A study of the enzymatic hydrolysis of fish frames using model systems

A model system was employed to study the operating conditions and primary parameters of enzymic hydrolysis of cod proteins. Pancreatin, papain, and bromelain were used to hydrolyse minced cod fillets under controlled conditions and with the rate of hydrolysis being continually monitored via both the pH-stat and TNBS method. The two methods were compared and evaluated. The rate of protein solubilisation was plotted against the degree of hydrolysis (DH). Dry fish protein hydrolysate (FPH) powders having short, medium and high degrees of hydrolysis (DH of approximately 8%, 11% and 16% respectively) were produced and analysed for their molecular weight distribution, using size exclusion chromatography. Almost complete protein solubilisation (75 g soluble protein per kg hydrolysis solution) could be achieved within an hour, at 40°C, at 1% enzyme/substrate ratio (w/w) with papain and bromelain. The pH-stat was found capable of continuously following the rate of hydrolysis but only at low DH. The TNBS could be accurately used even at high DH to estimate the percentage of the peptide bonds cleaved, but required chemical analysis of withdrawn samples

Gender and the performance of music

This study evaluates propositions that have appeared in the literature that music phenomena are gendered. Were they present in the musical "message," gendered qualities might be imparted at any of three stages of the music-communication interchange: the process of composition, its realization into sound by the performer, or imposed by the listener in the process of perception. The research was designed to obtain empirical evidence to enable evaluation of claims of the presence of gendering at these three stages. Three research hypotheses were identified and relevant literature of music behaviors and perception reviewed. New instruments of measurement were constructed to test the three hypotheses: (i) two listening sequences each containing 35 extracts from published recordings of compositions of the classical music repertoire, (ii) four "music characteristics" scales, with polarities defined by verbal descriptors designed to assess the dynamic and emotional valence of the musical extracts featured in the listening sequences. 69 musically-trained listeners listened to the two sequences and were asked to identify the sex of the performing artist of each musical extract; a second group of 23 listeners evaluated the extracts applying the four music characteristics scales. Results did not support claims that music structures are inherently gendered, nor proposals that performers impart their own-sex-specific qualities to the music. It is concluded that gendered properties are imposed subjectively by the listener, and these are primarily related to the tempo of the music

Enzymatic hydrolysis of fish frames using pilot plant scale systems

Papain was used to hydrolyse fish frames under controlled conditions at a batch-pilot plant scale-process, for the pro-duction of fish protein hydrolysates (FPH). Mass balance calculations were carried out so that the rate of hydrolysis, rate of protein solubilisation and yields could be estimated. Almost complete hydrolysis could be achieved in 1 hour, at 40°C, with no pH adjustment, at 0.5% (5 g·kg−1) enzyme to substrate ratio (E/S, were S is Kjeldahl protein) using whole fish frames (including heads and flaps). This was achieved both with the addition of water (1/1 to 2/1 frames/water) but more importantly from commercial considerations without the initial addition of water (after mincing of the fish mate-rial). The degree of protein solubilisation ranged between 71% - 86% w/w. Four different processes are described, namely: 1) a soluble spray-dried FPH powder; 2) a liquid FPH; 3) a partly soluble, spray dried FPH powder and; 4) a crude, drum-dried protein for animal consumption. The amino acid profile of the FPH was identical to that of the par-ent substrate (fish frames)

'Sounds of Intent' : Mapping musical behaviour and development in children and young people with complex needs

This article reports on the first year of an Esmae Fairbairn Foundation-funded research project into the design and evaluation of an original 'framework' for mapping the behaviour and development in, and through, music for children with complex needs, specifically those with profound and multiple learning difficulties (PMLD). An initial four-month design and pilot phase critiqued and evaluated a framework that was grounded in video-based iterative analyses of individual case studies that had been collected during the previous two years. The piloting phase was followed by a sustained period of classroom-based music lesson observation in five special schools over a period of seven months. A total of 630 observations were made using the framework for 68 participants whose ages ranged from 4 years 7 months to 19 years 1 month. Subsequent analyses support the general design features of the observational framework and provide new evidence of PMLD musical behaviour and development

The National Singing Programme for primary schools in England: an initial baseline study

The ‘Sing Up’ National Singing Programme for Primary schools in England was launched in November 2007 under the UK Government’s ‘Music Manifesto’. ‘Sing Up’ is a four-year programme whose overall aim is to raise the status of singing and increase opportunities for children throughout the country to enjoy singing as part of their everyday lives, in and out of school. As part of the Programme’s research evaluation, a key focus has been to build an initial picture of singing in Primary schools across England. This information could then be used as a ‘baseline’ by which the programme’s subsequent impact could be judged, including ‘before’ and ‘after’ measures of schools that receive particular ‘Sing Up’ input. This paper reports an overview of key outcomes of first five months of baseline profiling (October, 2007 to February 2008), embracing analyses of the singing behaviours of 3,472 children in 76 Primary schools. These findings are complimented by additional analyses of children’s views on singing in and out of school; and the self-efficacy of their class teachers’ (n=90), both as singers and as teachers of singing

