#P. Mahler

[1042]

Story time theres a violinist that always plays in the subway and he wears a wolf mask and a suit and i keep running into him at very different stations day after day and its getting awkward bc i like violin so i stare and stop and lowkey hes staring at me and i have to go by him a third time today bc i went out-in-out of the same station in 5 minutes for (reasons) its so funny help

[xylophonetangerine]

I just spent €17.50 on a student ticket to the symphony orchestra which is not a lot of money even in my situation but still feels a little bad.

[lilyorchardstuff]

You know, I noticed something...

Solid Lily always, and I mean ALWAYS, personally targets:

.Rebecca Sugar - A non-binary, bisexual Jewish woman.

.ND Stevenson - A non-binary, queer, trans man.

.Dana Terrace - A bisexual woman.

.David Gaider - A gay man.

And her favourite media punching bags are Steven Universe, She-Ra, Star Vs. The Forces Of Evil, The Owl House, Dragon Age, Baldur's Gate III (and now, Arcane); works that champion diversity and inclusion, that always put marginalized people (LGBTQ+ people, people of color, ect) at the forefront of their stories. Yet, for a self-proclaimed, progressive leftist who claims to care about representation and stand against bigotry, I NEVER see Lily go after regressive reactionaries like Trey P*rker, M*tt Stone, Fr*nk Miller, J*hn Byrne, Thom*s Mahler, Americ*n McGee, John Carm*ck, Ethan V*n Sciver, the dev team behind H*tred, the dev team behind Post*l and so forth.*

*(Just for the record, I'm not telling anyone to "cancel" these creators. You can still enjoy their work. Plus, "cancel culture" isn't real BTW)

I have a feeling that Lily is either a barely closeted, far-right bigot pretending to be a woke progressive because she sees it as "fashionable" or is suffering from severe internalized misogyny and queerphobia.

Or both.

[sunskate]

I understand the veto. The Pride and Prejudice soundtrack is full of beautiful music, but it’s also lacking dynamics. And Tessa and Scott by the time of Carmen were as forceful and dynamic a team of skaters as you can find. They’d moved past their Valse Triste/Umbrellas/Mahler softness. I think playing Lizzie and Darcy would’ve felt a bit like a step back no matter how gorgeous it could’ve been.

Wuthering Heights, on the other hand…

I wanted them to interpret Heathcliff and Cathy for *years*. Years! I loved the program Piper and Paul put together, but the interpretation was a bit high school drama club.

it's true it's very gentle throughout. if they had wanted to do a P&P program they could have done what CPom did with Perfume and used other pieces to augment it? i kinda disagree about them moving past softness. Latch is so very soft. it's just a more mature softness. Mahler 5 is deceptive - holding the energy and sustaining the build of that slow but very deep music takes so much control and strength. the magic in that performance is that they held the tension that's in the music throughout. to appear soft while doing that is a feat of both performance and choreography

Wuthering Heights worked so well for Piper and Paul, and while VM could definitely have skated it, i get if they weren't drawn to play those characters for a whole season. Carmen as a character might be toxic, but the music and drama is fiery and direct and sexy. where Catherine and Heathcliff feel kind of poisonous and not very pleasant as people. and it's a story of childhood friends with an unusual and intense connection who end very badly

[jadefarringtonlaunceston]

It's the first day of a new month, which means my Neurodiversity Newsletter is now in subscribers' inboxes!

It's a bumper edition, jam packed with links to resources, articles and webinar listings for neurodivergent people, families and professionals.

Those featured include:

