berdasarkan suku di ko alam
LIFESTYLE AND WEIGHT MANAGEMENT
Eating healthy foods. This includes fruits, vegetables, and whole
grains. If you eat meat and dairy foods, choose lean meats and low-fat dairy
foods most of the time.Healthy eating also means not eating too much sugar,
fat, or fast foods. You can still have dessert and treats now and then. The
goal is moderation. See Healthy Eating.
Making some kind of physical activity part of your daily
routine. "Physical activity" doesn't have to mean regular visits to the gym or
running marathons. There are lots of other ways to fit activity into your life.
See Healthy Activity.
Not smoking. Weight gain is a big concern for many people who want
to quit smoking. But many people don't gain weight. And it's more of
a health risk to keepsmoking than it is to gain a few extra pounds when you
quit. For information, see the topic Quitting Smoking.
Drinking only moderate amounts of alcohol. That's up to 2 drinks a day
for men, 1 drink a day for women.
Managing stress. Many people find that eating is their way of managing
stress. If you have a lot of stress in your life, it can be hard to focus on
making healthy changes to your lifestyle. For more information about how to
deal with stress, see the topicStress Management.
Becoming more active and improving your eating habits are the two main
ways to reach ahealthy weight.
ACTIVE RECREATION
Recreation is an activity of leisure, leisure being discretionary time.[1] The "need to do something for
recreation" is an essential element of human biology and psychology. [2] Recreational activities are often
done for enjoyment, amusement, or pleasure and are considered to be "fun".
Recreation is difficult to separate from the general concept of play, which is usually the term for children's
recreational activity. Children may playfully imitate activities that reflect the realities of adult life. It has
been proposed that play or recreational activities are outlets of or expression of excess energy,
channeling it into socially acceptable activities that fulfill individual as well as societal needs, without need
for compulsion, and providing satisfaction and pleasure for the participant. [8] A traditional view holds that
work is supported by recreation, recreation being useful to "recharge the battery" so that work
performance is improved. Work, an activity generally performed out of economic necessity and useful for
society and organized within the economic framework, however can also be pleasurable and may be selfimposed thus blurring the distinction to recreation. Many activities may be work for one person and
recreation for another, or, at an individual level, over time recreational activity may become work, and vice
versa. Thus, for a musician, playing an instrument may be at one time a profession, and at another a
recreation. Similarly, it may be difficult to separate education from recreation as in the case ofrecreational
mathematics.[9]
Recreation is an essential part of human life and finds many different forms which are shaped naturally by
individual interests but also by the surrounding social construction. [2] Recreational activities can be
communal or solitary, active or passive, outdoors or indoors, healthy or harmful, and useful for society or
detrimental. A significant section of recreational activities are designated as hobbies which are activities
done for pleasure on a regular basis. A list of typical activities could be almost endless including most
human activities, a few examples being reading, playing or listening to music, watching movies or TV,
gardening, hunting, sports, studies, and travel. Some recreational activities - such as
gambling, recreational drug use, or delinquent activities - may violate societal norms and laws.
Public space such as parks and beaches are essential venues for many recreational
activities. Tourism has recognized that many visitors are specifically attracted by recreational offerings.
[10]
In support of recreational activities government has taken an important role in their creation,
maintenance, and organization, and whole industries have developed merchandise or services.
Recreation-related business is an important factor in the economy; it has been estimated that the outdoor
recreation sector alone contributes $730 billion annually to the U.S. economy and generates 6.5 million
jobs.[11]
INDIVIDUAL AND DUAL SPORTS
The advantage of individual sport is that the player does as he pleases and does not have to
listen to the ideas of another player. Dual sports may be a bit complicated as one player has to
effectively link his ideas with those of his partner. However, the advantage of dual sport is that
the two players complement each other. Athletics can have a single player competing against
others, but it can also have a number of players on one team, such as in relay. Other examples
of individual sports are boxing, bodybuilding, cycling, surfing, darts, archery, bowling, golf,
karate, gymnastics, shooting, squash, taekwondo, yoga and javelin. Examples of dual sports
are badminton, chess, synchronized swimming and table tennis. Examples of team sports are
hockey, cricket, football, volleyball, basketball, rowing, and handball. A dual sport varies from an
individual sport in that it may need a larger playing ground. On the other hand, team sports need
the largest area of play not only to accommodate the players, but also the fans.
TEAM SPORTS
Team sports are practiced between opposing teams, where the players interact directly and
simultaneously between them to achieve an objective. The objective generally involves teammates
facilitating the movement of a ball or similar object in accordance with a set of rules, in order to score
points.
However, other types of team sports do not involve teammates facilitating the movement of a ball or
similar item in accordance with a set of rules, in order to score points. For
example, swimming, rowing, sailing, dragon boat racing, and track and field among others are also team
sports.[2] In other types of team sports there may not be an opposing team or point scoring, for
example, mountaineering. Instead of points scored against an opposing team, the relative difficulty of the
climb or walk is the measure of the achievement.
In some sports where participants are entered by a team, they do not only compete against members of
other teams but also against each other for points towards championship standings. For
example, motorsport, particularly Formula One. In cycling however, team members whilst still in
competition with each other, will also work towards assisting one, usually a specialist, member of the
team to the highest possible finishing position. This process is known as team orders and although
previously accepted was banned in Formula One[3] between 2002 and 2010. After a controversy
involving team orders at the 2010 German Grand Prix however, the regulation was removed as of
the 2011 season.[4]
FITNESS ACTIVITIES
Exercise is a structured program of activity geared toward achieving or
maintaining physical fitness. It is actually a subcategory of physical activity.
Physical activity is any form of exercise or movement of the body that uses energy. Some of
your daily life activities—doing active chores around the house, yard work, walking the dog—are
examples.
Both can include aerobic, flexibility, and musclestrengthening activities.
Aerobic activities make you breathe harder and make your heart and blood vessels healthier. These
include:
Walking
Dancing
Swimming
Water aerobics
Jogging and running
Aerobic exercise classes
Bicycle riding (stationary or on a path)
Some gardening activities, such as raking and pushing a lawn mower
Tennis
Golfing (without a cart)
Musclestrengthening activities build up your strength. These activities work all the different parts of the
body—legs, hips, back, chest, stomach, shoulders, and arms—and include:
Heavy gardening (digging, shoveling)
Lifting weights
Pushups on the floor or against the wall
Situps
Working with resistance bands (long, wide rubber strips that stretch)
Pilates
Flexibilityenhancing activities ensure a good range of motion in the joints. Loss of flexibility can be a
predisposing factor for physical issues, such as pain syndromes or balance disorders. Gender, age, and
genetics may all influence range of motion. Flexibility exercises include:
Stretching
Yoga
Tai Chi or Qi Gong
Pilates
What is fitness?
Fitness includes cardiovascular functioning, which is improved by aerobic activities that get your heart
and lungs working faster. It also includes muscle strength, flexibility, and balance.
