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This article aims to present a research about the Brazilian musical genre funk, taking into consideration that it is an imported rhythm that became very popular in the artistic manifestations that were born in the favelas of Brazil, and that is still stigmatized by a large amount of the population. Therefore, we intend to demystify pre-existent prejudices, and bring funk closer to the history teaching in public schools. We opted for a bibliographic methodology, within a qualitative approach from an interpretative and reflexive reading of authors such as, Oliveira (2017), Arnodlt (2019), Ribeiro (2018), and Bittencourt (2008).We concluded through this article that the prejudice and marginalization of funk are tied to the roots of racism, and that the use of this rhythm in history lessons is important to the valorization of the local culture, in addition to escaping from traditional education, allowing the entry of an innovative element that would bring together teachers and students through music.

In 1960s-70s Lagos, a nascent musical movement formed fusing West African highlife and American popular music, fortified by James Brown's 1970 tour of West Africa. Political corruption was confronted by music, catapulting Felá Kuti to international fame and silencing Ṣégún Bucknor. Kuti's positive impact is diminished because Afrobeat became more of a brand than a genre among international audiences. Evidence from an audio survey (n=168) conducted in Nigeria, musical analysis, ethnographic fieldwork, the blogosphere and a reexamination of the scholarly literature and music journalism supports an alternate history of Lagosian music, contesting the accounts of musicologist Chris Waterman and sociologist Jennifer Lena, among others. Based on converging evidence, we offer a resolution to the competing claims of creating Afrobeat from Orlando Julius and Felá Kuti: the genre developed as part of a new social scene that emerged in Lagos during the Nigerian Civil War. [ABSTRACT FROM AUTHOR]

In Brazil, Romanticism had its rise in the bourgeoisie, in the nineteenth century; funk, in turn, emerged in the periphery, at the end of the 20th century, increasing in the 19th century. Both movements, however, started from a social group that was not included in the current forms of representation of the literate culture, suffered prejudices at the beginning and, little by little, became marketable products, until they left their places of origin and reached the entire Brazilian society. The objective of this research is to bring together the historiography of Romanticism with that of Brazilian funk, from an interdisciplinary approach, bringing together Literature and Media Studies. For this, a historiographical discussion of the two movements is carried out, based on authors such as Candido (2002), Moisés (1989), Lopes (2010), and Pedro (2015), to provoke intersections between two movements from different times and with different goals, but with similar characteristics. [ABSTRACT FROM AUTHOR]

Este artigo busca analisar a propagação do funk por meio da plataforma TikTok. Com o intuito de compreender as dinâmicas do aplicativo e como esse recurso serve de estratégia para a divulgação do gênero musical, foi utilizada a técnica de estudo de casos múltiplos, analisando duas músicas ‘Oh Nanana’, do Bonde R300, e ‘Tudo no Sigilo’, do Vytinho NG com a participação de MC Bianca. As canções selecionadas pertencem a uma lista de maio de 2020 do Portal Rolling Stone, que indicou sete músicas brasileiras que, na época, eram virais no TikTok. Dessas, foram escolhidas dois funks. Os resultados obtidos atestam a relevância da plataforma para a propagação do funk no país. As affordances da plataforma unem recursos de edição, músicas, coreografias e desafios como uma maneira de facilitar a produção de conteúdo criativo dos indivíduos. Essas materialidades são responsáveis por facilitar as práticas de engajamento que servem de estratégia para ampliar a presença de músicas no TikTok.

Objetivo: Esse artigo relata resultados de uma pesquisa que teve por objetivo compreender a articulação entre as práticas socioculturais e os processos simbólicos na construção de uma identidade cool por jovens inseridos no ambiente do funk. Método: O trabalho de campo concentrou-se em observação participante em eventos e bailes funk e entrevistas em profundidade com 3 MCs e 26 jovens. Para analisar os dados, lançou-se mão da metodologia de análise de conteúdo proposta por Bardin (1995). Resultados: Entre os resultados ressalta-se que, pelo fato de o funk fazer parte do cotidiano dos jovens, suas diversas vivências com o funk potencializam a criação de uma identidade cool que faz com que esses indivíduos encontrem um lugar nesse universo de signos e significados. Originalidade: O artigo traz para debate o conceito de identidade cool com a finalidade de compreender a (re)construção da identidade de um grupo de jovens urbanos amparada pelo e no consumo.