Emergent Divergence: The neurodivergent ramblings of David Gray-Hammond

Viv Dawes Autistic Advocate

Spectrum Sloth

Aurora Consulting

Reach Every Voice

The Occuplaytional Therapist

Kelly Mahler

Dr Joanne - Neurodivergent Educational Psychologist

Autism Parenting + Wellbeing

Laura Hellfeld Neurodivergent Nurse Consulting

Thriving Autistic

Vinnie Eggdrop Stars

Autistic Realms

Stimpunks

Sally Cat's PDA Page

No Pressure PDA

Kristy Forbes - Autism & ND Support

The Autistic Advantage

The Autistic OT

SENDwise Hub

Cortney Gensemer, PhD

Learn Play Thrive

Another Step Counselling

Intercom Trust

I.P.S.E.A

The Nurture Programme

Accepting Behaviour

Neurochicks

Onlinevents CPD

PDA Society

Parent Carers Cornwall

Gifted Mindfulness Collective

Counsellors’ Staffroom

Free2BMe Neurodiversity

Autistic Parents UK

AUsome Training

EdPsy Today

Autistic Girls Network

RDs for Neurodiversity

Erin Stevens Counselling and Psychotherapy

Diversity Doodles

Progressive Education

AutAngel

All Brains Belong VT

Chris Bonnello - Autistic Author

Littlepuddins.ie

The Activistic Autistic

The Autistic Teacher

The North Star and the Compass - blog

and more!

Read and subscribe at https://jadefarrington.substack.com/p/neurodiversity-newsletter-november

[brookstonalmanac]

Birthdays 7.7

Beer Birthdays

Alice Brookston (2004)

Five Favorite Birthdays

Bill Campbell; actor (1959)

George Cukor; film director (1899)

Jim Gaffigan; comedian (1966)

Robert A. Heinlein; writer (1907)

Ringo Starr; rock drummer (1940)

Famous Birthdays

Simone Beck; French chef, cookbook writer (1904)

Pierre Cardin; fashion designer (1922)

Marc Chagall; French artist (1887)

Mo Collins; actor (1965)

Vittorio De Sica; Italian film director (1901)

Shelley Duvall; actor (1949)

David Eddings; writer (1931)

William Entner; pop singer, guitarist (1944)

Jessica Hahn; model (1959)

Joseph Jacquard; loom inventor (1752)

Michelle Kwan; figure skater (1980)

Charlie Louvin; country singer (1927)

Gustav Mahler; Austrian composer (1860)

Gian Carlo Menotti; Italian composer (1911)

Hank Mobley; jazz saxophonist, composer (1930)

Bill Oddie; British comedian, actor, ornithologist (1941)

Satchel Paige; Negro Leagues, Cleveland Indians P (1906)

Jon Pertwee; actor, "Dr. Who" (1919)

Doc Severinsen; trumpet player, bandleader (1927)

Vonda Shepard; pop singer (1963)

Joe Spano; actor (1946)

Joe Zawinul; jazz keyboardist, composer (1932)

[ao3feed-jeevesandwooster]

I Daresay Jeeves

read it on AO3 at https://ift.tt/VqW6hdo " by doyke ;or, A Sheep and a Star "Indeed black, as you so rightly say, mail, Jeeves." In which old hat is doffed, fervent words both withheld and given tongue, and affections made to biteth like a serpent and stingeth like an adder. Words: 4651, Chapters: 1/?, Language: English Fandoms: Jeeves - P. G. Wodehouse, Jeeves & Wooster, Blandings Castle - P. G. Wodehouse Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Categories: M/M Characters: Reginald Jeeves, Bertram "Bertie" Wooster, Joan Valentine, Marion Wardour, Richard P. "Bingo" Little Relationships: Reginald Jeeves/Bertram "Bertie" Wooster Additional Tags: espiglielerie, sorrow- I mean angst, nondirect period appropriate confessions of intimacy, Drag, the kind of burn that has you asking is this a fire, or am i watching snails dance to the 3rd movemet of mahler 5?, slowburn its slowburn, there is a pleasant resolution to this detail. i promise. a happy ending i mean to say " read it on AO3 at https://archiveofourown.org/works/52009366

[candyic]

hello! not sure if this makes sense but could I request some pronouns that fit/work well with the names bee, angela, marie, and lisa? like imagining objects or aesthetics of characters with those names and using those as pronouns? Ive tried but Im struggling to get more ideas

i am not familiar with a lot of characters that share these names to imagine their “aesthetics” but i did create some pronouns based off of the characters/series names if that makes any sense. hopefully this gives you some more ideas or strikes some more inspiration for you! /gen

