You're trying to breathe, but you can't.' 'All of a sudden, your ribs are being crushed. Goods said she was so desperate to get out that she bit a man on the shoulder to get him to move. The dead ranged in age from 14 to 27, and 13 people were still hospitalized Saturday, Mayor Sylvester Turner said. He called the disaster 'a tragedy on many different levels' and said it was too early to draw conclusions about what went wrong. 'It may well be that this tragedy is the result of unpredictable events, of circumstances coming together that couldn't possibly have been avoided,' said Judge Lina Hidalgo, Harris County's top elected official. 'But until we determine that, I will ask the tough questions.'Įxperts who have studied deaths caused by crowd surges say they are often a result of density - too many people packed into a small space. The crowd is often running either away from a perceived threat or toward something they want, such as a performer, before hitting a barrier. Keith Still, a visiting professor of crowd science at the United Kingdom's University of Suffolk, has testified as an expert witness in court cases involving crowds. He said he usually does not look at eyewitness reports in the early stages of analyzing an incident because emotions can cloud the picture, and witnesses can see only what's immediately around them.īased on fire codes, the venue could have held 200,000 people, but city officials limited the attendance to 50,000, Houston Fire Chief Samuel Pena said. 'It was the crowd control at the point of the stage that was the issue, especially as the crowd began to surge toward the stage,' Pena said. The deaths called to mind a 1979 concert by the Who where 11 people died as thousands of fans tried to get into Cincinnati's Riverfront Coliseum. Other past crowd catastrophes include the deaths of 97 people in an overcrowded Hillsborough Stadium in 1989 in Sheffield, England, and numerous disasters connected with the annual hajj in Saudi Arabia. People in the Houston crowd reported lots of pushing and shoving during the performances leading up to Scott's set. Essa apropriação dita autoral, é então percebida como uma capacitação resultante dos gestos e ações que lhe deram origem, onde a causa da sua proposição, fundação ou descoberta, se manteve permanentemente a cargo daquele sujeito professor de música em formação, que agora quer gravar os sons da e na sua sala de aula.Then when Scott took the stage, the crowd seemed to rush to the front, trying to get closer to the stage, said Nick Johnson, a high school senior from the Houston suburb of Friendswood who was at the concert.

“Som de Classe” resulta por fim numa contribuição à construção de um conceito de apropriação autoral, que se delineia a partir de rotinas de reações e atitudes onde o conteúdo fundamental daquilo “que se aprende/ensina” é justamente a maneira “como se aprende/ensina”. Os experimentos se realizaram no “Estúdio Experimental” e no “Laboratório de Ensino da Área de Fundamentos da Linguagem Musical” do Departamento de Música do Centro de Artes da Universidade do Estado de Santa Catarina, em estações de trabalho com configurações bastante simples e domésticas. Essa aproximação analítica alcançou seus objetivos gerais circunstanciando técnicas e operações abrangentes para o uso dos recursos de áudio disponibilizados por esse tipo de tecnologia. Considerando o fato de que, muito embora, tal aparato não tenha se desenvolvido especificamente para as interações típicas da aula de música, verificou-se positiva a hipótese de uma possível inclusão de conhecimentos e habilidades na instrumentalização do professor que o capacite para tais usos. A partir de uma investigação aos recursos de processamento de áudio digital em computadores tipo PC, este artigo de divulgação apresenta contribuições a uma normalização de procedimentos que viabilizem uma inclusão significativa de rotinas de produção em áudio digital no espaço escolar.

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