389 research outputs found
Musical expertise modulates functional connectivity of limbic regions during continuous music listening
No full textRecent neural studies have established 3 limbic regions, namely the amygdala, the hippocampus, and the
nucleus accumbens (NAc), as the fundamental nodes of the neural circuit responsible for experiencing
musical emotions. Here we investigate how musical expertise modulates this circuit during continuous
music listening. Eighteen nonmusicians and 21 musicians were measured with functional MRI (fMRI)
while they listened to three 8-min long musical pieces representing different musical styles (tango nuevo,
modern classical, and progressive rock). Functional connectivity maps of seeds belonging to the
amygdala, hippocampus, and NAc were obtained for each participant. Group-level t tests revealed that,
overall, musicians exhibited enhanced connectivity with the supplementary motor area (SMA), and with
ventromedial and ventrolateral cerebral and cerebellar affective regions. On the contrary, nonmusicians
displayed greater connectivity with subcortical regions only. We found the amygdala network
previously associated with perceiving negative valence in music to be more tightly coupled in
musicians than nonmusicians. Similarly, the hippocampal network previously related to tracking
repeating musical motifs during continuous music listening was more coupled in musicians. The lack
of group differences observed for right NAc connectivity reinforce the notion that the mesocorticolimbic
reward network is not modulated by musical expertise, whereas left NAc connectivity
results suggest that musical expertise intensifies the rewarding aspect of music selectively in the left
hemisphere. In sum, during music listening musicians’ deep perceptual and motoric knowledge of
music increases the coupling between areas that process musical emotions with areas that process
motor commands and pleasure
Birds of the Paukjärve and Jussi nature trail - forest birds, european nightjar, owls and woodpeckers
No full textBakalaurusetöö
Loodusturismi õppekavalPõhja-Kõrvemaa looduskaitseala asub Vahe-Eestis, mille linnuala kuulub ka üle-euroopalise Natura
2000 kaitsealade võrgustiku alla. Põhja-Kõrvemaa linnustikku on varasemalt vähe uuritud, kuna
piirkond oli kaua aega suletud inimestele. Hinnanguliselt pesitseb seal 128 liiki linde. Linnualal on
läbi viidud kolm haudelinnustiku inventuuri: 2010., 2019., ja 2021. aastal. Inventuure on läbi viinud
Eesti Ornitoloogiaühing eeskätt Joosep Tuviga.
Töö eesmärgiks oli kaardistada Paukjärve ja Jussi järvestiku matkaradade metsalinde, öösorre,
kakke ja rähne. Lisaks kaardistada metsalinnustiku pesitsusaegsed territooriumid ning liikidele
määrata pesitsuskindluse koodid.
Andmeid kogus autor 2023.–2024. aastal välitöödel. Andmete analüüsimisel selgus, et mõlemal
matkarajal oli arvukaim liik metsvint: Jussi matkarajal kokku 62 paari ja Paukjärve matkarajal 37
paari. Arvukalt teine liik oli mets-lehelind, keda loendati Jussi matkarajal kokku 29 paari ja
Paukjärvel 26 paari. Öösorre loendas autor Paukjärve matkarajal kokku kuus ning Jussi järvestiku
matkarajal viis isendit. Jussi loodusrajal loendas autor 2024. aastal ka kaks händkakku ning 27
rähni, kellest 20 olid suur-kirjurähnid. Paukjärve matkarajal ei loendatud 2024. aastal mitte ühtegi
rähni ega kakku. Tulemustest selgus, et linnustiku poolest on liigirikkam Jussi järvestiku matkarada. See võimaldab
järeldada, et linde on rohkem seal, kus on säilinud põlismetsa ja kus võib eeldada, et inimesi satu
sinna nii palju. Samuti sai kinnitust hüpotees, et mõlemal matkarajal on kõige rohkem metsvindi
paare. Töö tulemused saab aluseks võtta Paukjärve ja Jussi järvestiku matkaradade edasisel
uurimisel.Põhja-Kõrvemaa Nature Reserv positions in Central Estonia and its birds area is the part of the
pan-European Natura 2000 network of protected areas. The birdlife of Põhja-Kõrvemaa
haven't been previously thoroughly researched, since the area was closed to the public for a
long time. It is estimated that there are 128 nesting bird species. These inventories were
conducted by the BirdLife Estonia primarily by Joosep Tuvi.
The aim of this study is to map forest birds, european nightjar, owls and woodpeckers of
Paukjärve and Jussi nature trails. Additionally to map forest birds breeding time territories and
to determine breeding certainty codes to the species.