bee pronouns, based off of characters and series from this list

hu/hut/hutch/hutches/hutchself

bu/buc/buck/bucks/buckself

fa/fable/fables/fables/fableself

sa/sap/ling/saplings/saplingself

bu/buzz/buzz/buzzes/buzzself

candy/man/candyman/candymans/candymanself

ki/kin/king/kings/kingself or king/king/kings/kings/kingself

queen/queen/queens/queens/queenself

swarm/swarm/swarms/swarms/swarmself

well/bee/wellbee/wellbees/wellbeeself

angela pronouns, based off of fictional characters from this list

cha/chas/chase/chases/chaseself or chase/chase/chases/chases/chaseself

chan/channing/channings/channings/channingself

li/li/lis/lis/liself

ha/har/harris/harris/harriself

ma/mar/mart/martins/martinself or martin/martin/martins/martins/martinself

we/web/weber/webers/weberself or weber/weber/webers/webers/weberself

marie pronouns, based off of fictional characters from this list

ba/bar/barones/barones/baroneself

mo/mor/moriya/moriyas/moriyaself

ma/mah/mahler/mahlers/mahlerself

ro/rob/robert/roberts/robertself

ro/rose/roses/roses/roseself

lisa pronouns, based off of fictional characters from this list

gar/land/garlands/garlands/garlandself or ga/gar/garlands/garlands/garlandself

lo/loud/louds/louds/loudself

p/t/pts/pts/ptself

sim/simpson/simpsons/simpsons/simpsonself or si/sim/simp/simpsons/simpsonself

stan/stanley/stanleys/stanleys/stanleyself

[mamusiq]

Classical Music to Make Your Brain Shut Up

Tracklist:  

0:00:00 Debussy - Suite Bergamasque, L. 75: III. Clair de Lune 

0:04:44 Beethoven - Piano Sonata No. 14, Op. 27 No. 2 "Moonlight Sonata": I. Adagio sostenuto Luke Faulkner 

0:09:37 Chopin - Nocturnes, Op. 9: No. 2 in E-Flat Major, Andante Vadim Chaimovich 0:14:02 Satie - Trois gymnopédies: No. 1, Lent et douloureux (Soft Piano Version) 

0:17:19 Bach - The Well-Tempered Clavier, Book 1, BWV 846: Prelude in C Major Luke Faulkner 

0:19:44 Chopin - Waltzes, Op. 69: No. 2 in B Minor  

0:23:34 Pachelbel - Aria and 4 Variations in A Minor, P. 26 Vadim Chaimovich  

0:28:42 Satie - Gnossiennes: No. 1, Lent 

0:32:33 Satie - Gnossiennes: No. 3, Lent  

0:35:41 Debussy - Rêverie, L. 68 (Soft Piano Version) Luke Faulkner  

0:39:55 Beethoven - Piano Sonata No. 8 in C Minor, Op. 13 "Sonata Pathétique": II. Adagio cantabile Vadim Chaimovich  

0:45:44 Vivaldi - The Four Seasons, Concerto No. 4 in F Minor, RV 297 "Winter": II. Largo Metamorphose String Orchestra, Pavel Lyubomudrov, Yuliya Lebedenko 

0:47:43 Part - Spiegel im Spiegel (Arr. for Violin and Piano) Luke Faulkner, Nadia Vasileva 0:56:13 Puccini (arr. Naughtin) - Gianni Schicchi, SC 88: “O Mio Babbino Caro”

0:59:00 Ravel (arr. Naughtin) - Pavane pour une infante défunte 

1:04:36 Barber - Adagio for Strings Metamorphose String Orchestra, Pavel Lyubomudrov  

1:10:14 Rachmaninoff - 14 Romances, Op. 34: No. 14, Vocalise (Arr. for Cello & String Orchestra by P. Lyubomudrov) Metamorphose String Orchestra, Pavel Lyubomudrov, Mikael Samsonov  

1:15:17 Vivaldi - The Four Seasons, Concerto No. 3 in F Major, RV 293 "Autumn": II. Adagio molto Metamorphose String Orchestra, Pavel Lyubomudrov, Yuliya Lebedenko 1:17:37 Mahler - Symphony No. 5: II. Adagietto Musica Sancta Ensemble, Liran Mendel 1:27:40 Tchaikovsky - Serenade for Strings, Op. 48: II. Valse (Live)  