GUIDELINE AND CRITERIA IN THE SELECTION AND EVALUATION OF HEALTH
INFORMATION,PRODUCTS AND SERVICES
because resources available to improve global health are limited, it is becoming increasingly
important for those who produce and disseminate health-related information and services to
gauge the impact of their work. Indeed, information programs are often asked to
demonstrate how their products and services “make a difference.” However, while there are
a variety of published M&E guidelines for other health program components (e.g., quality,
logistics, management) and for health activities directed at specific populations (e.g., youth,
men), few guidelines pertain specifically to assessing information products and services.
Consequently, the Guide to Monitoring and Evaluating Health Information Products and
Services was produced to:
1.
provide a core list of indicators to measure the reach, usefulness, use, and impact of
information services and products in a consistent way;
2.
improve monitoring and evaluation by simplifying the selection and application of
indicators; and
3.
define, standardize, and categorize indicators so as to promote agreement on their
appropriate application and interpretation.
The Guide offers guidance and 29 indicators to measure how information products and
services contribute to improving health programs. The Guide includes the “Conceptual
Framework for Monitoring and Evaluating Health Information Products and Services” (see p.
5), which illustrates how improving the reach and usefulness of information products and
services facilitates and increases their use—which in turn enhances public health policy and
practice. Together, the elements in the Guide can help health professionals to better
evaluate the contribution of their knowledge management work to crucial health outcomes.
HEALTH PROVIDERS
A health professional or healthcare provider is an individual who provides preventive, curative,
promotional or rehabilitative health care services in a systematic way to people, families or communities.
A health professional may operate within all branches of health care,
including medicine, surgery, dentistry, midwifery, pharmacy, psychology, nursing or allied health
professions. A health professional may also be a public/community health expertee working for the
common good of the society.
Health facilities are places that provide health care. They include hospitals, clinics,
outpatient care centers, and specialized care centers, such as birthing centers and
psychiatric care centers.
When you choose a health facility, you might want to consider
How close it is to where you live or work
Whether your health insurance will pay for services there
Whether your health care provider can treat you there
The quality of the facility
Quality is important. Some facilities do a better job than others. One way to learn about the
quality of a facility is to look at report cards developed by federal, state, and consumer
groups.
Health care plans and financing systems-There is a wide variety of health systems around the world,
with as many histories and organizational structures as there are nations. Implicitly, nations must design
and develop health systems in accordance with their needs and resources, although common elements in
virtually all health systems are primary healthcare and public health measures.[1] In some countries, health
system planning is distributed among market participants. In others, there is a concerted effort
among governments, trade unions, charities, religious organizations, or other co-ordinated bodies to
deliver planned health care services targeted to the populations they serve. However, health care
planning has been described as often evolutionary rather than revolutionary. [2][3]
IMPRESSIONISM
Impressionism in music was a movement among various composers in Western classical music, mainly
during the late 19th and early 20th centuries, whose music focuses on suggestion and atmosphere,
"conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture".
[1]
“Impressionism” is a philosophical and aesthetic term borrowed from late 19th century French painting
after Monet’s Impression, Sunrise. Musicians were labeled impressionists by analogy to the impressionist
painters who use starkly contrasting colors, effect of light on an object blurry foreground and background,
flattening perspective to make us focus our attention on the overall impression. [2]
The most prominent in musical impressionism is the use of “color”, or in musical term, timbre, which can
be achieved throughorchestration, harmonic usage, texture, etc.[3] Other elements of music impressionism
involve also new chord combinations,ambiguous tonality, extended harmonies, use of modes and exotic
scales, parallel motions, extra-musicality, and evocative titles such as Reflets dans l'eau ("Reflections on
the water", 1905), Brouillards ("Mists", 1913) etc.[2]
Claude Debussy and Maurice Ravel are two leading figures in impressionism, though Debussy rejected
this label (he mentioned in his letter that “imbeciles call ‘impressionism,’ a term employed with the utmost
inaccuracy.”).[4] Debussy’s impressionist works typically “evoke a mood, feeling, atmosphere, or scene” by
creating musical images through characteristic motifs, harmony, exotic scales (e.g. whole-tone scale,
pentatonic scales), instrumental timbre and other elements, [5] whereas Ravel’s impressionist or symbolist
works are essentially represented in a more precise and intelligible way. [6] Some impressionist musicians,
Debussy and Ravel in particular, are also labeled as symbolist musicians. One trait shared with both
aesthetic trends is “a sense of detached observation: rather than expressing deeply felt emotion or telling
a story,” as in symbolist poetry, the normal syntax is usually disrupted and individual images that carry the
work’s meaning are evoked.[7]
Ernest Fanelli was claimed to have innovated the style in the early 1880s, though his works were
unperformed before 1912. The performance of his works in that year led to claims that he was the father
of musical Impressionism. Ravel wrote, "this impressionism is certainly very different from that of presentday composers...Mr. Fanelli's impressionism derives more directly from Berlioz." He added that Fanelli's
alleged priority does not in any way diminish the achievements of later composers: "the investigations of
the young Fanelli could not have diminished those of his colleagues...It is peculiar that these
investigations suddenly assume importance because their embryo is discovered in a work written 30
years ago."[8]
Other composers said to have been influenced by Impressionism include Isaac Albéniz, John Alden
Carpenter, Frederick Delius, Paul Dukas, Manuel de Falla, Joaquin Turina,Charles Tomlinson Griffes,
and Ottorino Respighi.[9] The Finnish composer Jean Sibelius is also associated with impressionism, and
his The Swan of Tuonela (1893) predates Debussy's Prélude à l'après-midi d'un faune (regarded as a
seminal work of musical impressionism) by a year. The American composer Howard Hanson also
borrowed from both Sibelius and impressionism generally in works such as his Second Symphony.[10]
Claude-Achille Debussy[1] (French: [klod aʃil dəbysi];[2] 22 August 1862 – 25
March 1918) was a French composer. Along with Maurice Ravel, he was
one of the most prominent figures associated with Impressionist music,
though he himself disliked the term when applied to his compositions. [3] He
was made Chevalier of the Legion of Honour in his native France in 1903.
[4]
Debussy was among the most influential composers of the late 19th and
early 20th centuries, and his use of non-traditional scales
and chromaticism influenced many composers who followed.[5]
Debussy's music is noted for its sensory content and frequent usage of
nontraditional tonalities.[6] The prominent French literary style of his period
was known as Symbolism, and this movement directly inspired Debussy
both as a composer and as an active cultural participant. [7]
Joseph Maurice Ravel (French: [ʒɔzɛf mɔʁis ʁavɛl]; 7 March
1875 – 28 December 1937) was a French composer, pianist and
conductor. He is often associated with impressionism along with
his elder contemporary Claude Debussy, although both
composers rejected the term. In the 1920s and 1930s Ravel was
internationally regarded as France's greatest living composer.
Born to a music-loving family, Ravel attended FraParis
Conservatoire; he was not well regarded by its conservative
establishment, whose biased treatment of him caused a scandal.
After leaving nce's premier music college, the the conservatoire
Ravel found his own way as a composer, developing a style of
great clarity, incorporating elements
of baroque, neoclassicism and, in his later works, jazz. He liked to
experiment with musical form, as in his best-known
work, Boléro (1928), in which repetition takes the place of
development. He made some orchestral arrangements of other
composers' music, of which his 1922 version
of Mussorgsky's Pictures at an Exhibition is the best known.