Data for this study was gathered through the field research for 2023 from 2024. The findings
indicate that chaffinch was the most numerous species on both trails: 62 pairs on the Jussi trail
and 37 pairs on the Paukjärve trail. Secondly the most numerous spices was wood warbler,
what counted Jussi nature trail 29 pairs and Paukjärve nature trails 26 pairs. Furthermore, the
author counted six european nightjars on the Paukjärve trail and five on the Jussi lakes trail. In
addition, in 2024, the author also counted two Ural owls and 27 woodpeckers, 20 of which
were great spotted woodpeckers, on the Jussi nature trail. However, no woodpeckers or owls
were counted on the Paukjärve trail in 2024. In conclusion, the results showed that the Jussi lakes hiking trail is richer in bird species. This
suggests that there are more birds in areas where old-growth forests have been preserved and
where fewer people are likely to visit. Moreover, the hypothesis that the chaffinch is the most
numerous species on both trails was confirmed. Consequently, the results of this study can
serve as a basis for further research on the Paukjärve and Jussi lakes hiking trails
Spatial confounding in Bayesian species distribution modeling
No full text1) Species distribution models (SDMs) are currently the main tools to derive species niche estimates and spatially explicit predictions for species geographical distribution. However, unobserved environmental conditions and ecological processes may confound the model estimates if they have direct impact on the species and, at the same time, they are correlated with the observed environmental covariates. This, so-called spatial confounding, is a general property of spatial models and it has not been studied in the context of SDMs before. 2) We examine how the estimation accuracy of SDMs depends on the type of spatial confounding. We construct two simulation studies where we alter spatial structures of the observed and unobserved covariates and the level of dependence between them. We fit generalized linear models with and without spatial random effects applying Bayesian inference and recording the bias induced to model estimates by spatial confounding. After this we examine spatial confounding also with real vegetation data from northern Norway. 3) Our results show that model estimates for coarse scale covariates, such as climate covariates, are likely to be biased if a species distribution depends also on an unobserved covariate operating on a finer spatial scale. Pushing higher probability for a relatively weak and smoothly varying spatial random effect compared to the observed covariates improved the model's estimation accuracy. The improvement was independent of the actual spatial structure of the unobserved covariate. 4) Our study addresses the major factors of spatial confounding in SDMs and provides a list of recommendations for pre-inference assessment of spatial confounding and for inference-based methods to decrease the chance of biased model estimates.Peer reviewe
Distribution and Consumption of Music in a Digital Environment
No full textThe subject of this thesis was music consumption, how it has evolved throughout the past two centuries and how it works in the 2020s. The commissioner of this thesis was the author himself. The objective of the thesis was to get a deeper understanding of the operability of digital music consumption from an artist’s point of view.
The theoretical part of the thesis covered what the consumption of music is like in the digital age and what this new economy is like for independent artists, what resources are available and how they should be utilised. In addition, the theoretical part discussed about different income sources that independent artists are entitled to as a compensation for their work.
The practice oriented part of the thesis dealt with the creation of a music release, what steps and efforts need to be taken care of in order to make a music release commercially viable, and ready for digital music distribution services and digital streaming platforms. Furthermore, this part also covered the strategic aspects in regard to marketing and release dates, which are a key part when creating a music release.
The aim of the thesis was especially to provide independent artists with practical information and guidance on how to take action and follow the correct path in terms of building a brand, fan base and a career in the music industry overall.Opinnäytetyön aiheena oli musiikin kulutus, ja kuinka se toimii 2020-luvulla. Opinnäytetyön toimeksiantajana toimi opinnäytetyön kirjoittaja. Työn tavoitteena oli päästä syvemmälle käsiksi digitaalisen musiikin kulutuksen toimivuuteen artistin näkökulmasta.
Työn tietoperustassa käsiteltiin musiikin kulutuksen nykyistä asemaa digitalisaation aikakaudella. Siinä tarkasteltiin myös sitä, millainen sen taloudellisuus on itsenäisten artistien näkökulmasta, minkälaisia resursseja on saatavilla ja miten niitä tulisi hyödyntää. Lisäksi keskusteltiin myös erilaisista tulonlähteistä, joihin jokainen itsenäinen artisti on oikeutettu.
Opinnäytetyön käytännön osio keskittyi kuvaamaan prosessia, askeleita ja toimenpiteitä, joita liittyy musiikkiteosten luomiseen sekä musiikkiteosten saamiseen kaupalliseen ja hyväksyttävään muotoon ennen niiden tuomista jakelupalveluihin ja suoratoistopalveluihin. Lisäksi käsiteltiin myös strategisia näkökulmia musiikkiteosten markkinointiin ja julkaisupäiviin liittyen.
Työn tavoitteena on tarjota erityisesti itsenäisille artisteille informaatiota ja vinkkejä esimerkiksi oman brändin ja faniperustan rakentamiseen sekä musiikkialalla toimimiseen kokonaisuutena
Hidden sources of joy, fear, and sadness : Explicit versus implicit neural processing of musical emotions
No full textMusic is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-s music clips. In the implicit vs. explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain.peerReviewe
What is Media Archaeology?