1:31:28 Fauré - Sicilienne, Op. 78 Metamorphose String Orchestra, Pavel Lyubomudrov 1:35:07 Elgar - Cello Concerto, Op. 85: III. Adagio Metamorphose String Orchestra, Pavel Lyubomudrov, Mikael Samsonov  

1:40:04 Sibelius - Valse Triste, Op. 44 

1:46:55 Mussorgsky - Pictures at an Exhibition: No. 2, Il vecchio castello (Live)  

1:49:34 Händel - Suite No. 7 in G Minor: VI. Passacaglia Metamorphose String Orchestra, Pavel Lyubomudrov 

[literaturereviewhelp]

The increasing need for effective training does not remain restricted to a particular type of industry or a certain size of the organization. It might appear to be an obvious essential for a large organization which uses the latest of technologies, but it can also be an absolute necessity in the smaller and traditional organizations. This is because of the fact that in a large organization, a single untrained employee might not have significant impact on the overall result, however in a small organization of four members, one single employee would account for 25% of the workforce (McConnell, 2003, p.1). The rapid economic changes, globalization and advancement of technology have generated various types of training needs in organizations. However, it has been increasingly realized that effective training can only be possible through accurate analysis of the training needs and requirements. Conducting training needs assessment is particularly important for protecting the assets of the organization and also assuring that resources are set aside for addressing the training issues and reserved and used for that particular purpose only (Barbazette, 2006, p.6). The paper tries to present a critical analysis of the aspect of training needs assessments in organizations by presenting the various arguments of authors for or against the topic. The arguments would primarily aim at determining whether training is the appropriate solution for a performance deficiency. If increasing the employee’s skills and knowledge does not help to resolve a crisis then training would not prove to be helpful. This calls for the need for assessing the training needs and requirements in order to ensure that the resources are put to appropriate use and are not wasted. The paper would also present the suggestions for removing possibilities of training deficiencies in organizations. Review of the Literature Training theorists and academicians have realized the analysis of training needs as a function which is integral to the training programs in organizations. In order to utilize the resources effectively it is crucial to determine the exact location, scope and magnitude of the needs for training. The researchers have put forth the fact that there is no justification for investing in the training programs if they do not result in improving or enhancing the efficiency of the workforce (Moore & Dutton, 1978). Training needs analysis is considered to be the first step in the cyclical process contributing to the overall educational and training strategy of the staff in organizations. The process begins with the systematic consultation for identifying the learning needs of the staff followed by the program planning, delivery and evaluation. Research conducted on micro level and macro level training needs revealed that despite their small scale and limited scope training needs initiatives at the micro level demonstrated more methodological vigour and laid greater emphasis on the perspectives of shareholders in order to generate such findings which would be able to influence the remaining part of the training cycle positively (Gould, Kelly & White & Chidgey, 2003). In 1952, Mahler and Monroe made a study of the determination of the needs for training in the industry and showed that most of the methods of analysing training needs were informal. Only about one out of every ten companies reported to be using systematic approaches for determining the training needs. Observations, management requests, and discussion with superiors were among the most commonly used techniques for determining the needs. Wood, (1939) noted that that questionnaire could be considered as an effective way of determining training needs but was of the conclusion that there was very little evidence which showed application of the research methods for need determination. A BNA survey conducted in 1962 showed that 41% of the organizations only used analysis of performance in the job and observation for determining their needs for training. However, according to the report in 1969, the use of these methods were found be done in more systematic manner. This demonstrated a gradual movement of firms towards more scientific and formalized techniques of operations (Moore-a & Dutton, 1978). At the organizational level the need for training needs assessment is greatly increased as the concept of organizational development has gained acceptance recently. Read the full article

[healthpluser]

Tehani, El Rey, Anzac Parade and Jersey King please

Tehani, El Rey, Anzac Parade and Jersey King pleased when the horses were exercised here on Friday morning (Feb 14) Inner sand: 1200m: Mahler (Darshan), Fortis (Shreyas) 1-23, 1,000/1-7.5, 600/41. Former finished three lengths ahead. 1400m: Pericles (Indrajeet)1-38, 1,200/1-23, 1,000/1-9, 600/39.5. Strode out well. Outer sand: 600m: Benzema (Afsar), Chiraag (P. Mani) 44.5. Former finished five…