As a slow and painstaking worker, Ravel composed fewer pieces
than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber
music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no symphonies or
religious works. Many of his works exist in two versions: a first, piano score and a later orchestration.
Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his
complex orchestral works such as Daphnis et Chloé(1912) require skilful balance in performance.
Ravel was among the first composers to recognise the potential of recording to bring their music to a
wider public. From the 1920s, despite limited technique as a pianist or conductor, he took part in
recordings of several of his works; others were made under his supervision.
EXPRESSIONISM
The term expressionism "was probably first applied to music in 1918, especially to Schoenberg", because
like the painter Wassily Kandinsky (1866–1944) he avoided "traditional forms of beauty" to convey
powerful feelings in his music (Sadie 1991, 244). Theodor Adorno sees the expressionist movement in
music, as seeking to "eliminate all of traditional music's conventional elements, everything formulaically
rigid". This he sees as analogous "to the literary ideal of the 'scream' ". As well Adorno
sees expressionist music, as seeking "the truthfulness of subjective feeling without illusions, disguises
or euphemisms". Adorno also describes it as concerned with the unconscious, and states that "the
depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the
"harmonious, affirmative element of art is banished" (Adorno 2009, 275–76).
The three central figures of musical expressionism are Arnold Schoenberg (1874–1951) and his
pupils, Anton Webern (1883–1945) and Alban Berg (1885–1935), the so-calledSecond Viennese School.
Other composers that have been associated with expressionism are Ernst Krenek (1900–1991) (the
Second Symphony, 1922), Paul Hindemith (1895–1963) (Die junge Magd, Op. 23b, 1922, setting six
poems of Georg Trakl), Igor Stravinsky (1882–1971) (Three Japanese Lyrics, 1913), Alexander
Scriabin (1872–1915) (late piano sonatas) (Adorno 2009, 275). Another significant expressionist was Béla
Bartók (1881–1945) in early works, written in the second decade of the 20th century, such asBluebeard's
Castle (1911) (Gagné 2011, 92), The Wooden Prince (1917) (Clements 2007), and The Miraculous
Mandarin (1919) (Bayley 2001, 152). American compsoers with a sympathetic "urge for such
intensification of expression" who were active in the same period as Schoenberg's expressionist free
atonal compositions (between 1908 and 1921) include Carl Ruggles, Dane Rudhyar, and, "to a certain
extent", Charles Ives, whose song "Walt Whitman" is a particularly clear example (Carter 1965, 9).
Important precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911),
and Richard Strauss (1864–1949) (Anon. 2000; Mitchell 2005, 334). Later composers, such asPeter
Maxwell Davies (1934–2016), "have sometimes been seen as perpetuating the Expressionism of
Schoenberg, Berg, and Webern" (Griffiths 2002), and Heinz Holliger's (b. 1939) most distinctive trait "is an
intensely engaged evocation of … the essentially lyric expressionism found in Schoenberg, Berg and,
especially, Webern" (Whittall 1999, 38).
Arnold Schoenberg
Musical expressionism is closely associated with the music Arnold
Schoenberg composed between 1908 and 1921, which is his
period of "free atonal" composition, before he devised twelvetone technique (Schoenberg 1975, 207–208). Compositions from
the same period with similar traits, particularly works by his
pupils Alban Berg and Anton Webern, are often also included
under this rubric, and the term has also been used pejoratively by
musical journalists to describe any music in which the composer's
attempts at personal expression overcome coherence or are
merely used in opposition to traditional forms and practices
(Fanning 2001). It can therefore be said to begin with
Schoenberg'sSecond String Quartet (written 1907–08) in which
each of the four movements gets progressively less tonal
(Fanning 2001). The third movement is arguably atonal and the
introduction to the final movement is very chromatic, arguably has
no tonal centre, and features a soprano singing "Ich fühle Luft von
anderem Planeten" ("I feel the air of another planet"), taken from a
poem by Stefan George. This may be representative of
Schoenberg entering the "new world" of atonality (Fanning 2001).
In 1909, Schoenberg composed the one-act 'monodrama' Erwartung (Expectation). This is a thirty-minute,
highly expressionist work in which atonal music accompanies a musical drama centered around a
nameless woman. Having stumbled through a disturbing forest, trying to find her lover, she reaches open
countryside. She stumbles across the corpse of her lover near the house of another woman, and from
that point on the drama is purely psychological: the woman denies what she sees and then worries that it
was she who killed him. The plot is entirely played out from the subjective point of view of the woman, and
her emotional distress is reflected in the music.[citation needed] The author of the libretto, Marie Pappenheim,
was a recently graduated medical student familiar with Freud's newly developed theories of
psychoanalysis, as was Schoenberg himself (Carpenter 2010, 144–46).
In 1909, Schoenberg completed the Five Pieces for Orchestra. These were constructed freely, based
upon the subconscious will, unmediated by the conscious, anticipating the main shared ideal of the
composer's relationship with the painter Wassily Kandinsky. As such, the works attempt to avoid a
recognisable form, although the extent to which they achieve this is debatable. [citation needed]
Between 1908 and 1913, Schoenberg was also working on a musical drama, Die glückliche Hand. The
music is again atonal. The plot begins with an unnamed man, cowered in the centre of the stage with a
beast upon his back. The man's wife has left him for another man; he is in anguish. She attempts to return
to him, but in his pain he does not see her. Then, to prove himself, the man goes to a forge, and in a
strangely Wagnerian scene (although not musically), forges a masterpiece, even with the other
blacksmiths showing aggression towards him. The woman returns, and the man implores her to stay with
him, but she kicks a rock upon him, and the final image of the act is of the man once again cowered with
the beast upon his back.[original research?]
This plot is highly symbolic, written as it was by Schoenberg himself, at around the time when his wife had
left him for a short while for the painter Richard Gerstl. Although she had returned by the time Schoenberg
began the work, their relationship was far from easy (Biersdorfer 2009). The central forging scene is seen
as representative of Schoenberg's disappointment at the negative popular reaction to his works. His
desire was to create a masterpiece, as the protagonist does. Once again, Schoenberg is expressing his
real life difficulties.
In around 1911, the painter Wassily Kandinsky wrote a letter to Schoenberg, which initiated a long lasting
friendship and working relationship. The two artists shared a similar viewpoint, that art should express the
subconscious (the "inner necessity") unfettered by the conscious. Kandinsky's Concerning The Spiritual
In Art (1914) expounds this view. The two exchanged their own paintings with each other, and
Schoenberg contributed articles to Kandinsky's publication Der Blaue Reiter. This inter-disciplinary
relationship is perhaps the most important relationship in musical expressionism, other than that between
the members of the Second Viennese School.[citation needed] The inter-disciplinary nature of expressionism
found an outlet in Schoenberg's paintings, encouraged by Kandinsky. An example is the self-portrait Red
Gaze (see Archived link), in which the red eyes are the window to Schoenberg's subconscious.
