مقایسه تأثیر سه نوع موسیقی روی سلول‌های ایمنی مبتلایان به رینیت آلرژیک

Music has been investigated as a potential influence on exercise performance, perceived exertion, recovery, and sleep. However, studies vary in their interventions, populations, exercise contexts, and measured outcomes. This scoping review aimed to map experimental evidence on music interventions in resistance, isometric and handgrip, aerobic exercise, acute recovery, and sleep, and to identify evidence gaps. PubMed/MEDLINE, SPORTDiscus, Scopus, and Web of Science were searched for studies published between 1980 and October 2026. Eligible studies involved human participants, compared a music intervention with a control or alternative condition, and reported exercise performance, perceived exertion, psychological responses, physiological recovery, or sleep outcomes. Screening was conducted using Rayyan. Findings were synthesised descriptively across four domains. Thirty studies involving 1,183 participants were included. Studies were published between 1981 and 2021 and examined resistance exercise (n=11), isometric and handgrip exercise (n=8), aerobic exercise and acute recovery (n=7) and sleep (n=4). The evidence maps a broad range of music interventions and outcomes, with variable findings across exercise and sleep contexts. Research gaps include limited participant diversity and insufficient investigation of sleep and recovery in athletic populations. Further studies are needed to clarify how music characteristics, individual preferences, and task demands relate to outcomes.

Background: Patients recovering from craniotomy in the Intensive Care Unit (ICU) are at risk of hemodynamic changes related to stress responses, neurological impairment, pain, and environmental stimuli. A combination of music therapy and hand massage may help maintain hemodynamic stability in these patients. Objective: To describe the application of combined music therapy and hand massage to support hemodynamic stability in post-craniotomy patients in the ICU. Methods: This evidence-based nursing intervention was implemented with three post-craniotomy patients admitted to the ICU of Abdul Wahab Sjahranie Regional General Hospital, Samarinda. The intervention consisted of 15 minutes of instrumental or classical music followed by 15 minutes of effleurage hand massage. Systolic and diastolic blood pressure, mean arterial pressure (MAP), heart rate (HR), respiratory rate (RR), and oxygen saturation (SpO₂) were measured before and after each intervention. The intervention was conducted over three days, with each patient’s clinical changes monitored. Results: The case study findings indicated greater stability in blood pressure, MAP, HR, RR, and SpO₂ following the intervention. Conclusion: Combined music therapy and hand massage may be a safe, non-pharmacological intervention to support nursing care and maintain hemodynamic stability in post-craniotomy patients. Further research is needed to assess its effects on other outcomes, including biochemical changes.

The dance piece “Luka Pulih” (Healing Wounds) is a contemporary dance work that explores the emotional experiences of individuals who have been bullied and subjected to social pressure from their surroundings. This work was created as an effort to visualize the psychological process of a person when facing adversity until they are able to rise again through inner strength. The purpose of this work is to convey the message about the impact of bullying on mental health and to describe the healing process as a form of courage and determination in living life. The creative method in this work includes the stages of idea gathering, movement exploration, concept formation, composition, and evaluation. The movements were developed from observations of human body expressions under emotional pressure, which were then processed into contemporary movements with varying dynamics. The accompanying music, makeup, and costumes were designed to reinforce the emotional character in each part of the work. The results of the creation show that the processing of movement, tempo dynamics, and changes in spatial composition are able to present a representation of the character's emotional transition from a phase of despair and indecision to a phase of awakening. Through the work “Luka Pulih”, the choreographer hopes that the audience can understand that the healing process from the experience of bullying requires time, acceptance, and determination. Keywords: Wound Healing, Bullying, Empirical Experience, Langon Method

