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Tytuł:
,,BIERZESZ CZTERY LUB PIĘĆ NUT, JEDNĄ WYRZUCASZ, JEDNĄ PRZESUWASZ…”, czyli temat główny z Gwiezdnych wojen i Marsz imperialny jako standardy muzyki filmowej oraz ich wpływ na kulturę popularną
YOU GET FOUR OR FIVE NOTES, YOU TAKE ONE NOTE OUT AND ONE MOVE AROUND…*, “STAR WARS MAIN THEME” AND “IMPERIAL MARCH” AS STANDARDS OF FILM MUSIC AND THEIR INFLUENCE ON POPULAR CULTURE
Autorzy:
SKORUPSKI, Patryk
Powiązania:
https://bibliotekanauki.pl/articles/909317.pdf
Data publikacji:
2019-06-27
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Star Wars
music
soundtrack
popular culture
orchestra
movie
commercial
Opis:
Everybody has his own smells, tastes, pictures which are associated to us with particular situations. It is the same with music and melodies. Most of us can hum “Ode to Joy”, “Für Elise” or… “Imperial March” from Star Wars. What is the strongest quality of music from this saga? Dynamism? Simplicity? Or maybe tone of instruments? I will try to find reason.
Źródło:
Historia@Teoria; 2018, 1, 7; 119-125
2450-8047
Pojawia się w:
Historia@Teoria
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hearing damage caused by noise in classical musicians
Autorzy:
Zbysińska, Marta
Lachowska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1399069.pdf
Data publikacji:
2020
Wydawca:
Index Copernicus International
Tematy:
classical music
hearing loss
hearing protectors
musicians
noise
orchestra
Opis:
In this paper, we discuss the issue of hearing damage caused by noise in classical musicians. Long-term exposure to highintensity sounds leads to degenerative changes at the level of the cochlea and then in the higher parts of the auditory canal. This is particularly unfavorable for musicians because an efficient hearing organ is necessary for them to perform their daily work. The risk of hearing damage depends on noise parameters and intrinsic factors referred to as individual noise sensitivity. Not all musicians are exposed to sounds that exceed the acceptable level. However, most of them work at noise levels that are close to or above the acceptable safety limit, thus posing a health threat. In addition to hearing threshold elevation, tinnitus, hyperacusis, and diplacusis may result following many years of exposure to high-intensity acoustic stimuli. Although the differences between the hearing thresholds for instrumentalists and members of the unexposed population are not large, researchers emphasize the need to recognize musicians as a risk group and to apply appropriate prevention. One of the methods to prevent hearing damage is to use ear protectors, which, although effectively reduce exposure, are not widely used by instrumentalists as they impede auditory control over the sounds produced by the instrument. In addition, multifaceted prevention programs and various techniques to minimize exposure are used, such as the proper placement of loud instruments in an orchestra.
Źródło:
Polski Przegląd Otorynolaryngologiczny; 2020, 9, 2; 41-53
2084-5308
2300-7338
Pojawia się w:
Polski Przegląd Otorynolaryngologiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzykalia po dawnej Wałbrzyskiej Orkiestrze Górniczej (Waldenburger Bergkapelle) ze zbiorów Biblioteki Uniwersyteckiej w Warszawie1
The Musical Sources of the Former Miners’ Orchestra of Wałbrzych (Waldenburger Bergkapelle) from the Collection of Warsaw University Library
Autorzy:
Bialucha, Lidia
Powiązania:
https://bibliotekanauki.pl/articles/513858.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Miners’ Orchestra of Wałbrzych
Waldenburger Bergkapelle
musical manuscripts
RISM
Waldenburg
Opis:
