Female identity and integration to social changes in Africa: digital access, urban participation, and strategic actions for sustainable development

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.

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

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.

Achieving equality in music education for people with disability calls for transformative changes to attitudes, structures and norms. Segregation and streaming remains prevalent in instrumental music education, gatekeeping access and opportunity to mainstream education opportunities. The United Nations’ Convention on the Rights of Persons with Disabilities (CRPD, Article 24) ascribes access to inclusive education for people with disability on an equal basis, with the aim of fully developing human potential. Despite this, academic theorising about inclusive education still limits how this may be practically and philosophically applied in music education. Inclusion in instrumental music education is further limited by a culture of performance excellence rather than equity and enrichment of all, and a focus on music performance outcomes rather than a deep and holistic education experience gleaned from music making and participation. Significant EDI initiatives that aim to foster inclusive environments and practices are considered and drawn to music education contexts, in particular instrumental music education in Australia, where access for students with disability at the secondary level is severely limited. Our critique extends to praxial and philosophical considerations concerning the role of education in instrumental music in schools, accessibility, and social justice considerations educators should consider in devising of inclusive curricula, pedagogies and engagement.

دستیابی به برابری در آموزش موسیقی برای افراد دارای معلولیت مستلزم تغییرات تحول‌آفرین در نگرش‌ها، ساختارها و هنجارها است. جداسازی و تقسیم‌بندی همچنان در آموزش موسیقی سازی رایج است و دسترسی و فرصت به آموزش جریان اصلی را محدود می‌کند. کنوانسیون حقوق افراد دارای معلولیت سازمان ملل متحد (CRPD، ماده ۲۴) دسترسی به آموزش فراگیر را برای افراد دارای معلولیت بر مبنای برابری مقرر می‌دارد، با هدف توسعه کامل ظرفیت انسانی. با وجود این، نظریه‌پردازی‌های دانشگاهی درباره آموزش فراگیر همچنان نحوه کاربرد عملی و فلسفی آن را در آموزش موسیقی محدود می‌کند. شمول در آموزش موسیقی سازی همچنین به دلیل فرهنگ برتری عملکردی به جای عدالت و غنای همگانی، و تمرکز بر نتایج اجرایی موسیقی به جای تجربه آموزشی عمیق و کل‌نگر حاصل از ساختن و مشارکت موسیقی، بیشتر محدود می‌شود. ابتکارات مهم EDI که با هدف پرورش محیط‌ها و شیوه‌های فراگیر طراحی شده‌اند، مورد بررسی قرار گرفته و به زمینه‌های آموزش موسیقی، به ویژه آموزش موسیقی سازی در استرالیا، که دسترسی دانش‌آموزان دارای معلولیت در سطح متوسطه به شدت محدود است، تعمیم یافته‌اند. نقد ما به ملاحظات پراکسیال و فلسفی درباره نقش آموزش در موسیقی سازی مدارس، دسترس‌پذیری و ملاحظات عدالت اجتماعی که معلمان باید در طراحی برنامه‌های درسی، روش‌های تدریس و مشارکت فراگیر مد نظر قرار دهند، گسترش می‌یابد.

Background There is no general consensus on which music genre is most effective for a specific condition. The impact of music on subjective pain perception during intravenous cannulation for a magnetic resonance imaging (MRI) scan was investigated. Methods 204 patients were assigned to one of four groups: listening to Mozart, favorite music, relaxation music, or no music (control). Pain was assessed using the Visual Analogue Scale at four time points. Results Favorite music significantly reduced pain perception both 30 s and 2 min after puncture while Mozart showed a trend towards reduced pain perception 2 min after puncture. When including only patients with baseline pain ( n = 71), a significant pain reduction was also observed in the Mozart group 2 min, with borderline significance 30 s after puncture, whereas the favorite music group not only intensified reduced pain perception 30 s and 2 min but also caused significant pain reduction immediately after puncture. No effect on pain was found for the relaxation music and control groups. Conclusions Music may be effective for pain relief in unpleasant settings involving short painful interventions. Favorite music should be considered first, whereby patients with baseline pain could also benefit from listening to Mozart, indicating a potential “Mozart effect” in this subgroup. These exploratory results need to be validated in future studies including a higher number of patients.

زمینه و هدف: اجماع کلی در مورد این‌که کدام ژانر موسیقی برای یک وضعیت خاص مؤثرتر است وجود ندارد. تأثیر موسیقی بر ادراک ذهنی درد در حین کانولاسیون وریدی برای تصویربرداری تشدید مغناطیسی (MRI) مورد بررسی قرار گرفت. روش‌ها: ۲۰۴ بیمار به یکی از چهار گروه گوش دادن به موسیقی Mozart، موسیقی مورد علاقه، موسیقی آرام‌بخش یا بدون موسیقی (گروه کنترل) تقسیم شدند. درد با استفاده از مقیاس آنالوگ بصری در چهار زمان مختلف ارزیابی شد. نتایج: موسیقی مورد علاقه به طور معناداری ادراک درد را هم در ۳۰ ثانیه و هم در ۲ دقیقه پس از سوراخ‌کردن کاهش داد، در حالی که موسیقی Mozart گرایش به کاهش ادراک درد را در ۲ دقیقه پس از سوراخ‌کردن نشان داد. زمانی که فقط بیماران با درد پایه (n = 71) در نظر گرفته شدند، کاهش معنادار درد در گروه Mozart در ۲ دقیقه و کاهش درد با اهمیت مرزی در ۳۰ ثانیه پس از سوراخ‌کردن مشاهده شد، در حالی که گروه موسیقی مورد علاقه نه تنها کاهش ادراک درد را در ۳۰ ثانیه و ۲ دقیقه تشدید کرد بلکه باعث کاهش معنادار درد بلافاصله پس از سوراخ‌کردن نیز شد. هیچ اثری بر درد در گروه‌های موسیقی آرام‌بخش و کنترل مشاهده نشد. نتیجه‌گیری: موسیقی ممکن است برای تسکین درد در موقعیت‌های ناخوشایند شامل مداخلات کوتاه‌مدت دردناک مؤثر باشد. موسیقی مورد علاقه باید در اولویت قرار گیرد و بیماران دارای درد پایه نیز می‌توانند از گوش دادن به Mozart بهره‌مند شوند که نشان‌دهنده احتمال وجود «اثر Mozart» در این زیرگروه است. این نتایج اکتشافی نیازمند اعتبارسنجی در پژوهش‌های آینده با تعداد بیشتری از بیماران است.