 
https://ir.lib.uwo.ca/inspiringminds/534 
 
University of Western Ontario, Department of Mathematics, Middlesex College, Rm. 102 
London, ON N6A 5B7, Canada,  www.publish.uwo.ca/~cmukher/ 
 
My research focuses on understanding the fundamental structures of higher 
categories, which are mathematical objects that generalize the notion of sets and 
categories to multiple levels of composition. Specifically, I study a powerful 
framework called topos theory and its connections to type theory, which has 
applications in fields such as computer science and physics. My master’s work has 
involved investigating complete Segal spaces, a model for (∞,1)-categories, and 
generalizing the twisted arrow construction to this setting. Through this work, I aim to 
contribute to the development of a more comprehensive theory of higher categories 
and to further our understanding of the nature of mathematical structures. This 
research has personal significance to me as it allows me to pursue my passion for 
abstract mathematics while also exploring its connections to other fields and real-
world applications. 


Study of Higher Categories

Gregg, Cole R

Wiegert, Paul

Western University 
Scholarship@Western 
Inspiring Minds – A Digital Collection of 
Western’s Graduate Research, Scholarship and 
Creative Activity 
Inspiring Minds 
September 2023 
The Development of Interstellar Meteoroid Streams 
Cole R. Gregg 
Western University, cgregg2@uwo.ca 
Paul Wiegert 
The University of Western Ontario 
Follow this and additional works at: https://ir.lib.uwo.ca/inspiringminds 
Citation of this paper: 
Gregg, Cole R. and Wiegert, Paul, "The Development of Interstellar Meteoroid Streams" (2023). Inspiring 
Minds – A Digital Collection of Western’s Graduate Research, Scholarship and Creative Activity. 536. 
https://ir.lib.uwo.ca/inspiringminds/536 
The Development of Interstellar Meteoroid Streams 
A vast distance separates our Sun from the stars, yet their system’s material does sometimes appear in 
our own Solar System. The work of my PhD is to help answer the question: where is it coming from and 
how is it delivered? The details of this interstellar material's travels throughout the Galaxy are unknown 
but have wide-ranging implications. This material could seed the formation of planets in newly forming 
planetary systems, while also dispersing chemical elements, organic molecules, or even life between 
nearby star systems. The first two interstellar objects discovered have been recent, 1I/'Oumuamua and 
2I/Borisov, the first a rocky body, the second an icy one: these very different compositions highlight the 
mystery of their origin. My research simulates stellar systems ejecting material within the Milky Way. I 
analyze the motion of the ejecta as the material evolves in time and examine the development of the 
galactic “meteoroid streams.”  
 
 
 
Cole Gregg 
PhD Astronomy 
Supervisor: Dr. Paul Wiegert 
Figure 1: 1I/’Oumuamua and 2I/Borisov approaching the Solar System. 


The Development of Interstellar Meteoroid Streams

Toft, Robert

Western University 
Scholarship@Western 
Technical Matters Popular Music Forum 
2023 
Basic Principles of Singing (Popular Music) 
Robert Toft 
Follow this and additional works at: https://ir.lib.uwo.ca/popmusicforum_techmatters 
Basic Principles of Singing 
 
Robert Toft 
 
PHRASING 
• the concepts listed here have been derived from historical sources on the delivery of words  
 (rhetoric), as well as from professional singers currently active in various genres of popular  
 music 
 
Pause 
• used to set off ideas and make them plainly evident to the listener 
• compartmentalizes thoughts into easily discernible units by separating one part of a sentence  
 from another 
• organizes and paces the delivery of ideas and emotions 
• provides listeners with an opportunity not only to reflect on ideas they have just heard but also  
 to anticipate those to come 
• pauses help speakers and singers present texts without obscuring the construction and meaning  
 of sentences 
• length varies according to the punctuation mark and the weight of the matter to be considered 
 