ELECTRONIC MUSIC
Electronic music is music that employs electronic musical instruments and electronic music
technology in its production, anelectronic musician being a musician who composes and/or performs
such music. In general a distinction can be made between sound produced using electromechanical
means and that produced using electronic technology. [1] Examples of electromechanical sound producing
devices include the telharmonium, Hammond organ, and the electric guitar. Purely electronic sound
production can be achieved using devices such as the theremin, sound synthesizer, and computer.[2]
The first electronic devices for performing music were developed at the end of the 19th century, and
shortly afterward ItalianFuturists explored sounds that had previously not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for
electronic instruments were composed. By the 1940s, magnetic audio tape allowed musicians to tape
sounds and then modify them by changing the tape speed or direction, leading to the development
ofelectroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in
1948, was based on editing together recorded fragments of natural and industrial sounds. Music
produced solely from electronic generators was first produced in Germany in 1953. Electronic music was
also created in Japan and the United States beginning in the 1950s. An important new development was
the advent of computers for the purpose of composing music. Algorithmic composition was first
demonstrated in Australia in 1951.
In America and Europe, live electronics were pioneered in the early 1960s. During the 1970s to early
1980s, the monophonicMinimoog became once the most widely used synthesizer at that time in both
popular and electronic art music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption
of polyphonic synthesizerssuch as the Yamaha GX-1 and Prophet-5, electronic drums, and drum
machines such as the Roland CR-78, through the emergence of genres such as krautrock, disco, new
wave and synthpop. In the 1980s, electronic music became more dominant in popular music, with a
greater reliance on synthesizers, and the adoption of programmable drum machines such as the Roland
TR-808 and TR-909 and the Linn LM-1, and bass synthesizers such as the Roland TB-303. In the early
1980s, a group of musicians and music merchants developed the Musical Instrument Digital Interface
(MIDI), and Yamahareleased the first FM digital synthesizer, the DX7.
Electronically produced music became prevalent in the popular domain by the 1990s, because of the
advent of affordable music technology.[3] Contemporary electronic music includes many varieties and
ranges from experimental art music to popular forms such as electronic dance music.Today, pop
electronic music is most recognizable in its 4/4 form and vastly more connected with the mainstream
culture as opposed to its preceding forms which were specialized to niche markets. [4]
CHANCE MUSIC
Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice")
is music in which some element of the composition is left to chance, and/or some primary element of a
composed work's realization is left to the determination of its performer(s). The term is most often
associated with procedures in which the chance element involves a relatively limited number of
possibilities.
The term became known to European composers through lectures by acoustician Werner MeyerEppler at the Darmstadt International Summer Courses for New Music in the beginning of the 1950s.
According to his definition, “a process is said to be aleatoric […] if its course is determined in general but
depends on chance in detail” (Meyer-Eppler 1957, 55). Through a confusion of Meyer-Eppler's German
terms Aleatorik (noun) and aleatorisch (adjective), his translator created a new English word, "aleatoric"
(rather than using the existing English adjective "aleatory"), which quickly became fashionable and has
persisted (Jacobs 1966). More recently, the variant "aleatoriality" has been introduced (Roig-Francolí
2008, 340).
PREVENTING SELF HARM
Self-injury behaviors are any behaviors that a person does with the purpose of hurting oneself. How to
stop self-harm once you start though can be a big problem.
Some people may self-injure (also known as self-harm or self-mutilation) only once, while most will
engage in self-harm behaviors multiple times.
Many people go on to years though because they find it so difficult to stop self-harm. (read about SelfHarm in Adults)
But it is possible to change self-harm behaviors – it is possible to stop self-injury. To stop self-mutilation,
though, many things need to change, including:
The environment
A support system
Thought patterns
It's also important to know about self-harm alternatives and to gain some insight into why you selfharm or what triggers your self-injury behaviors. This self-injury test can help with that part.
Stop Self-Harm Behaviors by Changing the Environment
The environment is part of what causes, or allows for, self-harm and changing it can help stop self-injury.
The first step is analyzing what role the environment has on self-injury behavior. For example:
Do you self-injure at a specific time of day?
Do you self-harm in a specific place?
Do you use certain tools to self-mutilate?
Do you have a ritual around your self-harm?
Knowing the answers to these questions can help you change those aspects of your environment that
contribute to your self-harm behaviors. (Causes of Self-Injury)
Changing the environment can be done once the urge to self-harm strikes, but it's easier to do before the
urge comes.
For example, to help stop self-harm, you can:1
Keep yourself busy at the times of day you are likely to self-harm. Don't be alone
during these times.
Stay away from any place where you typically self-injure.
Throw away any tools used to self-mutilate. (Ways People Self Harm) If you can't
throw them away, make them as inaccessible as possible.
Stop yourself from committing self-harm rituals by adding or removing steps from
them. Altering your rituals will likely make you uncomfortable and this discomfort can
help stop self-harm.
Stop Self-Injury by Getting Support and Help
Many people battle to stop self-mutilation but lose this battle when fighting alone. It's only once they gain
the support of others that they can stop self-harming behaviors. Self-injury help and support can come
from professional sources such as a self-harm treatment center, program or psychotherapist, or it can
come from friends, family members or others. The important thing is to have supportive people around
you who you can turn to for help when you need it. If you feel the urge to self-harm, call one of these
supports and have them talk or sit with you. This can be one of the easiest ways to stop self-mutilation.
Stop Self-Mutilation by Changing Your Thoughts
Changing the way you think is no easy task; that is for sure. However, changing some of the negative
thoughts that lead to self-injury is possible and important. Just like with the environment, first it's important
to analyze the thoughts surrounding self-harm in order to better understand and challenge them. Some
questions to think about might be:
How accurate are my thoughts surrounding self-harm?
Are my negative thoughts reasonable?
What are my thoughts right before I self-harm?
Handling those thoughts can be tricky but there are techniques used to challenge, stop and alter negative
thoughts of self-harm.
Challenge the negative thoughts – you'll likely find that many of them aren't true but
only feel true at the time.
If you find yourself in a spiral of negative thoughts, think (or even shout) stop and
change your thoughts to something else.
Reframe negative thoughts. For example, instead of thinking, "I'm so dumb for
hurting myself." Think, "I did what I needed to do to take care of myself. I will do better
next time."
These self-harm thought-altering techniques may take a lot of practice to work. A therapist can help you
with more self-harm stopping techniques.
Self-Harm Alternatives
If you find yourself in a spiral wherein you feel you are about to self-harm, it's important to know self-harm
alternatives that can take the place of self-injury. Self-mutilation alternatives can keep you physically safe
even when overwhelmed with the urge to self-harm.
Self-injury alternatives include:2
Punching a pillow or a punching bag
Squeezing ice cubes; putting your face in a bowl of ice water
Eating chili or other spicy food
Taking a very cold shower
Drawing on your body instead of cutting it
Strenuous exercise
Of course, the best self-harm alternative is likely to reach out and talk to someone about how you are
feeling.
PREVENTING A CULTURE OF NON VIOLENCE THROUGH HEALTHFUL BEHAVIORS
Strengthening peace and non-violence through education, advocacy and media including ICTs
and social networks
Developing the use of heritage and contemporary creativity as tools for building peace through
dialogue
Strengthening social cohesion and contributing to the African Renaissance through the
introduction of the General History of Africa into formal and non-formal education settings
Promoting scientific and cultural cooperation for the management of natural transboundary
resources
Empowering and engaging young people, women and men
Eating healthy foods. This includes fruits, vegetables, and whole
grains. If you eat meat and dairy foods, choose lean meats and low-fat dairy
foods most of the time.Healthy eating also means not eating too much sugar,
fat, or fast foods. You can still have dessert and treats now and then. The
goal is moderation. See Healthy Eating.