In the article, the author investigates 24 musical manuscripts belonging to former Miners’ Orchestra of Wałbrzych (Waldenburger Bergkapelle), which used the sources for concerts of the orchestra. The analysed manuscripts have not yet been researched or catalogued in RISM (Répertoire International des Sources Musicales) database before. The ensemble’s repertoire was analysed and the collection’s characteristics, including copyists, watermarks and stamps, were examined. It allowed to assess the provenience of the manuscripts and make certain remarks about the type of repertoire played by Waldenburger Bergkapelle. The results of the analysis were presented in the context that can be found in secondary sources, widely describing the activity of the orchestra. The author also carried on cataloguing in Warsaw University Library, creating the catalogue in the Muscat RISM system. Considering the numbers on shelfmarks, it can be assumed that the original collection contained circa one hundred of musical sources. However, only a small part of them is known and catalogued. Therefore, the knowledge of the collection remains incomplete and is worth further investigation.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2019, 3(42); 5-32
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Działalność orkiestry symfonicznej w getcie łódzkim w latach 1940–1944
The Activity of the Symphony Orchestra in Litzmannstadt Ghetto (1940–1944)
Autorzy:
Mikołajczak, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/514079.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Łódź ghetto
Litzmannstadt Ghetto
symphony orchestra
Teodor Ryder
Dawid Bajgelman
Opis:
The article presents the activity of the symphony orchestra in Litzmannstadt Ghetto, existing in Łódź in the years 1940–1944. It was the first and longestrunning camp of this type in Poland, with over 200,000 Jews from the Wartheland and Western Europe. There, the orchestra consisting of fortyfour musicians was functioning. It employed the artists associated with Łódź Symphony Orchestra before the war, and from 1941 its musicians also performed under that name. The aim of the article is to familiarise the audience with the history of Litzmannstadt Ghetto and, above all, to present the music that was heard by the imprisoned community. During World War II, the ghetto was the only place in Łódź where culture and art had any chance to develop. The musicians could legally conduct cultural activities while being subject to strict censorship of Judenrat. Teodor Ryder, a pianist, conductor, organiser and promoter of musical life, was the person responsible for the selection of the repertoire for the orchestra was. Starting from March 1941, the House of Culture, located at 3 Krawiecka Street, was its official seat. The events taking place there gathered crowds – only during the first year of the activity of the orchestra, around seventy thousand listeners were present at the concerts.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2019, 3(42); 53-76
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Adam Franciszek Epler (1902–1940): A Forgotten Musician of Interwar Lviv
Autorzy:
Gurgul, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/2159098.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Adam Epler
Lviv
guitar
mandolin orchestra
Polish Radio
Katyn massacre
victim
Opis:
This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2020, 2(45) ENG; 23-58
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Songs during the Canonization Mass of Blessed Kinga Chaired by Pope John Paul II in Stary Sącz (June 16, 1999)
Autorzy:
Garnczarski, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/668586.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
John Paul II
Saint Kinga
canonization
chants
songs
music
choir
orchestra
Opis:
The 7th Pilgrimage of the Holy Father to Poland was a special time for the Tarnowski Church community, because during the pilgrimage John Paul II was to come to Stary Sącz to canonize Saint Kinga. An important element of any liturgical meeting are song sand liturgical music. The present study aims to show various aspects of preparations in the musical field, from the liturgical theme of the celebration, through the performers, to the planned repertoire of songs. The canonization of Saint Kinga decided the subject matter of the texts, the performers were joined by choirs and orchestras, while the repertoire consisted of songs in honor of Saint Kinga, Eucharistic songs intended for the common singing of the entire community and choral works with orchestra accompaniment. Its character emphasized the very festive mood of this feast of faith.