Grammatical Pause 
• divides sentences into their main constructive parts 
• notated punctuation –   ,   ;   :   .   ?   !   ( ) 
• comma – shortest stop in reading/singing – signifies that a sentence/idea is unfinished and  
 gives the expectation that much more is to be spoken/sung – count to one 
• semicolon – used when the preceding part of the sentence is perfect in sense, but the following  
 part is so dependent on the previous section that the latter makes no sense without the former –  
 count to two 
• colon – divides a sentence in half or separates it into several clauses or lesser sentences –  
 although the thought of the sentence is only partly finished, the following section does not  
 depend quite so much on the former – count to three 
• period – used when the sense of the sentence is fully complete – it composes the mind and  
 gives listeners time to reflect upon the entire sentence to gain a full comprehension of it –  
 count to four 
• question mark & exclamation – similar to a period – length can be whatever the sense of the  
 sentence requires 
• parentheses – parenthetical matter contains intervening, independent thoughts, which may be  
 omitted without harming the sense of the rest of the sentence – delivered with a pause before  
 and after, and with a quieter and quicker voice 
 
 
 
Rhetorical Pause 
• definition – a pause in a place where writers or composers would never mark it but the sense  
 of the sentence calls for such a stop 
 
• in the following examples, an asterisk indicates the location of the pause 
 
Common Locations for Rhetorical Pauses 
 
• Before prepositions 
 (across, after, at, as, before, between, by, from, in, like, of, on, over, through, to, under, until,  
 upon, with, without) 
 
 We cannot open our eyes * without admiring the wonderful economy of the universe. 
 
 The generality of men make themselves miserable * by desiring what is superfluous. 
 
• Before conjunctions 
 (although, and, as if, as long as, because, but, even if, ever since, except that, for, if, just as,  
 nor, or, since, so, unless, what, when, whenever, where, wherever, while, yet; not only ... but  
 also, either ... or, neither ... nor) 
 
 People are unpolite * because they do not know the world. 
 
 Virtue is not rest * but action. 
 
 Neither flatter others * nor permit others to flatter you. 
 
• Before relative pronouns (which, that, who, whom, whomever, what, whatever) 
 
 The wicked man hears voices * which sound only in the ears of the guilty. 
 
 We can hardly meet with a person * who humbly thinks he has too little sense. 
 
• Before adverbs (particularly, how, not, there) 
 
 Guard against all the world * particularly against a known enemy. 
 
 Devotion consists in the disposition of the heart * not in the motion of the lips. 
 
• After the subject 
 
 A remarkable affair * happened yesterday. 
 
 The great and invincible Alexander * wept for the fate of Darius. 
 
• To distinguish words or phrases in apposition 
 
 The butterfly, * child of the summer, * flutters in the sun. 
 
• To separate a descriptive phrase from the noun it follows 
 
 He was a man * learned and polite. 
 
 It is a book * exquisite in its kind. 
 
• To distinguish a comparison consisting of several words introduced by the adjective  
  ‘like’ 
 
 The joys of youth soon vanish * like a pleasing dream. 
 
• Between a verb and its complement (generally, a phrase functioning as an object) 
 
 You wakened * my passions. 
 
 Note: these objective completions could be transposed: 
     This cold flinty heart * it is you who have warmed. 
 
• Before participles 
 
 The sides of Vesuvius are clothed with vines * producing the richest wine. 
 
• To distinguish expressions in a direct address 
 
 Beware * Amasia * of the artful sycophant. 
 
 I am obliged to you * my friends * for your many favours. 
 
• To set off intervening phrases and clauses that may be omitted without affecting the  
  meaning 
 
 A good character shines * with an amiable lustre * through all the obscurity of a low fortune. 
 
 A stream of smoke * issuing from the chimney of a retired cottage * shaded with trees * is a  
 pleasing object. [This sentence contains two intervening clauses.] 
 
• To set off a short observation in the form of a quotation 
 
 To say to a man * ‘you lie’ * is a gross affront. 
 
 It hurts a man’s pride to say * ‘I do not know’. 
 
