Sample records for CUARTO SONIDO (fourth sound)
from WorldWideScience.org

Sample records 1 - 3 shown.



1

Variaciones de la enzima fosfatasa alcalina en la pulpa dental/ Variations of alkaline phosphatase enzyme in the dental pulp

Pons Pinillos, Zoraida; Hernández Rodríguez, Nadia
2005-08-01

Resumen en español En las últimas décadas, numerosas investigaciones se han dedicado al estudio de los mecanismos potenciales implicados en el desarrollo de la caries dental y su prevención, sin embargo, a pesar de haber disminuido gradualmente el índice de caries en la población, son muchos los pacientes que necesitan tratarse la caries dental, tal es así que continuamente se están utilizando diferentes materiales en la búsqueda de aquel que ante una agresión a la pulpa, ayude a u (mas) na respuesta biológica de la misma, conservando de esta forma su integridad. De ahí la importancia de la actividad de la fosfatasa alcalina de la pulpa en el proceso carioso, como una reacción ante el hidróxido de calcio que continuamente se está usando en toda la red docente-asistencial del país. Se seleccionaron 50 dientes monorradiculares, con pulpa viva y con caries de segundo, tercer y cuarto grado y 50 dientes sanos de pacientes de diferentes edades. Se extrajo la pulpa de cada diente y se realizaron improntas (3 por cada muestra), una de las cuales se procesó para obtener orientación morfológica, y las otras 2 para valorar la actividad de la fosfatasa alcalina. Para esto se utilizaron 2 métodos: el de calcio cobalto y el de alpha naftol fosfato de Gomori. Como resultado, se obtuvo que la pulpa tiene más actividad enzimática en caries profunda y que la edad del paciente no determina el aumento o disminución de dicha actividad. Resumen en inglés In the last decades, numerous investigations have been made on the study of potential mechanisms involved in the development of dental caries and their prevention. However, in spite of the gradual reduction of dental caries in the population, a lot of patients need to have their dental caries treated and different materials are continuously used searching for one that before the aggression to the pulp helps it to give a biological response, conserving this way its integri (mas) ty. That's why the activity of the alkaline phosphatase of the pulp in the caries process is important as a reaction to the calcium hydroxide that is constantly utilized in the teaching-health service network of the country. 50 monoradicular teeth with living pulp and with caries of second, third and fourth degree, and 50 sound teeth from patients of different ages were selected. The pulp of each tooth was extracted and impressions were made (3 per sample). One of them was processed to obtain morphological guidance and the other two to assess the activity of alkaline phosphatase. The cobalt calcium method and Gomori's alpha naphthol phosphate method were used to this end. As a result, it was proved that the pulp has a higher enzymatic activity in deep caries and that the age of the patient does not determine the increase or decrease of this activity.

Scientific Electronic Library Online (Spanish)

2

Los estilos epistémicos y tipos de personalidad como factores asociados a la elección de carrera/ Epistemological styles and types of personality as factors associated in choice of study areas

Rehbein Felmer, Lucio; Martínez Pool, Gloria; Rose Fisher, Inés; Fritz, Carmen Gloria
2009-06-01