Making some kind of physical activity part of your daily
routine. "Physical activity" doesn't have to mean regular visits to the gym or
running marathons. There are lots of other ways to fit activity into your life.
See Healthy Activity.
Not smoking. Weight gain is a big concern for many people who want
to quit smoking. But many people don't gain weight. And it's more of
a health risk to keepsmoking than it is to gain a few extra pounds when you
quit. For information, see the topic Quitting Smoking.
Drinking only moderate amounts of alcohol. That's up to 2 drinks a day
for men, 1 drink a day for women.
Managing stress. Many people find that eating is their way of managing
stress. If you have a lot of stress in your life, it can be hard to focus on
making healthy changes to your lifestyle. For more information about how to
deal with stress, see the topicStress Management.
Becoming more active and improving your eating habits are the two main
ways to reach ahealthy weight.
ACTIVE RECREATION
Recreation is an activity of leisure, leisure being discretionary time.[1] The "need to do something for
recreation" is an essential element of human biology and psychology. [2] Recreational activities are often
done for enjoyment, amusement, or pleasure and are considered to be "fun".
Recreation is difficult to separate from the general concept of play, which is usually the term for children's
recreational activity. Children may playfully imitate activities that reflect the realities of adult life. It has
been proposed that play or recreational activities are outlets of or expression of excess energy,
channeling it into socially acceptable activities that fulfill individual as well as societal needs, without need
for compulsion, and providing satisfaction and pleasure for the participant. [8] A traditional view holds that
work is supported by recreation, recreation being useful to "recharge the battery" so that work
performance is improved. Work, an activity generally performed out of economic necessity and useful for
society and organized within the economic framework, however can also be pleasurable and may be selfimposed thus blurring the distinction to recreation. Many activities may be work for one person and
recreation for another, or, at an individual level, over time recreational activity may become work, and vice
versa. Thus, for a musician, playing an instrument may be at one time a profession, and at another a
recreation. Similarly, it may be difficult to separate education from recreation as in the case ofrecreational
mathematics.[9]
Recreation is an essential part of human life and finds many different forms which are shaped naturally by
individual interests but also by the surrounding social construction. [2] Recreational activities can be
communal or solitary, active or passive, outdoors or indoors, healthy or harmful, and useful for society or
detrimental. A significant section of recreational activities are designated as hobbies which are activities
done for pleasure on a regular basis. A list of typical activities could be almost endless including most
human activities, a few examples being reading, playing or listening to music, watching movies or TV,
gardening, hunting, sports, studies, and travel. Some recreational activities - such as
gambling, recreational drug use, or delinquent activities - may violate societal norms and laws.
Public space such as parks and beaches are essential venues for many recreational
activities. Tourism has recognized that many visitors are specifically attracted by recreational offerings.
[10]
In support of recreational activities government has taken an important role in their creation,
maintenance, and organization, and whole industries have developed merchandise or services.
Recreation-related business is an important factor in the economy; it has been estimated that the outdoor
recreation sector alone contributes $730 billion annually to the U.S. economy and generates 6.5 million
jobs.[11]
INDIVIDUAL AND DUAL SPORTS
The advantage of individual sport is that the player does as he pleases and does not have to
listen to the ideas of another player. Dual sports may be a bit complicated as one player has to
effectively link his ideas with those of his partner. However, the advantage of dual sport is that
the two players complement each other. Athletics can have a single player competing against
others, but it can also have a number of players on one team, such as in relay. Other examples
of individual sports are boxing, bodybuilding, cycling, surfing, darts, archery, bowling, golf,
karate, gymnastics, shooting, squash, taekwondo, yoga and javelin. Examples of dual sports
are badminton, chess, synchronized swimming and table tennis. Examples of team sports are
hockey, cricket, football, volleyball, basketball, rowing, and handball. A dual sport varies from an
individual sport in that it may need a larger playing ground. On the other hand, team sports need
the largest area of play not only to accommodate the players, but also the fans.
TEAM SPORTS
Team sports are practiced between opposing teams, where the players interact directly and
simultaneously between them to achieve an objective. The objective generally involves teammates
facilitating the movement of a ball or similar object in accordance with a set of rules, in order to score
points.
However, other types of team sports do not involve teammates facilitating the movement of a ball or
similar item in accordance with a set of rules, in order to score points. For
example, swimming, rowing, sailing, dragon boat racing, and track and field among others are also team
sports.[2] In other types of team sports there may not be an opposing team or point scoring, for
example, mountaineering. Instead of points scored against an opposing team, the relative difficulty of the
climb or walk is the measure of the achievement.
In some sports where participants are entered by a team, they do not only compete against members of
other teams but also against each other for points towards championship standings. For
example, motorsport, particularly Formula One. In cycling however, team members whilst still in
competition with each other, will also work towards assisting one, usually a specialist, member of the
team to the highest possible finishing position. This process is known as team orders and although
previously accepted was banned in Formula One[3] between 2002 and 2010. After a controversy
involving team orders at the 2010 German Grand Prix however, the regulation was removed as of
the 2011 season.[4]
FITNESS ACTIVITIES
Exercise is a structured program of activity geared toward achieving or
maintaining physical fitness. It is actually a subcategory of physical activity.
Physical activity is any form of exercise or movement of the body that uses energy. Some of
your daily life activities—doing active chores around the house, yard work, walking the dog—are
examples.
Both can include aerobic, flexibility, and musclestrengthening activities.
Aerobic activities make you breathe harder and make your heart and blood vessels healthier. These
include:
Walking
Dancing
Swimming
Water aerobics
Jogging and running
Aerobic exercise classes
Bicycle riding (stationary or on a path)
Some gardening activities, such as raking and pushing a lawn mower
Tennis
Golfing (without a cart)
Musclestrengthening activities build up your strength. These activities work all the different parts of the
body—legs, hips, back, chest, stomach, shoulders, and arms—and include:
Heavy gardening (digging, shoveling)
Lifting weights
Pushups on the floor or against the wall
Situps
Working with resistance bands (long, wide rubber strips that stretch)
Pilates
Flexibilityenhancing activities ensure a good range of motion in the joints. Loss of flexibility can be a
predisposing factor for physical issues, such as pain syndromes or balance disorders. Gender, age, and
genetics may all influence range of motion. Flexibility exercises include:
Stretching
Yoga
Tai Chi or Qi Gong
Pilates
What is fitness?
Fitness includes cardiovascular functioning, which is improved by aerobic activities that get your heart
and lungs working faster. It also includes muscle strength, flexibility, and balance.
GUIDELINE AND CRITERIA IN THE SELECTION AND EVALUATION OF HEALTH
INFORMATION,PRODUCTS AND SERVICES
because resources available to improve global health are limited, it is becoming increasingly
important for those who produce and disseminate health-related information and services to
gauge the impact of their work. Indeed, information programs are often asked to
demonstrate how their products and services “make a difference.” However, while there are
a variety of published M&E guidelines for other health program components (e.g., quality,
logistics, management) and for health activities directed at specific populations (e.g., youth,
men), few guidelines pertain specifically to assessing information products and services.