ARCHED  PHRASING 
• tension created in ascent, relaxation in descent 
• melodic tension created and released, then the melody comes to rest at a pause 
• likened to the traveller who takes an indirect route to a destination, examining everything  
 from all around before resting at the destination 
 
TAPERED  PHRASING  –  CADENCE 
• the gradual “fall of the voice” on the concluding syllables/words of a phrase, clause, or  
 sentence 
• singers prefer to enter and exit short fragments of text gracefully 
 
LAST  NOTE  SUNK  TO  SILENCE 
• gradually diminishing the voice to silence avoids abrupt phrase ends 
 
LONG  LAST  NOTE 
• last note of a larger section of music (a “paragraph of thought”) held longer than the  
 concluding notes of internal phrases 
• marks the completion of the thought 
 
MESSA  DI  VOCE 
• begin a note softly, gradually increase its loudness to the middle, and then slowly diminish the  
 note to its end 
• applies to single notes and phrases 
• vibrato often added at the height of the swell 
 
PROSODY 
• accent – the stress laid on the appropriate syllable of a multi-syllable word 
• emphasis – the force placed on important words so they are distinguished above the rest 
• continual emphasis – equal weight placed on every syllable or word in a phrase 
 
LEGATO  /  STACCATO  /  PUNTATO 
• legato – smoothly connecting notes with no break in sound 
• staccato – detached notes; several degrees of shortening used, from barely detached to sharp  
 and distinct 
• puntato – the swelling and forcing of notes in succession without leaving them (referred to as  
 the union of legato and staccato) 
 
PORTAMENTO 
• from the Italian word portare (to carry) 
• connect two notes by softly and indistinctly gliding or sliding through the intervening micro  
 pitches in such a rapid way that the intermediate sounds are heard but not distinguished 
 
APPOGGIATURA 
• from the Italian word appoggiare (to lean on) 
• a small note added to a main note, which is usually shorter than the principal note 
• proceeds to the main note from either above or below, by step or leap 
• double appoggiatura – two added notes, often from a 3rd above or below 
• imperceptible appoggiatura – an added note that leaps to the main note so quickly that it is  
 scarcely discernible 
 
 
 
 
 
TONAL  QUALITY 
 
Voice Register 
• a series of notes possessing a uniform character and quality of tone 
 
Chest / Head / Mixed Voice 
• chest (voce di petto) – the natural voice, with a full and sonorous sound 
• head (voce di testa) – a register consisting of those notes lying above the range of the natural  
 voice – a soft, light, and airy sound 
• mixed or middle – exhibits the qualities of both the chest and head voices 
 
Silken Under Voice 
• a tonal quality noted for its sotto voce character, a subdued sort of under voice (less force, with  
 a soft tonal quality) 
• generally used in the higher parts of a singer’s range 
 
Contrast 
• singers regularly contrast the two main registers for expressive purposes 
• this creates variety in the delivery 
 
Falsetto 
• a feigned voice used by male singers to extend the range of their natural voice 
 
TEMPO  RUBATO 
• robbed or stolen time 
• the accompanist maintains a fairly strict tempo, while the vocalist places notes around the  
 beat, seeming to float over the accompaniment 


Basic Principles of Singing (Popular Music)

View of Sanctuary. Lead Investigator: C. Cody Barteet (cbarteet@uwo.ca), Photograph: C. Cody Barteethttps://ir.lib.uwo.ca/anglican_interiors/1117/thumbnail.jp

St. Paul\u27s Cathedral, View of Sanctuary and Chancel 2

View of Nave during Rennovations. Leading Investigator: C. Cody Barteet (cbarteet@uwo.ca). Photograph: M.J. Idzerda.https://ir.lib.uwo.ca/anglican_interiors/1136/thumbnail.jp

St. Paul\u27s Cathedral, Interior 7

View of Nave from Sanctuary. Lead Investigator:  C. Cody Barteet (cbarteet@uwo.ca). Photograph: M.J. Idzerdahttps://ir.lib.uwo.ca/anglican_interiors/1210/thumbnail.jp

St. Alban\u27s, London, Interior 1

View of Nave and Sanctuary. Lead Investigator: C. Cody Barteet (cbarteet@uwo.ca), Photograph: Anahi Gonzalezhttps://ir.lib.uwo.ca/anglican_interiors/1091/thumbnail.jp

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