Juilliard School

ABSTRACT Arts-based research offers an innovative method for exploring complex emotions such as trust by capturing subjective experiences that traditional methods may overlook. Adolescents and young adults with HIV (AYA-WH) are less likely than older adults to achieve viral suppression and remain engaged in care, with only 40–60% retained one year post-transition to adult services. Patient-provider trust plays a critical role in care engagement and adherence, yet little is known about how AYA-WH experience and interpret trust. Using a cross-sectional mixed-methods approach guided by Caring Science, Carper’s Ways of Knowing, and Robinson’s trust-building model, researchers analyzed free-text survey responses from 108 participants (60% male, 61% non-white, and 39% perinatally acquired HIV). Iterative coding revealed key themes, culminating in Trust: An Exploration in Three Parts, a six-minute film co-created with an award-winning playwright. The film presents themes of trust, patient-provider relationships, and silver linings, offering providers an accessible tool to foster trust and improve care engagement.

BackgroundConsistent follow up after a bariatric surgery is considered vital to adequate and sustained weight reduction. This study examined the strength to which compliance with postsurgical appointments predicted an increase in total body weight loss percent (TBWL%) and change in body mass index (BMI) in a cohort of Illinois based surgical center patients. MethodsParticipants (n = 78) were patients with obesity who underwent bariatric surgery between 2019 and 2021. Patient preoperative weight and BMI, and postoperative weight and BMI at 3-month intervals for one year, and the number of visits were collected from chart review to calculate TBWL%, and change in BMI. Relationship between these factors and postoperative visit compliance were evaluated using linear regression to assess if it was a significant predictor of success. ResultsFollow up visit compliance had a weak positive association with increased TBWL% (Model R2 = 0.134, B = 0.011, p = 0.004) and a minimally stronger association with increased change in BMI (Model R2 = 0.229, B = 0.015, p = 0.0001). ConclusionsAdherence with follow up visits was weakly related to improved weight reduction outcomes after bariatric surgery. Future investigations should consider how follow up visits can better influence a patient's success in sustaining achieved weight reduction.

We begin with the question "what do we want to keep that the pandemic has given us?" Largely co-written in 2021, this reflexive essay serves as a snapshot in time, at one stage of the pandemic, reflecting upon earlier, shared experiences at one institution of higher education. We locate each of our identities and positionalities in that space and beyond. Our essay uses Moya Bailey’s 2021 discussion of an ethics of pace to frame our thinking and collective memory work and to counter what we identified as the distinct efforts of institutions of higher education to not have places for institutional memory. We articulate that without memory places, it is impossible to build both a history of justice work in institutions of higher education and accountability that this justice work is seen through. And we ask, how are we to build justice and healing in higher education when the place is designed so that we can't remember things, and when there seems to be a goal to not have institutional memory that remembers how, why, and by whom justice work is done? We answer the question: "what do we want to keep that the pandemic has given us?" with this: "the pace and place to remember."

ABSTRACT In this paper, I use deconstructive theory to analyze the category of “millet” and the endangerment of food grains in India. I argue that “millet” cohered as a sign of difference from the 1960s through India’s Green Revolution, which created a national infrastructure for the materialization of colonial and masculinist ideology. In the hills of Uttarakhand and through the food grain regionally known as mandua, we see how India’s postcolonial success relied on the ontological-epistemic erasure of women’s food/land practices and assaulted the intertwined “rootedness” (place-making faculties) of women and the crops they cultivate. Reading mandua as “millet” under erasure (millet) reveals how mixed crop systems and practices of socio-ecological reciprocity eroded in the face of Green Revolution ideology and functioned as a bulwark against it. I turn finally to the counterhegemonic potential of “millet,” as Uttarakhandi seed activists link with decentralized third world networks, which are exchanging seeds and building power across and from marginalized places. This opens a potential space of visibility and belonging for Uttarakhandi women farmers in the national arena at a time when the ecological and alimentary value of “millet” has entered national and global conversations, infusing the sign of difference with new meaning.

ABSTRACTCognitive and behavioral studies ranging from biomechanics to motor functions and neural mirroring explorations have extensively investigated the communication of emotions in music and dance. Recognized for their ability to convey and elicit emotions, various studies aim to validate the extent to which auditory expressive cues and embodied expressive movements are able to convey emotions. However, is expressing and evoking emotions a generalized intention of music and dance? Although much data exists based on audience responses (decoders), composers' and choreographers' (encoders) intentions beyond experimental instructions are still being determined. This paper reports two studies investigating the intention of composers and choreographers when creating new works. Results revealed that expressing emotions is not a primary goal yet a significant underlying intention. Furthermore, composers and choreographers aimed for their expressed emotions to be perceived rather than felt. Moreover, the genre conventions determined by stylistic and cultural factors influenced emotion expression, with some genres allowing more expressive cues than others, likely affecting the extent to which emotions are meaningfully conveyed. These findings point to potential cue variance between actual intentions and experiment‐intended stimuli to express and thus communicate emotions. An argument for the importance of ecological validity in laboratory‐based experiments is presented.

