Pre-Weaned Calf Rearing on Northern Irish Dairy Farms-Part 2: The Impact of Hygiene Practice on Bacterial Levels in Dairy Calf Rearing Environments.

Pre-weaned dairy calves are very susceptible to disease in the first months of life due to having a naïve immune system and because of the numerous physiological stressors they face. Hygiene management is a key element in minimizing enteric disease risk in calves by reducing their exposure to pathogens. Samples of milk, concentrate feed and drinking water, boot swabs of bedding and swabs of feed equipment were collected from 66 dairy farms as part of a survey of calf rearing practice and housing design. All the samples were cultured to determine total viable counts (TVC), total coliforms (TCC) and Escherichia coli as indicators of hygiene. Target ranges for levels of TVC, TCC and E. coli were defined from the literature and the sample results compared against them. The TVC targets in milk, MR and water were <4.0 log10 CFU/mL. TCC and E. coli targets of <1.1 log10 CFU/mL (the detection limit) were used for milk, MR, concentrate feed and feeding equipment. For water, the TCC and E. coli targets were <1.0 log10 CFU/100 mL. The targets used for bedding boot swabs were <6.3 log10 TVC CFU/mL and <5.7 log10 TCC or E. coli CFU/mL. Farm management factors were included as fixed effects in a generalized linear mixed model to determine the probability of samples being within each hygiene indicator target range. Milk replacer samples obtained from automatic feeders were more likely to be within the TVC target range (0.63 probability) than those prepared manually (0.34) or milk samples taken from the bulk tank (0.23). Concentrate feed samples taken from buckets in single-calf pens were more likely to have E. coli detected (0.89) than samples taken from group pen troughs (0.97). A very small proportion of water samples were within the indicator targets (TVC 9.8%, TCC 6.0%, E. coli 10.2%). Water from self-fill drinkers had a lower likelihood of being within the TVC target (0.03) than manually filled buckets (0.14), and water samples from single pens were more likely to be within TCC target ranges (0.12) than those from group pens (0.03). However, all self-fill drinkers were located in group pens so these results are likely confounded. Where milk feeders were cleaned after every feed, there was a greater likelihood of being within the TVC target range (0.47, compared with 0.23 when not cleaned after every feed). Detection of coliforms in milk replacer mixing utensils was linked with reduced probability of TVC (0.17, compared with 0.43 when coliforms were not detected) and TCC (0.38, compared with 0.62), which was within target in feeders. Key factors related to increased probability of bedding samples being within TCC target range were use of group calf pens (0.96) rather than single-calf pens (0.80), use of solid floors (0.96, compared with 0.76 for permeable floors) and increased space allowance of calves (0.94 for pens with ≥2 m2/calf, compared with 0.79 for pens with <2 m2/calf). Bedding TVC was more likely to be within the target range in group (0.84) rather than in single pens (0.66). The results show that hygiene levels in the calf rearing environment vary across farms and that management and housing design impact hygiene.

Bonds and signals underlie the music learning experience.

The music learning environment is a context in which fundamental forces and values underlying human musicality may be evident. Social bonding within music-making groups is characterized by a high degree of complexity whereas issues of clarity, accuracy, and coordination remain the focus of learning. Physical and cognitive impairments that compromise music learning opportunities offer a critical test of music's link to social bonding.

Use of thermal imaging in dairy calves: exploring the repeatability and accuracy of measures taken from different anatomical regions.