[elmartillosinmetre]

"Ser titular de una orquesta como la ROSS sería un placer"

[Giacomo Sagripanti ayer en el Maestranza, momentos antes de esta entrevista / Juan Carlos Muñoz]

El maestro italiano vuelve a dirigir a la ROSS, casi una década después, con un programa que incluye la Sinfonía de Réquiem de Benjamin Britten y la Sinfonía nº4 de Gustav Mahler 

El director italiano Giacomo Sagripanti (Giulianova, Abruzzo, 1982) dirigirá jueves y viernes en el Teatro de la Maestranza, donde tiene lugar esta entrevista, el programa Gran Sinfónico 3 de la ROSS, que, dentro del ciclo Andalucía Sinfónica, la orquesta sevillana llevará también el domingo al Villamarta de Jerez. Sagripanti vino por primera vez a Sevilla en febrero de 2014 para dirigir una Cenerentola de Rossini y un concierto sinfónico y regresó con la ROSS en noviembre de 2015.

Pregunta.–¿Qué recuerdos tiene de aquellos conciertos?

Respuesta.–Vine para hacer Cenerentola, pero el director que estaba previsto para el concierto sinfónico aquella semana tuvo una baja y, como era un programa italiano, me lo pidieron a mí. Lo recuerdo muy bien. Fue muy interesante, pero ahora es mejor porque tenemos tres días de ensayos en el mismo escenario del concierto y eso es un lujo.

P.–¿Cómo ha encontrado a la orquesta?

R.–Más joven. De repente se ha convertido en una orquesta de jóvenes. Eso es normal, porque en diez años se producen muchos cambios. Muchos de los que quedan me recordaban y vinieron a saludarme al camerino. Creo también que ahora es mejor orquesta. Lo aprecié desde la primera lectura. Fueron muy profesionales, muy atentos a todos los detalles y muy disciplinados. Pienso que han aprovechado estos diez años para mejorar.

P.–Viene de hacer un Nabucco en Toulouse y mirando su agenda le siguen Rondine, Don Pasquale, Turco in Italia, Traviata, Trovatore, Barbero... ¿Se considera básicamente director de ópera?

R.–Intento hacer cinco o seis programas cada año en sinfónico. El mes próximo debuto en la Philharmonie de París con la Orquesta de Cámara de París y la 7ª de Beethoven. Una muy buena orquesta con un programa muy interesante. Es cierto que he ganado mi fama haciendo ópera, y la ópera me permite trabajar en todos los grandes teatros del mundo, Viena, Londres, París, Madrid, este año también Nueva York. Pero intento siempre hacer programas sinfónicos con orquestas buenas. No he trabajado todavía con la Filarmónica de Berlín o la de Viena, pero puede ser que eso llegue algún día. Lo que me interesa es no parar con el sinfónico y hacer mucho repertorio, que es muy importante.

P.–¿Cuál es para un director la principal diferencia entre ambos repertorios, la ópera y el sinfónico?

R.–Hay enormes diferencias. En el estudio y en la técnica. El trabajo del director de ópera italiana es técnicamente el trabajo más virtuoso, el más difícil. Porque es un trabajo puramente técnico: en escena pueden pasar mil cosas y mantener la coordinación es esencial. El trabajo del sinfónico no tiene los problemas que tiene un teatro, el foso, la distancia, el coro, los solistas, la escena, pero tienes otras cosas que son detalles de trabajo musical. Es más fácil ir todos juntos con el sinfónico, porque hay solo una plantilla, pero es mucho más difícil buscar sonidos, atmósferas, los matices, es una cocina más refinada, si quiere. Para un director de ópera es importante hacer sinfónico, porque en el foso puedes utilizar este refinamiento del sonido que debes tener en el sinfónico. Es algo que te sirve para destacar detalles en una obra de Verdi, por ejemplo, en la ópera francesa o en Puccini, que es un compositor muy sinfónico, por no hablar de Wagner. Uno puede empezar haciendo ópera de joven y con el tiempo ir metiéndose en el sinfónico. Al revés es mucho más difícil, por esa cuestión técnica que le decía, porque tienes que acostumbrarte a muchísimas más cosas. Yo empecé con la ópera belcantista, pero siempre haciendo sinfónicos. Por supuesto que en ese terreno también hay obras de gran dificultad técnica –pienso en Stravinski, por ejemplo–, pero lo puedes preparar: el 99% de lo que ensayas sale en el concierto. En la ópera es imprevisible. Un día un cantante no tiene la voz como el día anterior y tienes que cambiar el tempo, las dinámicas..., y de todo eso tienes que darte cuenta sobre la marcha, en el foso, comprender la situación al instante y hacerlo.