Consequently, the Guide to Monitoring and Evaluating Health Information Products and
Services was produced to:
1.
provide a core list of indicators to measure the reach, usefulness, use, and impact of
information services and products in a consistent way;
2.
improve monitoring and evaluation by simplifying the selection and application of
indicators; and
3.
define, standardize, and categorize indicators so as to promote agreement on their
appropriate application and interpretation.
The Guide offers guidance and 29 indicators to measure how information products and
services contribute to improving health programs. The Guide includes the “Conceptual
Framework for Monitoring and Evaluating Health Information Products and Services” (see p.
5), which illustrates how improving the reach and usefulness of information products and
services facilitates and increases their use—which in turn enhances public health policy and
practice. Together, the elements in the Guide can help health professionals to better
evaluate the contribution of their knowledge management work to crucial health outcomes.
HEALTH PROVIDERS
A health professional or healthcare provider is an individual who provides preventive, curative,
promotional or rehabilitative health care services in a systematic way to people, families or communities.
A health professional may operate within all branches of health care,
including medicine, surgery, dentistry, midwifery, pharmacy, psychology, nursing or allied health
professions. A health professional may also be a public/community health expertee working for the
common good of the society.
Health facilities are places that provide health care. They include hospitals, clinics,
outpatient care centers, and specialized care centers, such as birthing centers and
psychiatric care centers.
When you choose a health facility, you might want to consider
How close it is to where you live or work
Whether your health insurance will pay for services there
Whether your health care provider can treat you there
The quality of the facility
Quality is important. Some facilities do a better job than others. One way to learn about the
quality of a facility is to look at report cards developed by federal, state, and consumer
groups.
Health care plans and financing systems-There is a wide variety of health systems around the world,
with as many histories and organizational structures as there are nations. Implicitly, nations must design
and develop health systems in accordance with their needs and resources, although common elements in
virtually all health systems are primary healthcare and public health measures.[1] In some countries, health
system planning is distributed among market participants. In others, there is a concerted effort
among governments, trade unions, charities, religious organizations, or other co-ordinated bodies to
deliver planned health care services targeted to the populations they serve. However, health care
planning has been described as often evolutionary rather than revolutionary. [2][3]
IMPRESSIONISM
Impressionism in music was a movement among various composers in Western classical music, mainly
during the late 19th and early 20th centuries, whose music focuses on suggestion and atmosphere,
"conveying the moods and emotions aroused by the subject rather than a detailed tone‐picture".
[1]
“Impressionism” is a philosophical and aesthetic term borrowed from late 19th century French painting
after Monet’s Impression, Sunrise. Musicians were labeled impressionists by analogy to the impressionist
painters who use starkly contrasting colors, effect of light on an object blurry foreground and background,
flattening perspective to make us focus our attention on the overall impression. [2]
The most prominent in musical impressionism is the use of “color”, or in musical term, timbre, which can
be achieved throughorchestration, harmonic usage, texture, etc.[3] Other elements of music impressionism
involve also new chord combinations,ambiguous tonality, extended harmonies, use of modes and exotic
scales, parallel motions, extra-musicality, and evocative titles such as Reflets dans l'eau ("Reflections on
the water", 1905), Brouillards ("Mists", 1913) etc.[2]
Claude Debussy and Maurice Ravel are two leading figures in impressionism, though Debussy rejected
this label (he mentioned in his letter that “imbeciles call ‘impressionism,’ a term employed with the utmost
inaccuracy.”).[4] Debussy’s impressionist works typically “evoke a mood, feeling, atmosphere, or scene” by
creating musical images through characteristic motifs, harmony, exotic scales (e.g. whole-tone scale,
pentatonic scales), instrumental timbre and other elements, [5] whereas Ravel’s impressionist or symbolist
works are essentially represented in a more precise and intelligible way. [6] Some impressionist musicians,
Debussy and Ravel in particular, are also labeled as symbolist musicians. One trait shared with both
aesthetic trends is “a sense of detached observation: rather than expressing deeply felt emotion or telling
a story,” as in symbolist poetry, the normal syntax is usually disrupted and individual images that carry the
work’s meaning are evoked.[7]
Ernest Fanelli was claimed to have innovated the style in the early 1880s, though his works were
unperformed before 1912. The performance of his works in that year led to claims that he was the father
of musical Impressionism. Ravel wrote, "this impressionism is certainly very different from that of presentday composers...Mr. Fanelli's impressionism derives more directly from Berlioz." He added that Fanelli's
alleged priority does not in any way diminish the achievements of later composers: "the investigations of
the young Fanelli could not have diminished those of his colleagues...It is peculiar that these
investigations suddenly assume importance because their embryo is discovered in a work written 30
years ago."[8]
Other composers said to have been influenced by Impressionism include Isaac Albéniz, John Alden
Carpenter, Frederick Delius, Paul Dukas, Manuel de Falla, Joaquin Turina,Charles Tomlinson Griffes,
and Ottorino Respighi.[9] The Finnish composer Jean Sibelius is also associated with impressionism, and
his The Swan of Tuonela (1893) predates Debussy's Prélude à l'après-midi d'un faune (regarded as a
seminal work of musical impressionism) by a year. The American composer Howard Hanson also
borrowed from both Sibelius and impressionism generally in works such as his Second Symphony.[10]
Claude-Achille Debussy[1] (French: [klod aʃil dəbysi];[2] 22 August 1862 – 25
March 1918) was a French composer. Along with Maurice Ravel, he was
one of the most prominent figures associated with Impressionist music,
though he himself disliked the term when applied to his compositions. [3] He
was made Chevalier of the Legion of Honour in his native France in 1903.
[4]
Debussy was among the most influential composers of the late 19th and
early 20th centuries, and his use of non-traditional scales
and chromaticism influenced many composers who followed.[5]
Debussy's music is noted for its sensory content and frequent usage of
nontraditional tonalities.[6] The prominent French literary style of his period
was known as Symbolism, and this movement directly inspired Debussy
both as a composer and as an active cultural participant. [7]
Joseph Maurice Ravel (French: [ʒɔzɛf mɔʁis ʁavɛl]; 7 March
1875 – 28 December 1937) was a French composer, pianist and
conductor. He is often associated with impressionism along with
his elder contemporary Claude Debussy, although both
composers rejected the term. In the 1920s and 1930s Ravel was
internationally regarded as France's greatest living composer.
Born to a music-loving family, Ravel attended FraParis
Conservatoire; he was not well regarded by its conservative
establishment, whose biased treatment of him caused a scandal.
After leaving nce's premier music college, the the conservatoire
Ravel found his own way as a composer, developing a style of
great clarity, incorporating elements
of baroque, neoclassicism and, in his later works, jazz. He liked to
experiment with musical form, as in his best-known
work, Boléro (1928), in which repetition takes the place of
development. He made some orchestral arrangements of other
composers' music, of which his 1922 version
of Mussorgsky's Pictures at an Exhibition is the best known.
As a slow and painstaking worker, Ravel composed fewer pieces
than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber
music, two piano concertos, ballet music, two operas, and eight song cycles; he wrote no symphonies or
religious works. Many of his works exist in two versions: a first, piano score and a later orchestration.