Three experiments were undertaken to 1) quantify the repeatability and reproducibility of thermal imaging across day and operator experience and 2) assess the correlation between descriptive infrared (IR) temperature parameters from different anatomical areas and core body temperature in dairy calves under 12 wk of age. In experiment 1, a single operator captured 30 replicate images of both the left and right eyes (defined as the whole eye + 1 cm margin) and the rectal area (defined as the anus +1.5 cm margin) from each of 16 calves. In experiment 2, three operators of varying experience captured images from both the left and right eyes and the rectal area of each of 12 calves. In experiment 3, a single operator captured images of the right eye and rectal area for a period of 5 consecutive days for each of 205 calves. All images were captured between 0900 and 1300 h. Core body temperature, obtained via rectal thermometer, was recorded every day for each of the 205 calves following completion of IR image capture. Ambient temperature and relative humidity were adjusted for each thermal image prior to manual extraction of maximum, minimum, and average temperature parameters. In experiment 1, lowest error variance was found within the maximum temperature parameter and the right eye was determined as the most repeatable anatomical area, with 80.48% of the total proportion of variance attributed to the calf. Results indicated that capturing at least three replicate images would provide the precision required to identify ill-health in calves. In experiment 2, operator variance was low across anatomical areas, with values of ≤0.01°C2 for the right and left eyes and ≤0.04°C2 for the rectal area. In experiment 3, day to day variation of thermal image measurements and core body temperature were minimal across anatomical areas with values of ≤0.008°C2. Correlations ranging from 0.16 to 0.32, and from 0.31 to 0.47 were found between maximum eye and core body temperature and maximum rectal area and core body temperature, respectively. Results of the present study indicate a low level of variability and high level of repeatability within IR temperature measurements in calves under 12 wk of age, particularly within maximum temperature parameters. Providing operators of varying abilities with a basic standardized protocol is sufficient to limit between-operator variation. Further research is required to investigate whether correlation between IR and core body temperature can be improved.

The Conductor As Visual Guide: Gesture and Perception of Musical Content.

Ensemble conductors are often described as embodying the music. Researchers have determined that expressive gestures affect viewers' perceptions of conducted ensemble performances. This effect may be due, in part, to conductor gesture delineating and amplifying specific expressive aspects of music performances. The purpose of the present study was to determine if conductor gesture affected observers' focus of attention to contrasting aspects of ensemble performances. Audio recordings of two different music excerpts featuring two-part counterpoint (an ostinato paired with a lyric melody, and long chord tones paired with rhythmic interjections) were paired with video of two conductors. Each conductor used gesture appropriate to one or the other musical element (e.g., connected and flowing or detached and crisp) for a total of sixteen videos. Musician participants evaluated 8 of the excerpts for Articulation, Rhythm, Style, and Phrasing using four 10-point differential scales anchored by descriptive terms (e.g., disconnected to connected, and angular to flowing.) Results indicated a relationship between gesture and listeners' evaluations of musical content. Listeners appear to be sensitive to the manner in which a conductor's gesture delineates musical lines, particularly as an indication of overall articulation and style. This effect was observed for the lyric melody and ostinato excerpt, but not for the chords and interjections excerpt. Therefore, this effect appears to be mitigated by the congruence of gesture to preconceptions of the importance of melodic over rhythmic material, of certain instrument timbres over others, and of length between onsets of active material. These results add to a body of literature that supports the importance of the visual component in the multimodal experience of music performance.

Conductor gestures influence evaluations of ensemble performance.

Previous research has found that listener evaluations of ensemble performances vary depending on the expressivity of the conductor's gestures, even when performances are otherwise identical. It was the purpose of the present study to test whether this effect of visual information was evident in the evaluation of specific aspects of ensemble performance: articulation and dynamics. We constructed a set of 32 music performances that combined auditory and visual information and were designed to feature a high degree of contrast along one of two target characteristics: articulation and dynamics. We paired each of four music excerpts recorded by a chamber ensemble in both a high- and low-contrast condition with video of four conductors demonstrating high- and low-contrast gesture specifically appropriate to either articulation or dynamics. Using one of two equivalent test forms, college music majors and non-majors (N = 285) viewed sixteen 30 s performances and evaluated the quality of the ensemble's articulation, dynamics, technique, and tempo along with overall expressivity. Results showed significantly higher evaluations for performances featuring high rather than low conducting expressivity regardless of the ensemble's performance quality. Evaluations for both articulation and dynamics were strongly and positively correlated with evaluations of overall ensemble expressivity.

An fMRI investigation of the cultural specificity of music memory.