Źródło:
The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II; 2019, 9, 1
2391-6559
2083-8018
Pojawia się w:
The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Adam Franciszek Epler (1902–1940) – zapomniany muzyk międzywojennego Lwowa
Adam Franciszek Epler (1902–1940): A Forgotten Musician of Interwar Lviv
Autorzy:
Gurgul, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/2154762.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Adam Epler
Lviv
guitar
mandolin orchestra
Polish Radio
Katyn massacre
victim
Opis:
This article is an introduction to the artistic profile of a Polish conductor, composer and guitarist Adam Franciszek Epler. This forgotten creative persona left the artistic legacy of compositions and arrangements for mandolin orchestra ensemble. Moreover, he was the first Polish guitarist playing Polish lute music, a founder of the first Polish guitar trio named Lwowskie Trio Gitarowe and a musician in the most popular interwar radio broadcast Wesoła Lwowska Fala. As a composer and conductor of the Orchestra of Mandolin Society “Hejnał” from Lviv, he also took part in numerous radio broadcasts of Polish Radio Lviv. His musical activities, similarly to the entire mandolin heritage in Poland and guitar history in interwar Poland, requires further research, and this article is one of the first contributions to these research topics.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2020, 2(45); 25-60
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Orkiestra bez dyrygenta” i Symfonia syren, czyli muzyczne eksperymenty w porewolucyjnej Rosji
“Conductorless orchestra” and Symphony of sirens as musical experiments in Post-Revolutionary Russia
Autorzy:
Mika, Bogumiła
Powiązania:
https://bibliotekanauki.pl/articles/521938.pdf
Data publikacji:
2012
Wydawca:
Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:
Lunaczarsky
Milhaud
conductorless orchestra
Symphony of sirens
musical experiments
Post-Revolutionary Russia
Opis:
The 1920s are one of the most unique times in the history of Russian music. In that time, Anatoly Lunacharsky served as the People’s Commissar for Enlightenment. His general education and personal musical interests led to his friendship with various composers, as well as to writing and publishing texts about music, and he also strived to animate artistic life in his country. In Lunacharsky’s time, many important composers from Western Europe visited the USSR, e.g. Alfredo Casella, Paul Hindemith, Darius Milhaud, or Alban Berg. For Western composers, these visits were also unforgettable events. Milhaud, for example, described his impressions from “Red Russia” in the journal “The Musical Times”. Lunacharsky also encouraged Russian musicians to play an active part in the building of the new socialist system, as well as to carry out various artistic experiments. Among the latter, the establishment of “conductorless orchestra” in Moscow in 1921 can be included, as well as Symphony of Sirens by Arseny Avraamov, which was performed in various Soviet cities, including the most famous concert in Baku in 1922. Sonic experiments of the 1920s USSR are a testimony to dynamicism and originality of Russian musical life of that time. They also demonstrate that political revolution in Russia was accompanied by an original artistic revolution in the area of music. Nowadays, these experiments are discovered and analyzed with great interest by the musical world.
Źródło:
Aspekty Muzyki; 2012, 2; 53-66
2082-6044
Pojawia się w:
Aspekty Muzyki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Socially Constructed Individualist: An Interactionist Study of Role-Making among Orchestral Conductors
Autorzy:
Byczkowska-Owczarek, Dominika
Powiązania:
https://bibliotekanauki.pl/articles/32222584.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Sociology of Music
Conductor
Orchestra
Grounded Theory Methodology
Role-Making
Social Role
Opis:
The paper analyzes the role-making of an orchestral conductor. It is framed by the symbolic interactionist perspective and focuses on Ralph Turner’s role-making theory and the works of Alfred Schütz and Howard S. Becker and associates. The research project is based on grounded theory methodology. The applied techniques include semi-structured interviews, video-elicited interviews, observations of teaching conducting and opera rehearsals, video analysis, and secondary data analysis. The results reveal how the process of role-making is shaped during secondary socialization and indicate the social features of the role, such as high social prestige, awareness of the body, an exclusive social group, and teamwork. The role-making process is based on permanent interactions and negotiations with social actors: the composer and the musical score, the orchestra, soloists, ballet, and the audience. Additionally, it is influenced by cultural factors, such as the conductor’s gender, age, nationality and international experience, competencies, as well as the type of professional contract. At the same time, conductors need to actively maintain the image of determined and resolute individualists, as expected by the social actors they interact with.