Some of his piano music, such as Gaspard de la nuit (1908), is exceptionally difficult to play, and his
complex orchestral works such as Daphnis et Chloé(1912) require skilful balance in performance.
Ravel was among the first composers to recognise the potential of recording to bring their music to a
wider public. From the 1920s, despite limited technique as a pianist or conductor, he took part in
recordings of several of his works; others were made under his supervision.
EXPRESSIONISM
The term expressionism "was probably first applied to music in 1918, especially to Schoenberg", because
like the painter Wassily Kandinsky (1866–1944) he avoided "traditional forms of beauty" to convey
powerful feelings in his music (Sadie 1991, 244). Theodor Adorno sees the expressionist movement in
music, as seeking to "eliminate all of traditional music's conventional elements, everything formulaically
rigid". This he sees as analogous "to the literary ideal of the 'scream' ". As well Adorno
sees expressionist music, as seeking "the truthfulness of subjective feeling without illusions, disguises
or euphemisms". Adorno also describes it as concerned with the unconscious, and states that "the
depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the
"harmonious, affirmative element of art is banished" (Adorno 2009, 275–76).
The three central figures of musical expressionism are Arnold Schoenberg (1874–1951) and his
pupils, Anton Webern (1883–1945) and Alban Berg (1885–1935), the so-calledSecond Viennese School.
Other composers that have been associated with expressionism are Ernst Krenek (1900–1991) (the
Second Symphony, 1922), Paul Hindemith (1895–1963) (Die junge Magd, Op. 23b, 1922, setting six
poems of Georg Trakl), Igor Stravinsky (1882–1971) (Three Japanese Lyrics, 1913), Alexander
Scriabin (1872–1915) (late piano sonatas) (Adorno 2009, 275). Another significant expressionist was Béla
Bartók (1881–1945) in early works, written in the second decade of the 20th century, such asBluebeard's
Castle (1911) (Gagné 2011, 92), The Wooden Prince (1917) (Clements 2007), and The Miraculous
Mandarin (1919) (Bayley 2001, 152). American compsoers with a sympathetic "urge for such
intensification of expression" who were active in the same period as Schoenberg's expressionist free
atonal compositions (between 1908 and 1921) include Carl Ruggles, Dane Rudhyar, and, "to a certain
extent", Charles Ives, whose song "Walt Whitman" is a particularly clear example (Carter 1965, 9).
Important precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911),
and Richard Strauss (1864–1949) (Anon. 2000; Mitchell 2005, 334). Later composers, such asPeter
Maxwell Davies (1934–2016), "have sometimes been seen as perpetuating the Expressionism of
Schoenberg, Berg, and Webern" (Griffiths 2002), and Heinz Holliger's (b. 1939) most distinctive trait "is an
intensely engaged evocation of … the essentially lyric expressionism found in Schoenberg, Berg and,
especially, Webern" (Whittall 1999, 38).
Arnold Schoenberg
Musical expressionism is closely associated with the music Arnold
Schoenberg composed between 1908 and 1921, which is his
period of "free atonal" composition, before he devised twelvetone technique (Schoenberg 1975, 207–208). Compositions from
the same period with similar traits, particularly works by his
pupils Alban Berg and Anton Webern, are often also included
under this rubric, and the term has also been used pejoratively by
musical journalists to describe any music in which the composer's
attempts at personal expression overcome coherence or are
merely used in opposition to traditional forms and practices
(Fanning 2001). It can therefore be said to begin with
Schoenberg'sSecond String Quartet (written 1907–08) in which
each of the four movements gets progressively less tonal
(Fanning 2001). The third movement is arguably atonal and the
introduction to the final movement is very chromatic, arguably has
no tonal centre, and features a soprano singing "Ich fühle Luft von
anderem Planeten" ("I feel the air of another planet"), taken from a
poem by Stefan George. This may be representative of
Schoenberg entering the "new world" of atonality (Fanning 2001).
In 1909, Schoenberg composed the one-act 'monodrama' Erwartung (Expectation). This is a thirty-minute,
highly expressionist work in which atonal music accompanies a musical drama centered around a
nameless woman. Having stumbled through a disturbing forest, trying to find her lover, she reaches open
countryside. She stumbles across the corpse of her lover near the house of another woman, and from
that point on the drama is purely psychological: the woman denies what she sees and then worries that it
was she who killed him. The plot is entirely played out from the subjective point of view of the woman, and
her emotional distress is reflected in the music.[citation needed] The author of the libretto, Marie Pappenheim,
was a recently graduated medical student familiar with Freud's newly developed theories of
psychoanalysis, as was Schoenberg himself (Carpenter 2010, 144–46).
In 1909, Schoenberg completed the Five Pieces for Orchestra. These were constructed freely, based
upon the subconscious will, unmediated by the conscious, anticipating the main shared ideal of the
composer's relationship with the painter Wassily Kandinsky. As such, the works attempt to avoid a
recognisable form, although the extent to which they achieve this is debatable. [citation needed]
Between 1908 and 1913, Schoenberg was also working on a musical drama, Die glückliche Hand. The
music is again atonal. The plot begins with an unnamed man, cowered in the centre of the stage with a
beast upon his back. The man's wife has left him for another man; he is in anguish. She attempts to return
to him, but in his pain he does not see her. Then, to prove himself, the man goes to a forge, and in a
strangely Wagnerian scene (although not musically), forges a masterpiece, even with the other
blacksmiths showing aggression towards him. The woman returns, and the man implores her to stay with
him, but she kicks a rock upon him, and the final image of the act is of the man once again cowered with
the beast upon his back.[original research?]
This plot is highly symbolic, written as it was by Schoenberg himself, at around the time when his wife had
left him for a short while for the painter Richard Gerstl. Although she had returned by the time Schoenberg
began the work, their relationship was far from easy (Biersdorfer 2009). The central forging scene is seen
as representative of Schoenberg's disappointment at the negative popular reaction to his works. His
desire was to create a masterpiece, as the protagonist does. Once again, Schoenberg is expressing his
real life difficulties.
In around 1911, the painter Wassily Kandinsky wrote a letter to Schoenberg, which initiated a long lasting
friendship and working relationship. The two artists shared a similar viewpoint, that art should express the
subconscious (the "inner necessity") unfettered by the conscious. Kandinsky's Concerning The Spiritual
In Art (1914) expounds this view. The two exchanged their own paintings with each other, and
Schoenberg contributed articles to Kandinsky's publication Der Blaue Reiter. This inter-disciplinary
relationship is perhaps the most important relationship in musical expressionism, other than that between
the members of the Second Viennese School.[citation needed] The inter-disciplinary nature of expressionism
found an outlet in Schoenberg's paintings, encouraged by Kandinsky. An example is the self-portrait Red
Gaze (see Archived link), in which the red eyes are the window to Schoenberg's subconscious.