This study explored the role of culture in shaping music perception and memory. We tested the hypothesis that listeners demonstrate different patterns of activation associated with music processing-particularly right frontal cortex-when encoding and retrieving culturally familiar and unfamiliar stimuli, with the latter evoking broader activation consistent with more complex memory tasks. Subjects (n = 16) were right-handed adults born and raised in the USA (n = 8) or Turkey (n = 8) with minimal music training. Using fMRI procedures, we scanned subjects during two tasks: (i) listening to novel musical examples from their own culture and an unfamiliar culture and (ii) identifying which among a series of brief excerpts were taken from the longer examples. Both groups were more successful remembering music of their home culture. We found greater activation for culturally unfamiliar music listening in the left cerebellar region, right angular gyrus, posterior precuneus and right middle frontal area extending into the inferior frontal cortex. Subjects demonstrated greater activation in the cingulate gyrus and right lingual gyrus when engaged in recall of culturally unfamiliar music. This study provides evidence for the influence of culture on music perception and memory performance at both a behavioral and neurological level.

Cultural constraints on music perception and cognition.

Research suggests that music, like language, is both a biological predisposition and a cultural universal. While humans naturally attend to and process many of the psychophysical cues present in musical information, there is a great - and often culture-specific - diversity of musical practices differentiated in part by form, timbre, pitch, rhythm, and other structural elements. Musical interactions situated within a given cultural context begin to influence human responses to music as early as one year of age. Despite the world's diversity of musical cultures, the majority of research in cognitive psychology and the cognitive neuroscience of music has been conducted on subjects and stimuli from Western music cultures. From the standpoint of cognitive neuroscience, identification of fundamental cognitive and neurological processes associated with music requires ascertaining that such processes are demonstrated by listeners from a broad range of cultural backgrounds and in relation to various musics across cultural traditions. This chapter will review current research regarding the role of enculturation in music perception and cognition and the degree to which cultural influences are reflected in brain function. Exploring music cognition from the standpoint of culture will lead to a better understanding of the core processes underlying perception and how those processes give rise to the world's diversity of music forms and expressions.

Exploring the influence of cultural familiarity and expertise on neurological responses to music.

Contemporary music education in many countries has begun to incorporate not only the dominant music of the culture, but also a variety of music from around the world. Although the desirability of such a broadened curriculum is virtually unquestioned, the specific function of these musical encounters and their potential role in children's cognitive development remain unclear. We do not know if studying a variety of world music traditions involves the acquisition of new skills or an extension and refinement of traditional skills long addressed by music teachers. Is a student's familiarity with a variety of musical traditions a manifestation of a single overarching "musicianship" or is knowledge of these various musical styles more similar to a collection of discrete skills much like learning a second language? Research on the comprehension of spoken language has disclosed a neurologically distinct response among subjects listening to their native language rather than an unfamiliar language. In a recent study comparing Western subjects' responses to music of their native culture and music of an unfamiliar culture, we found that subjects' activation did not differ on the basis of the cultural familiarity of the music, but on the basis of musical expertise. We discuss possible interpretations of these findings in relation to the concept of musical universals, cross-cultural stimulus characteristics, cross-cultural judgment tasks, and the influence of musical expertise. We conclude with suggestions for future research.

FMRI investigation of cross-cultural music comprehension.

The popular view of music as a "universal" language ignores the privileged position of the cultural insider in comprehending musical information unique to their own tradition. The purpose of this study was to test the hypothesis that listeners would demonstrate different neural activity in response to culturally familiar and unfamiliar music and that those differences may be affected by the extent of subjects' formal musical training. Just as familiar languages have been shown to use distinct brain processes, we hypothesized that an analogous difference might be found in music and that it may depend in part on subjects' formal musical knowledge. Using fMRI we compared the activation patterns of professional musicians and untrained controls reared in the United States as they listened to music from their culture (Western) and from an unfamiliar culture (Chinese). No overall differences in activation were observed for either subject group in response to the two musical styles, although there were differences in recall performance based on style and there were activation differences based on training. Trained listeners demonstrated additional activation in the right STG for both musics and in the right and left midfrontal regions for Western music and Chinese music, respectively. Our findings indicate that listening to culturally different musics may activate similar neural resources but with dissimilar results in recall performance.