Resumen en español Las buenas elecciones ocupacionales previenen en grado importante los desajustes entre las preferencias del individuo y las tareas del trabajo. Con base en esa premisa, el objetivo general de esta investigación consistió en aportar elementos para la implementación de un proceso de orientación vocacional mejor fundamentado psicológicamente. Los participantes fueron 184 estudiantes, 90 de primero, y 94 de cuarto año, de tres carreras de Educación Superior (Ingenierí (mas) a, Agronomía y Artes/ Diseño). En términos específicos, se buscó establecer: (a) si existía una relación entre las mediciones de funciones básicas de personalidad y estilos epistémicos; (b) si existía una asociación entre una configuración particular de estas mediciones (perfil empírico) y el perfil teórico estimado para la carrera elegida por los estudiantes; y (c) si la exposición sistemática al plan de formación de cada carrera (cuartos años) se traducía en un robustecimiento de la configuración de estilos de aproximación a la realidad observada en estudiantes de primer año. Los resultados muestran amplia congruencia entre las mediciones con las dos escalas y confirman el perfil teórico predicho para cada carrera. Sin embargo, el entrenamiento en cada profesión, en lugar de acentuar, tiende a eliminar los atributos distintivos de estos perfiles. Resumen en inglés Good occupational choices prevent to a large extent conflicts that may arise between personal preferences and working tasks. On the basis of this premise, the general aim of this study is to contribute towards the implementation of a process of vocational guidance based on sound psychological principles. The participants were 184 students, 90 from the first and 94 from the fourth year of three areas of Higher Education (Engineering, Agronomy and Art/Design). In specific t (mas) erms, we set out to establish: (a) if there is a relation between the measures of basic personality functions and epistemic styles; (b) if there is a relation between a particular configuration of these measures (empirical profile) and the theoretical profile estimated for the chosen field of study by the students; and (c) if the systematic exposure to the study plan of each area (fourth years) led to a reinforcement of the configuration of the styles observed in the first year students. The results show a good deal of congruence between the measures with the two scales and confirm the theoretical profile predicted for each area of study. However, the training given in each area tends to eliminate the distinctive attributes of these profiles rather than accentuating them.

Scientific Electronic Library Online (Spanish)

3

La respuesta emocional a la música: atribución de términos de la emoción a segmentos musicales/ The emotional response to music: attribution of emotions words to musical segments