Russian-born Léonide Massine’s career flourished in the cities of Western Europe, where he made his name as a lead dancer and choreographer for Serge Diaghilev’s Ballets Russes (1909–29). Massine’s choreographic development coincided with and helped to define the Ballets Russes’s modernist period. As Diaghilev’s protégé, Massine absorbed principles of Cubism and Futurism, consequently developing an angular, distorted movement style, heralded for its intensity and polyrhythmic complexity, along with its satiric and cinematic elements. Massine’s Parade (1917), in collaboration with Pablo Picasso (decor and costumes), Erik Satie (music), and Jean Cocteau (libretto), is recognized as a landmark of ballet modernism. Like other modernists, Massine incorporated national and folk material (commedia dell’arte to flamenco) and popular theater forms (including film) as tools for creative innovation. Following his departure from the Ballets Russes, Massine became interested in formalism and abstraction, which he expressed in a series of symphonic ballets. The most recognized dance artist of the 1920s and 1930s, Massine’s magnificent presence as a performer, even an aging one, can be seen in the film The Red Shoes (1947).

Book Review| July 01 2016 Anxiety Muted: American Film Music in a Suburban AgeEpic Sound: Music in Postwar Hollywood Biblical Films Anxiety Muted: American Film Music in a Suburban Age. Edited by Stanley C. Pelkey II and Anthony Bushard. Oxford: Oxford University Press, 2015. ISBN 978-0-199-93617-5. Paper. Pp. xviii, 298. $99.00.Epic Sound: Music in Postwar Hollywood Biblical Films. By Stephen C. Meyer. Bloomington: Indiana University Press, 2015. ISBN 978-0-253-01451-1. Paper. Pp. x, 272. $35.00. Jordan Stokes Jordan Stokes Hunter College and the Juilliard School Search for other works by this author on: This Site Google American Music (2016) 34 (2): 269–273. https://doi.org/10.5406/americanmusic.34.2.0269 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jordan Stokes; Anxiety Muted: American Film Music in a Suburban AgeEpic Sound: Music in Postwar Hollywood Biblical Films. American Music 1 January 2016; 34 (2): 269–273. doi: https://doi.org/10.5406/americanmusic.34.2.0269 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressAmerican Music Search Advanced Search The text of this article is only available as a PDF. Copyright 2016 by the Board of Trustees of the University of Illinois2016 Article PDF first page preview Close Modal Issue Section: Book Reviews You do not currently have access to this content.

Walter Blume’s detailed account of the Brahms conducting of Fritz Steinbach (1855–1916) occupies a unique position in records of performance style. Before the era of recordings, written accounts of performance, as opposed to treatises on technique, were necessarily partial. Although Steinbach lived into the era of recordings he made none, so this account is a considerable compensation for that lack—and it also includes the written intentions that lay behind the finished performances. Steinbach came quickly to be regarded as embodying a definitive Brahms performance style through his connection with the ducal court orchestra of Meiningen in Thuringia in 1886–1902. Its fame went back to the early 1880s, when Hans von Bülow was appointed to create a world-class orchestra by the art-loving Duke Georg II, and it was von Bülow who placed the orchestra at Brahms’s disposal for the rehearsal of the Fourth Symphony and premiere, and thus laid the foundation of a Brahms tradition there (the principal clarinettist, Richard Mühlfeld, was to be the inspiration for the late clarinet works).

The Critical Edition Process of the first Brazilian Concerto for Percussion and Orchestra Prof. Dr. Fernando Hashimoto Abstract This article discusses the procedures adopted by the author on the first critical edition of Variations on Two Rows for Percussion and Strings written by Eleazar de Carvalho in 1968, which is considered the first Brazilian concerto for percussion. Conductor, composer and pedagogue, Carvalho (1912-1996) is considered one of the most important Brazilian conductors. A Koussevitzky protégé (like Leonard Bernstein), Carvalho was a professor of conducting at the Tanglewood Festival from 1947 to 1962, as well a professor at The Juilliard School and Yale University. Among the many conductors who studied under Carvalho are Seiji Ozawa, Claudio Abbado and Zubin Mehta. Eleazar did not achieve the same success as composer along his career, and after a 20 years hiatus without composing, he writes a concerto for percussion utilizing graphic and proportional notation, similar to that employed by Stockhausen in Zyklus Nr.9. The composer utilized traditional notation for the string orchestra and employed dodecaphonic technique. The analysis in this work employed as main tools the set class theory. In addition, the article discusses the edition process of the graphic notation employed, and the insertion of performance notes in the critical edition based on an interpretative study. Full Text: PDF DOI: 10.15640/ijmpa.v2n2a6