Źródło:
Qualitative Sociology Review; 2022, 18, 4; 132-152
1733-8077
Pojawia się w:
Qualitative Sociology Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Difference and Repetition as the Aspects of Representation in Arnold Schoenberg’s Variations for Orchestra Op. 311
Autorzy:
Sowińska-Fruhtrunk, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/513916.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Arnold Schoenberg
Gilles Deleuze
Variations for Orchestra Op. 31
dodecaphony
difference and repetition
Opis:
The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2018, 2(37) Eng; 125-169
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Różnica i powtórzenie jako aspekty reprezentacji w Variationen für Orchester op. 31 Arnolda Schönberga1
Difference and Repetition As the Aspects of Representation in Arnold Schoenberg’s Variations for Orchestra Op. 31
Autorzy:
Sowińska-Fruhtrunk, Iwona
Powiązania:
https://bibliotekanauki.pl/articles/514126.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Arnold Schoenberg
Gilles Deleuze
Variations for Orchestra Op. 31
dodecaphony
difference and repetition
Opis:
The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2018, 2(37); 125-158
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Human oriented corporate actions: stakeholders and CSR
Autorzy:
Mazur, Barbara
Cichorzewska, Marzena
Mazur-Małek, Marta
Powiązania:
https://bibliotekanauki.pl/articles/2033042.pdf
Data publikacji:
2020
Wydawca:
Politechnika Śląska. Wydawnictwo Politechniki Śląskiej
Tematy:
social responsibility
humanistic management
stakeholder theory
Santander Orchestra
odpowiedzialność społeczna
zarządzanie humanistyczne
teoria interesariuszy
Opis:
Introduction/background: The paper builds on the organization’s stakeholders theory by adding a new relation. It stipulates that separate groups of stakeholders can co-operate and influence each other in beneficial terms, which is important especially to local leaders, corporations and academic specialists in the CSR field. Aim of the paper: The purpose is to contribute to humanistic management by focusing on how corporations become more human oriented and present on the social arena. The aim of this research is to build on the organization’s stakeholders theory, especially within the scope of Corporate Social Responsibility (CSR). Materials and methods: The paper combines a theoretical aspect, in the form of the stakeholders theory, and a research one, in the form of a case study. The subject of the study is CSR action taken by Santander Consumer Bank in Poland during recent years in the form of the Santander Orchestra. The objectives are achieved by applying the method of a case study. Results and conclusions: The stakeholders theory is further developed to include interaction between different groups of stakeholders. It demonstrates how those groups benefit each other and how their interaction can be beneficial for the society. Ways to improve CSR activities are identified. The study includes a thorough analysis of the Santander Orchestra. It explains and points to best practices. The research can be treated as a set of guidelines for other corporations to use when creating their CSR activities. This research can help to make the public understand that corporations can have a great and positive impact on the social arena
Źródło:
Organizacja i Zarządzanie : kwartalnik naukowy; 2020, nr 2; 113-132
1899-6116
Pojawia się w:
Organizacja i Zarządzanie : kwartalnik naukowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Modyfikacje przestrzenne sceny teatru operowego na potrzeby koncertu
Spatial modifications of the stage of the opera house for the needs of a concert
Autorzy:
Sygulska, A.
Powiązania:
https://bibliotekanauki.pl/articles/294246.pdf
Data publikacji:
2014
Wydawca:
Politechnika Wrocławska. Oficyna Wydawnicza Politechniki Wrocławskiej
Tematy:
muszle koncertowe
teatr operowy
scena operowa
koncert
orchestra shells
opera house
opera stage
concert
Opis:
Teatr operowy jako przestrzeń kulturalna i muzyczna jest wpisany w strukturę przestrzenną miasta. W obrębie swojej struktury architektonicznej podlega modyfi kacjom. W pracy podjęto problematykę przystosowania sceny operowej na potrzeby koncertu. Adaptacja sceny jest niezbędna, gdyż przedstawienie operowe stawia inne wymagania przestrzenne i akustyczne niż koncert. Wraz ze zmianami przestrzennymi w obrębie sceny następują zmiany własności akustycznych na widowni. Na podstawie konkretnych realizacji przedstawiono różne typy muszli koncertowych oraz wskazano powiązania pomiędzy architekturą muszli koncertowej a akustyką. Dodatkowo przedstawiono wnioski z symulacji komputerowych dla obiektu projektowanego i z badań doświadczalnych w obiekcie rzeczywistym. Analizy wskazują, że jest to istotne zagadnienie architektoniczne, albowiem brak wiedzy o wymaganiach architektoniczno-akustycznych dla projektowanych muszli koncertowych skutkuje tym, że konstrukcja ta nie spełnia swojej funkcji.
The opera house as a cultural and musical area writes itself well into the spatial structure of the city. Within its own architectural structure, it is subject to modifi cations. The following paper addresses the issue of adapting the opera stage for the needs of a concert. Adaptation of the stage is necessary as the opera performance has different spatial and acoustic requirements from those of the concert. Alongside spatial changes within the stage, acoustic properties in the auditorium change. On the basis of concrete realizations, different types of orchestra shells have been shown and connections between orchestra shell architecture and acoustics have been pointed out. In addition, conclusions of computer simulations for an object whose design is under way, and conclusions of investigation in an actual object have been presented here. The analyses point out that it is a crucial architectural issue. Lack of knowledge of architectural-acoustic requirements for orchestra shells results in constructions not performing their function.