Flores-Gutiérrez, Enrique; Díaz, José Luis
2009-02-01

Resumen en español A pesar de que la música se considera habitualmente una fuente de estados afectivos variados diferentes e intensos, no existe una técnica en la ciencia que revele con suficiente fidelidad experimental los procesos y estados emocionales evocados por ella. Es así que el progreso en el entendimiento de la emoción musical depende críticamente del desarrollo de métodos razonablemente seguros para registrar y analizar este peculiar proceso afectivo. El presente estudio se (mas) realizó para desarrollar y probar una técnica diseñada para el estudio de las emociones humanas provocadas por la música. En particular se estudia si diferentes piezas musicales evocan un acuerdo significativo en la selección de términos de la emoción previamente sistematizados entre una población comparable de sujetos humanos. Dado que la música constituye un tipo de lenguaje acústico evolutiva y culturalmente seleccionado para la comunicación de estados emocionales, se puede suponer un acuerdo significativo entre evaluadores de una población homogénea en la atribución de términos de la emoción a segmentos musicales cuidadosamente seleccionados. El sistema de atribución elegido permitió obtener respuestas objetivas, derivadas de la introspección, a segmentos musicales y analizar los datos mediante un procesamiento estadístico apropiado de nivel de acuerdo entre observadores. Los voluntarios fueron 108 estudiantes con una edad promedio de 22 años, de ambos sexos, de cuatro escuelas de nivel superior en los Estados mexicanos de Querétaro y Guanajuato. Las sesiones duraron 90 minutos cada una y se realizaron en un salón adaptado en cada centro pedagógico. En las sesiones de audición y atribución se tocaron 10 obras musicales: cinco del repertorio clásico, cuatro del inventario popular propio y ajeno, así como la sonorización del espectro magnético de una aurora boreal, un fenómeno natural. Los fragmentos seleccionados, divididos en dos a cinco segmentos de 24seg de duración en promedio, se reprodujeron con diferente orden y en dos pasos consecutivos. Primero se tocó la sección completa para que el oyente expresara libremente sus reacciones por escrito. A continuación se tocaron los segmentos de la misma obra y el oyente escogió términos de la emoción que mejor identificaran su respuesta afectiva a cada uno de ellos a partir de un compendio adjunto. El formato de respuestas presentaba un arreglo donde el sujeto realizó la selección y atribución de los términos de la emoción que le evocaron los diferentes segmentos musicales al tiempo de escucharlos. Para esta tarea se proveyó a los sujetos de un esquema circular de términos de la emoción, anexo al formato, el cual se obtuvo a partir de una lista de 328 palabras en castellano que denominan emociones particulares. Los términos fueron agrupados finalmente en 28 conjuntos y 14 ejes de polaridades afectivas opuestas en un modelo circular del sistema afectivo, con un total de 168 términos. Para el análisis estadístico, las atribuciones de todos los sujetos participantes fueron transformadas a rangos y se aplicó la prueba no paramétrica de varianza bifactorial de Friedman para k muestras relacionadas como análisis de acuerdo entre observadores. Los datos se agruparon en las 28 categorías emocionales mencionadas y se probaron las diferencias entre los segmentos musicales. Éstas resultaron significativas en 24 de las 28 categorías emocionales para α = 0.05, con 33 grados de libertad (Fr ≥ 43.88). Para establecer en cuáles segmentos se ubicaban las diferencias, se aplicó la extensión de la prueba de Friedman para comparaciones de grupos con un control y se obtuvo un valor crítico de las diferencias, | R1 - Ru | ≥18.59, con lo cual fue posible graficar el nivel de significancia de todas las categorías emocionales para cada segmento musical. De esta forma se obtuvo el perfil emocional específico de cada fragmento de música para la población analizada. Los resultados muestran que en todos los segmentos musicales hay predominio significativo de una o más categorías de la emoción y que éstos son diferentes para la mayoría de los segmentos. Si, como es verosímil suponer, los términos de la emoción elegidos por los sujetos participantes correspondían efectivamente a estados emocionales particulares, entonces la mayoría de los segmentos musicales elegidos como estímulos parecen generar una respuesta emocional semejante y relativamente específica entre los escuchas, en función de las características de su composición. Esta técnica puede ser útil para generar y analizar estados emocionales específicos en situaciones experimentales y controladas de audición musical. Resumen en inglés Even though music is usually considered a source of intense, diverse, and specific affective states, at the present time there is not a standardized scientific procedure that reveals with reliable confidence the emotional processes and events evoked by music. The progress in understanding musical emotion crucially depends in the development of reasonable secure methods to record and analyze such a peculiar and universally-sought affective process. In 1936 Kate Hevner publ (mas) ished a pioneer study where she used a list of 66 adjectives commonly used to categorize musical compositions arranged in a circle of eight groups of similar emotions. The volunteers selected the terms that seemed appropriate to categorize their emotional experience while they listened to masterpieces by Debussy, Mendelssohn, Paganini, Tchaikovsky, and Wagner. The results were presented in histograms showing a different profile for each piece. Subsequent studies have advanced in the methods and techniques to assess the emotions produced by music but there are many still unresolved difficulties concerning the criteria to choose the musical pieces, the terms of emotion, the design of the experiment, the proper controls, and the relevant statistical tools to analyze the results. The present study was undertaken in order to test and advance an experimental technique designed to evaluate and