As a phenomenon, funk is wider than its specificities as a musical genre. The cultural space it occupies highlights issues related to the body, gender, race and social classes as sociopolitical aspects in constant friction with elite culture and the media, which absorb it and attempt to sanitize it. If something needs to be sanitized through the erasure of social and racial traits of funk singers and dancers, it is because this condition is seen as abject – immund. This article makes use of the concept of immund to analyze the black and LGBT body within the funk universe by examining the portraits of six young men in light of theoretical reflections derived from the fields of dance, performance art and politics.

O fenômeno do Funk é mais amplo do que as suas especificidades como gênero musical. O lugar cultural por ele ocupado coloca em evidência questões relativas ao corpo, gênero, raça e classe social como conteúdos sociopolíticos em constante fricção com a cultura da elite e das mídias, que o absorvem e buscam higienizá-lo. Entende-se que se algo deve ser higienizado pelo apagamento dos traços sociais e raciais dos funkeiros é porque essa condição é entendida como abjeta – imunda. Parte-se aqui do conceito de imundo para tratar do corpo negro e LGBT no universo do Funk por meio do portrait de seis rapazes tendo como suporte teórico reflexões do campo da dança, da performance art e da política.

This article compares specific studio takes and live performances from the super deluxe Sign o' the Times box set to argue that the ways Prince and his band integrate multiple styles and genres into their performances participate in the creation and development of a post-civil rights era Black popular music aesthetic. In particular, I demonstrate how the intellectual and physical labour of musical performance and sonic interaction found throughout the box set expands conceptions of what Black popular music should and could sound like. This article analyses four performances. It begins by examining two versions of 'Witness 4 the Prosecution'. In version 1, Prince utilizes a more guitar-based rock sound, while the second presents a more synth-based approach that incorporates the new sound possibilities of music technologies. Through this comparison, I demonstrate how the way Prince works through these performances represents the kind of sonic freedom and flexibility that was a hallmark of his work. I then turn to a comparison between the original release of 'Forever in My Life' and the live performance in Utrecht. While the original release emphasizes Prince's vocals and the drum part, the live performance becomes a vehicle for improvisation and interaction. By analysing the distinctions between the studio and the live performance, I argue that by incorporating elements like improvisation and call and response, Prince and his band situate their approach to post-civil rights era Black popular music aesthetics within the trajectory of Black music history. [ABSTRACT FROM AUTHOR]

Some scholars have argued that ideas of coloured identities are in flux: being constantly made and re-made. This presentation explores how race can be used as an interpretive lens through which to understand and read the music of Stereo Zen, a funk-rock band based in Cape Town in the mid-2000s. In discussing how Stereo Zen construct and reconstruct their relationship with their coloured identity, this presentation aligns itself with scholars who argue that academic engagement with the construction of race is productive when race is seen as a "medium," or a "method of interpretation." As a regular guest artist appearing with the band, my position as scholar-musician has allowed me to gain unique perspectives on this music, and this presentation explores how the band repositions funk to a South African context through lyrical and musical imagery, as well as their critiques of colonial constructions of black musicality. [ABSTRACT FROM AUTHOR]

Gordon Goodwin’s Big Phat Band is one of the most famous jazz orchestras of the 21st century that combines the style of big bands from the swing era with the contemporary ones such as funk and jazz fusion. Th e scores of the Big Phat Band demonstrate an ingenious use of the possibilities of orchestral instruments and groups, representing a touchstone for any jazz orchestra, but also a true manual for any arranger and conductor of the big band. Th e purpose of this article is to characterize some peculiarities of the style of Gordon Goodwin’s Big Phat Band based on the examination of three scores of diff erent stylistic orientation from the orchestra’s repertoire.