Źródło:
Architectus; 2014, 3(39); 75-83
1429-7507
2084-5227
Pojawia się w:
Architectus
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sound strength G prediction in orchestra pit based on Barron and Lee “revised theory”
Autorzy:
Kamisiński, Tadeusz
Brawata, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/127893.pdf
Data publikacji:
2019
Wydawca:
Politechnika Poznańska. Instytut Mechaniki Stosowanej
Tematy:
sound strength
Barron and Lee revised theory
orchestra pit
siła dźwięku
poprawiona teoria Barrona-Lee
orkiestron
Opis:
Musicians in the orchestra pit often report problems with too high sound levels during performances. At the same time, numerous surveys indicate frequent problems with the mutual hearing of musicians with each other, as well as themselves or a singer from the stage. The structure of the orchestra pit causes the musicians to be exposed to strong reflections with low delay, which increases the overall sound pressure level. In the literature, one can find recommendations that the space of the orchestra pit should be treated with sound absorbing materials in a wide range and with sound-scattering materials without indicating their quantity or localization. This paper focuses on the development of tools for assessing and predicting the value of energetic parameters such as sound strength G or clarity C80 in the orchestra pit based on its acoustic absorption and the volume of the hall. The sound propagation model in concert halls proposed by Barron and Lee was adapted for this purpose. The sound strength G can be used to predict the acoustic conditions in the orchestra pit, such as the sound pressure level, the mutual audibility of the musicians, and how the room supports playing musicians. The analysis covers several existing halls of different geometry and size, as well as the design of the barrier of the orchestra pit with the proposed modifications.
Źródło:
Vibrations in Physical Systems; 2019, 30, 1; 1-6
0860-6897
Pojawia się w:
Vibrations in Physical Systems
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Effectiveness of health-promoting activities in the area of general hearing screening tests in newborns in Poland
Autorzy:
Lisiecka-Biełanowicz, M.
Molenda, B.A.
Powiązania:
https://bibliotekanauki.pl/articles/2085004.pdf
Data publikacji:
2019
Wydawca:
Instytut Medycyny Wsi
Tematy:
health care financing in Poland
Polish Universal Hearing Screening Program
The Great Orchestra for Christmas Charity (WOŚP) foundation
Opis:
Introduction. An analysis of the impact of health promotion efforts as part of the Polish Universal Neonatal Hearing Screening Program demonstrated diagnostic efficacy. The health promotion efforts had been efficiently implemented via a proper execution of this long-term Program by the Great Orchestra for Christmas Charity (WOŚP) foundation. Objective. The aim of the study was to demonstrate the impact of health promotion efforts by public benefit organizations by analyzing the WOŚP foundation’s involvement in the Program in Poland during 2003–2015. Materials and method. Statistical data for 2003–2015 were obtained from the database of the Department of Otolaryngology and Laryngeal Oncology at Poznan University of Medical Sciences. The analyzed data included the rates of hearing- impairment detection (phase 1), diagnosis (phase 2), and treatment (phase 3) in the newborns included in the Program, as well as the documentation of expenditures based on WOŚP’s foundation annual financial reports. Results. A total of 4,672,704 newborns were screened from 2003–2015, which amounted to approximately 360,000 screened patients per year. During the analyzed 12 years of the Program, the mean proportion of children who underwent screening was 96.1%, with an observable, gradual increase in the number of children undergoing diagnostic assessments (phase 2) for a suspected hearing impairment, with the largest amount of money having been allocated to the Program implementation and expended in its early stages. The total cost of financing the Program by the year 2015 was 51,841,712 PLN. Conclusions. The Polish Universal Neonatal Hearing Screening Program resulted in an improvement in the quality in the screening test, ensured more thorough diagnostics, and shortened the time needed to implement the appropriate treatment.
Źródło:
Annals of Agricultural and Environmental Medicine; 2019, 26, 3; 445-449
1232-1966
Pojawia się w:
Annals of Agricultural and Environmental Medicine
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 23

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