Introduction The Tibetan Buddhist tradition distinguishes between two broad categories of meditation: Sutra and Tantra, which differ in the methods and mental faculties they employ. The main neurophysiological studies of Tibetan Buddhist meditation have been conducted mostly on Sutra practices; while Tantric meditation remains less studied. Methods This publication presents a dual comparative study, using both between-groups and within-subjects design, of the neurophysiological (EEG) correlates characterizing Sutra and Tantra meditative practices, examining both the meditative states and the meditative traits. The study was carried out within the natural environment of Tibetan Buddhist monasteries in India, maintaining the socio-cultural context. Two groups of long-term practitioners (Buddhist monks of Gelug lineage), one experienced in the Tantra tradition (T-group, n = 21) and the other in the Sutra tradition (S-group, n = 20) participated in the study. Results A between-group cluster permutation test revealed that the groups differed in EEG alpha power during meditation, as well as in baseline resting conditions before and after meditation. Specifically, T-group demonstrated consistently lower alpha power compared to the S-group, regardless of the conditions. Thus, the observed differences are stable characteristics of the groups. The within-subjects analysis demonstrated that the conditions (meditation, and baseline resting states before and after meditation) differed only in the T-group: during meditation, an increase in individual alpha peak frequency (iAPF) was observed in the occipital leads, followed by a decrease in iAPF after meditation. Discussion We suggest that reported between-group differences represent enduring meditative traits developed through years of training in meditative techniques in the Sutra and Tantra traditions. Nevertheless, we cannot entirely exclude the possibility that these variations may also stem from certain cohort-specific characteristics unrelated to meditation. An examination of individual power spectra revealed that the absence of significant differences in EEG spectral power between conditions can be primarily attributed to the inter-individual variability in both groups. This variability, in turn, may stem from extensive expertise of highly experienced practitioners, who over years of training, develop individualized cognitive strategies for maintaining the meditative state. Our future research will focus on a more detailed quantitative analysis of inter-individual variability during meditations and on identifying additional between-group differences among practitioners in different traditions.

Background and Objectives: Architectural spaces are often designed with a strong visual focus, yet their sonic potential remains underexplored. Inspired by the concept of “breathing” that symbolizes life, movement, and vitality, the research project Prana aimed to create a responsive sound installation that enhances the sonic environment in architectural spaces by utilizing efficient wireless communication, sensors, and algorithms, which can evoke the feeling of breathing life into a space, providing visitors with a novel and engaging sensory experience. The designed system offered flexibility for placement and adaptation across various locations. Conducted within the tunnel of Wat Umong in Chiang Mai, Thailand, the exhibition was presented to the public, and the author collected data from visitors for the evaluation. This project serves as an example of how interactive sound design can revitalize architectural environments by creating a dialogue between sound, space, and audience. Methods: The study adopts both research-led and practice-led approaches, examining the interplay between technical design and aesthetic expression. The author collected ideas and designed the technical process of developing interactive sound installation, environmental sound design, multi-channel sound system, and wireless communication to develop the installation. The process of developing and installing the work was closely documented, while visitor experiences were assessed through direct observation and questionnaires during the exhibition period for the evaluation. The collected data was analyzed and presented as results in two aspects, sound design and system design. Results: The sound installation utilized microcontrollers (Arduino) and radio transceivers to process signals from two selected sensors (photoelectric sensor and electric gyroscope) encapsulated in small bells as triggers for algorithmically projecting prepared sounds through a multichannel sound system. The electric gyroscope has been proven to be more effective in representing the movement of the bell in the form of digital data. The collected data from the exhibition reveals that a coherent relationship between sound installation, spatial context, and environmental soundscape forms a vital foundation for innovative sound design. Audience responses emphasized that engagement and satisfaction largely depend on the immersive and experiential qualities of the work, highlighting the significance of site-responsive experimentation and clear design intentions. Conclusions: The Prana project demonstrates how interactive sound design can meaningfully enrich architectural environments by integrating technology, spatial awareness, and aesthetic intention. The findings show that when sound, space, and audience interaction are thoughtfully aligned, architectural settings can be transformed into dynamic, sensory experiences that evoke vitality and presence, much like the metaphor of breathing that inspired the work. Technically, the use of microcontrollers, wireless communication, and motion-based sensing proved effective in creating a flexible and responsive sonic system, with the electric gyroscope offering particularly reliable data for movement-triggered sound generation in this project. Audience feedback confirmed that the success of such installations depends not only on technological capability but also on the experiential coherence and immersion they create. This highlights the importance of site-specific testing, deliberate sound selection, and a clear conceptual foundation. Ultimately, the project offers a practical and artistic framework for future interactive sound installations, highlighting how responsive technologies can animate architectural spaces and foster deeper engagement through sound. Furthermore, developing simple and user-friendly interfaces can extend the accessibility of interactive sound installations.