"El trabajo del director de ópera italiana es técnicamente el trabajo más virtuoso, el más difícil. Porque es un trabajo puramente técnico: en escena pueden pasar mil cosas y mantener la coordinación es esencial"

P.–¿No lo han vuelto a llamar del Maestranza para una ópera?

R.–Muchas veces, pero no he podido por problemas de agenda. Este año me propusieron Turandot, y en este caso me lo impidió un problema familiar. Buscamos un proyecto más corto y salió este concierto, que me interesa muchísimo.

P.–Una obra no muy difundida en nuestro entorno, la Sinfonía de Réquiem de Britten, y una muy popular, la 4ª de Mahler...

R.–Me interesó mucho la propuesta. Primero, porque la obra de Britten no la había dirigido nunca. Segundo, porque temáticamente es muy interesante: todo el programa se modula en torno a la muerte. La obra de Britten es un Réquiem sin palabras. Cada uno de los tres movimientos lleva el título de un número de la misa de difuntos: Lacrymosa, Dies Irae, Requiem Aeternam. Eso parece significar que quiso dar una dirección muy clara a cada movimiento, y en este sentido es una obra si quiere expresionista, pero en la interpretación los dilemas son puramente musicales: mucho contrapunto, una orquestación muy interesante, muy del siglo XX. Todo se basa en la construcción del sonido. Mahler es otra cosa. La 4ª es la última de sus sinfonías Wunderhorn. Y la plantea como un viaje a la muerte, pero desde el punto de vista infantil. Toma el texto del poema y a la vez este concepto de muerte muy alemán y muy eslavo, porque la muerte en este mundo es una parte de la vida. Hay que aceptar la muerte con una sonrisa, como lo puede hacer un niño. Y esa es una idea muy mahleriana. Para nosotros los latinos tiene algo de macabro. Pero en la cultura alemana es normal: ver la muerte con los ojos de un niño y hacer bromas con la muerte. El primer movimiento de la sinfonía es una descripción muy infantil del mundo terrenal, de lo que pasa en la vida. Pero llega entonces una llamada de las trompas, que es la llamada de Dios, y empieza también a jugar con el fídel, el instrumento del diablo [Mahler lo representa con el primer violín en scordatura, un tono más alto]. Es el segundo movimiento, una danza de la muerte, otra figura típica de la cultura alemana, que Berlioz y Liszt también utilizaron. El tercer movimiento es el más mahleriano, el más profundo, el que expresa el sufrimiento por la muerte. Y en el cuarto se abre la puerta del paraíso para mostrar todo este mundo infantil, de una gran dulzura, hasta el punto de que todo termina como en un sueño. Estás vivo, y esa es la magia de la obra, que cierra todo un mundo en Mahler.

[Otra foto de Giacomo Sagripanti tras el ensayo del miércoles por la mañana en el escenario del Maestranza / Juan Carlos Muñoz]

P.–Cuando estuvo en Sevilla en 2014, la ROSS buscaba director y su nombre estuvo entre los candidatos. Ahora curiosamente la orquesta vuelve a buscar director, ¿lo han sondeado?

R.–No lo sabía. Me enteré al llegar. Yo no tengo de momento una orquesta y considerar una orquesta sinfónica del nivel de la ROSS es seguramente un placer. Creo que estas cosas dependen de muchos factores... He tenido algunos puestos de responsabilidad en teatros y orquestas, pero creo que son cosas que no pueden forzarse, tienen que salir de forma muy natural...