Investigating musical performance: Commonality and diversity amongst classical and non-classical musicians

The research project 'Investigating Musical Performance: Comparative Studies in Advanced Musical Learning' was devised to investigate how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts. The aim of this paper is to explore the findings relating to attitudes towards the importance of musical skills, the relevance of musical activities and the nature of musical expertise. Questionnaire data obtained from the first phase of data collection (n = 244) produced evidence of differences and similarities between classical and non-classical musicians. While classical musicians emphasised the drive to excel musically and technically and prioritised notation-based skills and analytical skills, non-classical musicians attached greater importance to memorising and improvising. Regardless of genre, the musicians all considered practical activities such as practising, rehearsing, taking lessons and giving performances to be relevant. However, while classical musicians attached greater relevance to giving lessons and solo performances, their non-classical colleagues considered making music for fun and listening to music within their own genre to be more relevant. Some underlying processes that may have accounted for the differences in attitudes are explored, including musical influences, age of initial engagement with music and educational background. Points of similarity and differences are discussed, and possibilities for the two musical trajectories to inform and learn from each other are highlighted

Inspiring Music for All: next steps in innovation, improvement and integration

The report, funded by the Paul Hamlyn Foundation, provides an overview of schools-based music education in England. It represents the outcomes of research undertaken in January and February 2014 which included detailed literature reviews, personal interviews with thirty-five specialists involved in leading various organisations responsible for different aspects of music education, focus group discussions and an on-line survey of the music education workforce that generated 515 responses. The findings suggest that the place and status of music in schools vary widely across the country. The best music in schools is significantly more inclusive, more musically diverse and better quality that it was a decade ago. However, the quality and reach of schools-based music education is still unacceptably variable and inconsistent at both primary and secondary levels. Detailed findings and recommendations are included in the report

Singing and social inclusion

There is a growing body of neurological, cognitive, and social psychological research to suggest the possibility of positive transfer effects from structured musical engagement. In particular, there is evidence to suggest that engagement in musical activities may impact on social inclusion (sense of self and of being socially integrated). Tackling social exclusion and promoting social inclusion are common concerns internationally, such as in the UK and the EC, and there are many diverse Government ministries and agencies globally that see the arts in general and music in particular as a key means by which social needs can be addressed. As part of a wider evaluation of a national, Government-sponsored music education initiative for Primary-aged children in England (“Sing Up”), opportunity was taken by the authors, at the request of the funders, to assess any possible relationship between (a) children's developing singing behavior and development and (b) their social inclusion (sense of self and of being socially integrated). Subsequently, it was possible to match data from n = 6087 participants, drawn from the final 3 years of data collection (2008–2011), in terms of each child's individually assessed singing ability (based on their singing behavior of two well-known songs to create a “normalized singing score”) and their written responses to a specially-designed questionnaire that included a set of statements related to children's sense of being socially included to which the children indicated their level of agreement on a seven-point Likert scale. Data analyses suggested that the higher the normalized singing development rating, the more positive the child's self-concept and sense of being socially included, irrespective of singer age, sex and ethnicity

The Provision of Music in Special Education (PROMISE) 2015

The paper reports the outcomes of a national survey of music in special schools in England that was conducted in the summer of 2015. The survey sought to uncover the current state of affairs in the sector, whilst also allowing a comparison to be made with the findings of a related study undertaken at the end of the last century. The survey outcomes also provide contextual data to inform the design of a current wider national initiative to improve the overall effectiveness of music education in the UK for all children (the inspire-music project). In total, fifty-seven special schools responded to the on-line survey. Findings suggest that music is taught at least weekly to 95% of children aged 2–13 years (noting that 5–13 are the statutory ages for music in mainstream schools), with slightly smaller proportions for 14–16 yearolds (83%), an age group for whom music becomes an optional subject in mainstream schools, and less for the oldest age group (66% of 16–19 year-olds). Eighty per cent of schools reported that they employed a specialist music teacher, which appears to be a much higher proportion of musically qualified staffing than almost two decades earlier. Where schools have a formal music curriculum, over half (59%) report that this is specially designed and adapted from existing models, such as the new Sounds of Intent framework. Music was also reported to be a common element in other lessons by 3:4 schools, and common at lunchtimes/break times (2:3). Regular and systematic input from outside music agencies was reported to be relatively common (3:4 schools). Four-fifths of schools had a dedicated music room, and music technology use was commonplace. Music therapy was reported to be available in 1:3 schools, a similar proportion to 1999–2000, but for relatively double the numbers of children (11%, compared to 5% earlier). In addition, virtually all schools (96%) reported children with a particular interest in music and almost all schools felt that music was important. The detailed data imply a clear positive shift since the late 1990s, with more musically qualified staffing, a broader range of resources for the music curriculum, more external organisations available to support music, increased use of music technology and improved music therapy provision. Nevertheless, given the small number of schools responding to the survey compared to those in total within the special schools sector, it is not yet possible to confirm that all children have access to an effective music education