Copyright of Consumer Behavior Review (CBR) is the property of Consumer Behavior Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O fenômeno do Funk é mais amplo do que as suas especificidades como gênero musical. O lugar cultural por ele ocupado coloca em evidência questões relativas ao corpo, gênero, raça e classe social como conteúdos sociopolíticos em constante fricção com a cultura da elite e das mídias, que o absorvem e buscam higienizá-lo. Entende-se que se algo deve ser higienizado pelo apagamento dos traços sociais e raciais dos funkeiros é porque essa condição é entendida como abjeta – imunda. Parte-se aqui do conceito de imundo para tratar do corpo negro e LGBT no universo do Funk por meio do portrait de seis rapazes tendo como suporte teórico reflexões do campo da dança, da performance art e da política.

As a phenomenon, funk is wider than its specificities as a musical genre. The cultural space it occupies highlights issues related to the body, gender, race and social classes as sociopolitical aspects in constant friction with elite culture and the media, which absorb it and attempt to sanitize it. If something needs to be sanitized through the erasure of social and racial traits of funk singers and dancers, it is because this condition is seen as abject – immund. This article makes use of the concept of immund to analyze the black and LGBT body within the funk universe by examining the portraits of six young men in light of theoretical reflections derived from the fields of dance, performance art and politics.

Kazimierz Funk, born on February 23, 1884, in Warsaw, demonstrated an early inclination toward the field of human physiology. He charted his scientific trajectory within esteemed European scientific institutions, commencing at the age of 16 in Geneva, where he pursued studies in natural sciences. Subsequently, he continued his academic endeavors in Bern, culminating in the attainment of his doctorate in 1904. Following this, Funk relocated to Paris and secured a position at the Pasteur Institute. In France, his research concentrated on elucidating the role of trace elements in the human body. In 1906 he transitioned to Berlin, collaborating with Hermann Fisher (1852-1919) to investigate proteins and cancer processes. In 1910, Funk ventured to London, joining the Lister Institute, where he initiated research on beriberi disease. His investigations led to the isolation of a substance pivotal in treating the ailment, which he termed "vitamin" (derived from 'vita' meaning life and 'amine' indicating a nitrogen-containing compound). Despite four nominations for the Nobel Prize (in 1914, 1925, 1926, and 1946), Kazimierz Funk didn't receive the prestigious accolade. In 1925, at the urging of Dr. Ludwik Rajchman (1881-1965), the director of the National Institute of Hygiene, Funk assumed the directorship of the Biochemistry and Hygiene of Nutrition Branch at the National School of Hygiene. Under Funk's guidance, Poland became the third European country to produce insulin. Kazimierz Funk passed away on November 19, 1967, in New York City, at the age of 83. His significant contributions to the fields of biochemistry and nutrition endure as a testament to his enduring impact on scientific understanding. This proposal aims to condense and emphasise Kazimierz Funk's diverse scientific interests and the various scientific teams and sites he collaborated with, which ultimately led to his groundbreaking discover.

Copyright of Revista da Faculdade de Direito da Uerj is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Esse artigo discute a ideia de reconhecimento através da imagem da bicha preta, efeminada e pobre, para pensar a questão dos direitos LGBT no contexto contemporâneo. Isso é feito a partir das reações críticas de LGBT e não LGBT diante do clipe da música “Me Solta”, do cantor de funk Nego do Borel. O clipe da referida música é entendido nessa reflexão como um artefato cultural produzido e (re)produtor de relações de poder e subjetividades que, via a imagem risível de uma figura bastante difundida na mídia nacional, ensina o quanto a questão do reconhecimento tem sido diferente em relação há décadas atrás. A metodologia empregada é a “etnografia de tela”, isto é, aquela que utiliza técnicas da etnografia associadas a estratégias de análises de imagens e filmes. A reflexão teórica é demarcada, principalmente, por autoras/es pós-críticos (feminismos, queers, pós-coloniais e decoloniais). Conclui-se, entre outros pontos, que precisa-se pensar, em tempos de pânico moral e de maior reivindicação dos direitos LGBT, o estigma e os campos de inteligibilidades diante das novas experiências de reconhecimento e identificação, dos LGBT e não LGBT, mesmo via os discursos de não representatividades.