P. –¿Lo consideraría si se lo propusieran?

R.–Claro que sí, porque Sevilla es una ciudad que adoro, tengo muchísimos recuerdos extraordinarios de aquí. Y la orquesta tiene ahora mucho mejor nivel que hace diez años. Para mí como director italiano ser titular de una orquesta como esta sería un placer. Además hago ópera en los mejores teatros del mundo. Me consta que ha habido problemas de coordinación entre la ópera y los conciertos sinfónicos en este teatro. Y creo que sería la primera vez que en la ROSS puede haber un director artístico que también puede hacer ópera al máximo nivel. Sería una opción muy interesante, pero ya le digo que tiene que ser algo que surja de forma natural. Mi��relación con los músicos de la orquesta está siendo muy buena, soy feliz por estar aquí y si en la orquesta también están contentos conmigo... Ya veremos lo que pasa.

[Diario de Sevilla. 10-10-2024]

[99100ssruff]

I have selected a data set from the NESARC study as I am interested in nicotine dependence.

I will be focusing on SECTION 3A: TOBACCO USE AND DEPENDENCE and SECTION 7: SOCIAL PHOBIA (SOCIAL SITUATIONS) from the NESARC study that I have added to my personal codebook.

My hypothesis is:

“Individuals with higher levels of nicotine dependence will exhibit greater anxiety in social situations”

For my literature review I used the following search terms:

*"tobacco dependence and social anxiety"

*"nicotine dependence and social phobia"

*"smoking and anxiety in social situations"

I performed a literature review on the following referenced research papers:

1. Cuijpers, P., Smit, F., ten Have, M., & de Graaf, R. (2007). Cigarette smoking, nicotine dependence and anxiety disorders: a systematic review of population-based, epidemiological studies. BMC Medicine, 5(1), 1-14. https://doi.org/10.1186/1741-7015-5-31

2. Johnson, K. A., Farris, S. G., Schmidt, N. B., Smits, J. A., Mahler, H. I. M., et al. (2022). Direct and Indirect Associations Between Social Anxiety and Nicotine Dependence and Cessation Problems: Multiple Mediator Analyses. Nicotine & Tobacco Research, 24(2), 191-198. https://doi.org/10.1093/ntr/ntab161

3. Sonntag, H., Wittchen, H. U., Höfler, M., Kessler, R. C., & Stein, M. B. (2000). Are social fears and DSM-IV social anxiety disorder associated with smoking and nicotine dependence in adolescents and young adults?. European Psychiatry, 15(1), 67-74. https://doi.org/10.1016/S0924-9338(00)00209-1

The above studies examined the association between social anxiety (both clinical social anxiety disorder and subclinical social fears) and nicotine dependence related variables, such as smoking status, nicotine dependence severity, and cessation difficulties.

Cuijpers et al. (2007) considered anxiety disorders, including social anxiety disorder, as the primary variable and smoking status/nicotine dependence as the outcome variables. They found a consistent pattern of individuals with anxiety disorders being more likely to be smokers and nicotine-dependent compared to those without anxiety disorders.

Johnson et al. (2022) investigated social anxiety as the predictor variable and nicotine dependence severity and cessation problems as the outcome variables. They observed a direct pattern of higher social anxiety associated with higher nicotine dependence and more difficulties quitting smoking. Additionally, they found that negative affectivity, (tendency to experience negative emotions) anxiety sensitivity, (fear of symptoms from anxiety) and distress intolerance (inability to tolerate distressing emotional states) also contributed to nicotine dependency.

Sonntag et al. (2000) examined social fears and clinical social anxiety disorder as the predictor variables, and smoking status and nicotine dependence as the outcome variables in adolescents and young adults. Their findings revealed a individuals with social fears was associated with an increased likelihood of nicotine dependence.

Across these studies, a positive association between social anxiety (clinical and sub clinical) and nicotine dependence related variables was found.

The studies associated nicotine dependence with higher rates of smoking, greater nicotine dependence severity, and more difficulties quitting smoking. Other factors, such as negative affectivity, anxiety sensitivity, and distress intolerance, were also identified as variables that may contribute to the link between social anxiety and nicotine dependence.