ELECTRONIC MUSIC
Electronic music is music that employs electronic musical instruments and electronic music
technology in its production, anelectronic musician being a musician who composes and/or performs
such music. In general a distinction can be made between sound produced using electromechanical
means and that produced using electronic technology. [1] Examples of electromechanical sound producing
devices include the telharmonium, Hammond organ, and the electric guitar. Purely electronic sound
production can be achieved using devices such as the theremin, sound synthesizer, and computer.[2]
The first electronic devices for performing music were developed at the end of the 19th century, and
shortly afterward ItalianFuturists explored sounds that had previously not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for
electronic instruments were composed. By the 1940s, magnetic audio tape allowed musicians to tape
sounds and then modify them by changing the tape speed or direction, leading to the development
ofelectroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in
1948, was based on editing together recorded fragments of natural and industrial sounds. Music
produced solely from electronic generators was first produced in Germany in 1953. Electronic music was
also created in Japan and the United States beginning in the 1950s. An important new development was
the advent of computers for the purpose of composing music. Algorithmic composition was first
demonstrated in Australia in 1951.
In America and Europe, live electronics were pioneered in the early 1960s. During the 1970s to early
1980s, the monophonicMinimoog became once the most widely used synthesizer at that time in both
popular and electronic art music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption
of polyphonic synthesizerssuch as the Yamaha GX-1 and Prophet-5, electronic drums, and drum
machines such as the Roland CR-78, through the emergence of genres such as krautrock, disco, new
wave and synthpop. In the 1980s, electronic music became more dominant in popular music, with a
greater reliance on synthesizers, and the adoption of programmable drum machines such as the Roland
TR-808 and TR-909 and the Linn LM-1, and bass synthesizers such as the Roland TB-303. In the early
1980s, a group of musicians and music merchants developed the Musical Instrument Digital Interface
(MIDI), and Yamahareleased the first FM digital synthesizer, the DX7.
Electronically produced music became prevalent in the popular domain by the 1990s, because of the
advent of affordable music technology.[3] Contemporary electronic music includes many varieties and
ranges from experimental art music to popular forms such as electronic dance music.Today, pop
electronic music is most recognizable in its 4/4 form and vastly more connected with the mainstream
culture as opposed to its preceding forms which were specialized to niche markets. [4]
CHANCE MUSIC
Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice")
is music in which some element of the composition is left to chance, and/or some primary element of a
composed work's realization is left to the determination of its performer(s). The term is most often
associated with procedures in which the chance element involves a relatively limited number of
possibilities.
The term became known to European composers through lectures by acoustician Werner MeyerEppler at the Darmstadt International Summer Courses for New Music in the beginning of the 1950s.
According to his definition, “a process is said to be aleatoric […] if its course is determined in general but
depends on chance in detail” (Meyer-Eppler 1957, 55). Through a confusion of Meyer-Eppler's German
terms Aleatorik (noun) and aleatorisch (adjective), his translator created a new English word, "aleatoric"
(rather than using the existing English adjective "aleatory"), which quickly became fashionable and has
persisted (Jacobs 1966). More recently, the variant "aleatoriality" has been introduced (Roig-Francolí
2008, 340).
PREVENTING SELF HARM
Self-injury behaviors are any behaviors that a person does with the purpose of hurting oneself. How to
stop self-harm once you start though can be a big problem.
Some people may self-injure (also known as self-harm or self-mutilation) only once, while most will
engage in self-harm behaviors multiple times.
Many people go on to years though because they find it so difficult to stop self-harm. (read about SelfHarm in Adults)
But it is possible to change self-harm behaviors – it is possible to stop self-injury. To stop self-mutilation,
though, many things need to change, including:
The environment
A support system
Thought patterns
It's also important to know about self-harm alternatives and to gain some insight into why you selfharm or what triggers your self-injury behaviors. This self-injury test can help with that part.
Stop Self-Harm Behaviors by Changing the Environment
The environment is part of what causes, or allows for, self-harm and changing it can help stop self-injury.
The first step is analyzing what role the environment has on self-injury behavior. For example:
Do you self-injure at a specific time of day?
Do you self-harm in a specific place?
Do you use certain tools to self-mutilate?
Do you have a ritual around your self-harm?
Knowing the answers to these questions can help you change those aspects of your environment that
contribute to your self-harm behaviors. (Causes of Self-Injury)
Changing the environment can be done once the urge to self-harm strikes, but it's easier to do before the
urge comes.
For example, to help stop self-harm, you can:1
Keep yourself busy at the times of day you are likely to self-harm. Don't be alone
during these times.
Stay away from any place where you typically self-injure.
Throw away any tools used to self-mutilate. (Ways People Self Harm) If you can't
throw them away, make them as inaccessible as possible.
Stop yourself from committing self-harm rituals by adding or removing steps from
them. Altering your rituals will likely make you uncomfortable and this discomfort can
help stop self-harm.
Stop Self-Injury by Getting Support and Help
Many people battle to stop self-mutilation but lose this battle when fighting alone. It's only once they gain
the support of others that they can stop self-harming behaviors. Self-injury help and support can come
from professional sources such as a self-harm treatment center, program or psychotherapist, or it can
come from friends, family members or others. The important thing is to have supportive people around
you who you can turn to for help when you need it. If you feel the urge to self-harm, call one of these
supports and have them talk or sit with you. This can be one of the easiest ways to stop self-mutilation.
Stop Self-Mutilation by Changing Your Thoughts
Changing the way you think is no easy task; that is for sure. However, changing some of the negative
thoughts that lead to self-injury is possible and important. Just like with the environment, first it's important
to analyze the thoughts surrounding self-harm in order to better understand and challenge them. Some
questions to think about might be:
How accurate are my thoughts surrounding self-harm?
Are my negative thoughts reasonable?
What are my thoughts right before I self-harm?
Handling those thoughts can be tricky but there are techniques used to challenge, stop and alter negative
thoughts of self-harm.
Challenge the negative thoughts – you'll likely find that many of them aren't true but
only feel true at the time.
If you find yourself in a spiral of negative thoughts, think (or even shout) stop and
change your thoughts to something else.
Reframe negative thoughts. For example, instead of thinking, "I'm so dumb for
hurting myself." Think, "I did what I needed to do to take care of myself. I will do better
next time."
These self-harm thought-altering techniques may take a lot of practice to work. A therapist can help you
with more self-harm stopping techniques.
Self-Harm Alternatives
If you find yourself in a spiral wherein you feel you are about to self-harm, it's important to know self-harm
alternatives that can take the place of self-injury. Self-mutilation alternatives can keep you physically safe
even when overwhelmed with the urge to self-harm.
Self-injury alternatives include:2
Punching a pillow or a punching bag
Squeezing ice cubes; putting your face in a bowl of ice water
Eating chili or other spicy food
Taking a very cold shower
Drawing on your body instead of cutting it
Strenuous exercise
Of course, the best self-harm alternative is likely to reach out and talk to someone about how you are
feeling.
PREVENTING A CULTURE OF NON VIOLENCE THROUGH HEALTHFUL BEHAVIORS
Strengthening peace and non-violence through education, advocacy and media including ICTs
and social networks
Developing the use of heritage and contemporary creativity as tools for building peace through
dialogue
Strengthening social cohesion and contributing to the African Renaissance through the
introduction of the General History of Africa into formal and non-formal education settings
Promoting scientific and cultural cooperation for the management of natural transboundary
resources
Empowering and engaging young people, women and men