study the human emotions evoked by music. Specifically, the study intends to prove if different musical excerpts evoke a significant agreement in the selection of previously organized emotion terms within a relatively homogeneous population of human subjects. Since music constitutes a form of acoustic language that has been selected and developed through millennia of human cultural evolution for the expression and communication of emotional states, it is supposed that there will be a significant agreement in the attribution of terms of emotion to musical segments among human evaluators belonging to a relatively homogeneous population. The attribution system allowed both to obtain objective responses derived from introspection and to analyze the data by means of an appropriate statistical processing of data obtained in groups of subjects submitted to carefully selected musical stimuli. Volunteer subjects were 108 college-level students of both sexes with a mean age of 22 years from schools and universities located in the central Mexico. The audition and attribution sessions lasted for 90 min and were conducted in a specially adapted classroom located in each institution. Four criteria were established for the selection of the musical excerpts: instrumental music, homogeneous melody and musical theme, clear and distinct affective tone, and samples of different cultures. The ten selected pieces were: 1. Mozart's piano concerto no. 1 7, K 453, third movement; 2. A sound of the magnetic spectra of an aurora borealis, a natural event; 3. Mussorgsky's Gnome, from Pictures at an Exhibition orchestrated by Ravel; 4. Andean folk music; 5. Tchaikovsky's Fifth Symphony, second movement; 6. >, heavy metal music by Metallica; 7. Japanese Usagi folk music played with koto and shyakuhachi; 8. Mahler's Fifth Symphony, second movement; 9. Taqsim Sigah, Arab folk music played with kamandja, and 1 0. Bach's Inventions in three parts for piano, BMW 797. The selected fragments and their replicas were divided in two to five musically homogeneous segments (mean segment duration: 24 seconds) and were played in different order in each occasion. The segments were played twice during the test. During the first audition, the complete piece was played in order for the subjects to become familiar with the composition and freely express their reaction in writing. During the second hearing, the same piece was played in the separate selected segments and the volunteers were asked to choose those emotion-referring terms that more accurately identified their music-evoked feelings from an adjunct chart obtained and arranged from an original list of 328 Spanish words designing particular emotions. The terms had been previously arranged in 28 sets of semantically related terms located in 14 bipolar axes of opposing affective polarity in a circumflex model of the affective system. The recorded attributions from all the subjects were captured and transformed into ranks. The non-parametric Friedman test of rank bifactorial variance for k related samples was selected for the statistical analysis of agreement. All the data were gathered in the 28 categories or sets of emotion obtained in the previous taxonomy of emotion terms and the difference among the musical segments was tested. The difference was significant for 24 of the 28 emotional categories for α=0.05 and 33 degrees of freedom (Fr ≥43.88). In order to establish in which segments were the main significant differences, the extension of the Friedman test for comparison of groups to a control was undertaken. Thus, after applying the appropriate formula, a critical value of the difference | R1 - Ru | was established at ≥18.59. In this way it was possible to plot the significance level of all 28 emotion categories for each music segment and thereby to obtain the emotion profile of each selected music fragment. The differences obtained for the musical pieces were established both for the significant response of individual emotion, groups of emotions, and the global profile of the response. In all the pieces used, one or more terms showed significance. Sometimes as many as seven terms appear predominant (Mahler, Mozart). In contrast other segments produce only one or two responses (aurora borealis, Arab music). In most musical segments there were null responses implying that there was an agreement concerning not only the emotions that were present, but also those that did not occur. Concerning the global response, there were several profiles recognizable among different pieces. The histogram is slanted to the left when positive and vigorous emotions are reported (Tchaikovsky, Bach). The predominance of emotions in the center-right sector corresponds to negative and quiet emotions (Arab music) or in the fourth sector of negative and agitated emotions (Mahler). Sometimes a > shaped profile was obtained when vigorous emotions predominated (Mahler, Metallica). A bell-shaped response was obtained when calm emotions were reported, both pleasant and unpleasant (Japanese music). There is also music that globally stimulates one of the four quadrants defined in the affective circle, such as pleasant (Mozart), unpleasant (Mussorgsky), exciting (Metallica) or relaxing emotions (Japanese music). The only segment that produced scattered responses in the four sectors of emotions was the aurora borealis. Very similar profiles were obtained with very different pieces, such as the identical responses to Mozart and Andean music. It is necessary to analyze the individual emotion terms to distinguish them. Several common characteristics can be detected in these two pieces, such as fast speed in tempo allegro, binary rhythm, counterpoint figures, and ascending melody, well known features in music composition. In contrast other segments evoked unpleasant responses (Mussorgsky), where fear, tension, doubt or pain was reported. The listener probably concedes a high value to a piece that evokes emotions that normally avoids in the context of a controlled artistic experience.

Scientific Electronic Library Online (Spanish)