No full textThis cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past.Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities.What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media.Reviews'Jussi Parikka offers a lucid, concise, and highly readable account of a new and exciting field - media archaeology. He demonstrates that contemporary media forms are rooted to the past by multiple threads - untangling them helps us understand the media frenzy that currently surrounds us.'Erkki Huhtamo, University of California Los Angeles'A fabulous map of media archaeology that, as its subject compels, produces its territory anew.'Matthew Fuller, Goldsmiths'The most comprehensive coverage to date of this fascinating area of study. Parikka's book offers an excellent overview of connections between the material and social aspects of media technology. He provides a thorough review of the diverse and sometimes contrasting theoretical foundations and provides a host of concrete examples of media-archaeological practice that serve to bridge the gap between heady theoretical trajectories and the concerns of practicing artists, users and other readers who take their technology seriously.'Paul DeMarinis, Stanford Universit
Vuodenaika, luontosuhde ja luontokuvaus Tove Janssonin teoksissa Taikatalvi ja Muumilaakson marraskuu
No full textTutkin pro gradu -tutkielmassani Tove Janssonin Muumi-kirjoja Taikatalvi (Trollvinter, 1957) ja Muumilaakson marraskuu (Sent i november, 1970). Tarkastelen teoksista vuodenaikojen merkitystä, hahmojen luontosuhdetta ja luontokuvausta. Teorianani käytän ekokritiikkiä ja metodinani lähilukua.
Vuodenajoilla on sekä juonellinen että symbolinen merkitys teoksissa. Taikatalvessa talvi symboloi Muumipeikon muutosta. Muumilaakson marraskuussa syksyn symbolinen merkitys ei ole niin merkittävä. Taikatalvessa ja Muumilaakson marraskuussa talvi ja syksy ovat vastakohta kesälle, ensimmäisten Muumi-kirjojen vuodenajalle. Lapsuuden kesästä siirrytään aikuistumiseen, aikuisuuteen ja vanhuuteen talven ja syksyn avulla.
Kirjojen hahmojen luontosuhteissa on erilaisuuksia ja samankaltaisuuksia. Osa hahmoista arvostaa luontoa, osa nauttii siitä, osa käyttää siitä hyödykseen ihmiskeksinnöin, ja osa ei suuremmin välitä siitä. Ongelmallinen luontosuhde on monien hahmojen kohdalla yhteydessä hahmon identiteettikriisiin.
Luontokuvaus on molemmissa teoksissa realistista. Tosin Taikatalvessa luonnossa esiintyy vielä myyttisiä piirteitä toisin kuin Muumilaakson marraskuussa. Sekä Taikatalvessa että Muumilaakson marraskuussa tärkein luontoelementti on meri. Molemmissa teoksissa luontokuvaus rakentaa teokseen sopivan tunnelman
The obscene enjoyment of Jussi Adler-Olsen
No full textIn contemporary Scandinavian crime fiction a post-realistic tendency has been noticed. We see melodramatic turns, neoromantic tendencies, and a rising post-secular awareness. Together, these reactions may be responses to cultural changes in the welfare landscape of Scandinavian countries. Within these diverse approaches to genre changes, there has also been a significant attraction towards shrewd and radical culprits. Contrary to the socially sensitive treatment of criminality in much Nordic noir, these tendencies have as well given rise to portrayals of radical and absolute evil as a particularly popular approach to the genre. In this paper, I draw attention to Jussi Adler-Olsen’s widely popular Department Q novels with explicit emphasis on violence, obscenity, and evil. Even though these novels draw in the horns of realism in the narrative depiction of criminality, the radical evil still evoke a strategic social criticism propounded by the author both within the narratives as well as in popular comments on social predicaments. Social problems are not ransacked from a realistic perspective, but the surplus of evil expressed in the novels, never-theless, figuratively continue the genre’s immanent possibilities of social critique.In contemporary Scandinavian crime fiction a post-realistic tendency hasbeen noticed. We see melodramatic turns, neoromantic tendencies, and arising post-secular awareness. Together, these reactions may be responses tocultural changes in the welfare landscape of Scandinavian countries. Withinthese diverse approaches to genre changes, there has also been a significantattraction towards shrewd and radical culprits. Contrary to the socially sensitivetreatment of criminality in much Nordic noir, these tendencies have aswell given rise to portrayals of radical and absolute evil as a particularlypopular approach to the genre.In this paper, I draw attention to Jussi Adler-Olsen’s widely popular DepartmentQ novels with explicit emphasis on violence, obscenity, and evil.Even though these novels draw in the horns of realism in the narrative depictionof criminality, the radical evil still evoke a strategic social criticismpropounded by the author both within the narratives as well as in popularcomments on social predicaments. Social problems are not ransacked from arealistic perspective, but the surplus of evil expressed in the novels, nevertheless,figuratively continue the genre’s immanent possibilities of socialcritique
Synnynnäinen epämuodostuma voi olla pienen lapsen nenän tukkoisuuden taustalla
No full textPienen lapsen nenän toispuolisen tukkoisuuden taustalla voi olla synnynnäinen epämuodostuma. Yksi harvinaisista epämuodostumista on nenän gliaalinen heterotopia. Näistä 60 % sijaitsee nenäontelon ulkopuolella ja 30 % sisäpuolella. Diagnoosi perustuu kliiniseen tutkimiseen, kuvantamislöydöksiin ja histologiseen löydökseen. Ensisijainen hoitomuoto on leikkaus. Taudin uusiutumisriskiksi on arvioitu noin 5 %, joten seuranta on suositeltavaa.Peer reviewe
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