Groove is a common experience in music listeners, often described as an enjoyable impulse to move in synchrony with the music. Research has suggested that the groove experience is influenced by listeners' musical taste and their familiarity with a musical repertoire. This study reports the results from an online listening experiment in which 233 participants rated the groove quality of 208 short clips from different Western popular music styles. Findings show that participants' familiarity with a song, its musical style, and listeners' preference for that style have a considerable effect on the groove experience. Overall, pop and funk stimuli triggered a stronger groove experience than rock stimuli. Listeners had a tendency to give high groove ratings to music they had heard before and to music that belonged to a style they liked. Results also show that professional musicians had a tendency to experience more groove in response to funk compared to pop music, whereas non-musicians experienced more groove with pop compared to funk. Together, these effects explained approximately 15% of the groove ratings' variance. In sum, listeners' attitudes and their musical backgrounds have a considerable impact on their experience of groove. [ABSTRACT FROM AUTHOR]

This article puts forward a reflection upon the relationship between State and Favela through the viewpoint of cultural productions in territories where the Pacifying Police Unities (PPU’s) have been based since 2008 in Rio de Janeiro. By analyzing the Resolutions 013/2007 and 135/2014 from the Public Notice for the Funk Artistic Creation, issued in 2013 by the Rio de Janeiro Culture State Secretary (RJ/CSS), we aim to discuss the multiplicity of public policies characteristics applied to the cultural practices in the favela. Besides shedding light upon the impasses faced by funk agents in their daily productions, we will present some interview transcriptions carried out with members of the evaluation board and the cultural producer who was awarded by this Public Notice. We will also use the concept of militarized tutelage to analyze the developments and drawbacks that emerged with this Public Notice. [ABSTRACT FROM AUTHOR]

Copyright of Hudební Výchova is the property of Charles University Prague, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the sonic dimension of police operations and occupations by tracing how the everyday life changed sonically in favelas in Rio de Janeiro during their occupation by Pacifying Police Units. I tune into the silencing practices of these security policies and conclude that a moral silencing of a racialized and gendered class of people takes place. A focus on silence helps us to understand sound as a technology of power, which enables the Brazilian state to operate along a gendered sonic color line. The cases I discuss are two instances of silencing that are a product of the operations and occupations: first, the silencing of the soundscape of the favela during police operations, and second, the silencing of funk parties. These ethnographic instances elucidate how racialized processes of negation of black subjectivity and black cultural expressions take place in the Olympic city. [ABSTRACT FROM AUTHOR]

The strengthening of a democratic culture presupposes the internalization of deliberative practices in daily life, guaranteed by the exercise of the right to the free circulation of ideas, freedom of expression, by encouraging participation and fostering public debate. On June 22, 2017, the Federal Senate Facebook page consulted citizens regarding Legislative Suggestion No. 17 (SUG17 / 2017) which deals with the "Criminalization of Funk as a Public Health Crime for Children, Adolescents and Family". From this case, an empirical study was performed on the deferred and diffuse circulation of meanings, produced in deliberative online environments, in which reason and emotion hybridize in the argumentative construction of the subjects. This study aimed to analyze how the argumentative construction on Funk's criminalization proposal occurred on the Federal Senate Facebook page, focusing on the interaction between users and the circulation of meanings. In addition to the exploratory bibliographic research on the subject, we analyzed 63 comments from citizens about SUG17 / 2017 on the Facebook page of the Federal Senate. The data collection process and its evaluation reveal a tendency to use hybrid discourses, which use reason and emotion in their argumentative constructions. At the end of the study, it was possible to understand the senses, rational and emotional, used to justify positions on the prohibition of Funk. [ABSTRACT FROM AUTHOR]

This work analyses the importance of funk in the student movements ocurred in Brazil between 2015 and 2016. The funk is understood as part of a social identity that still looks for a legitimacy and recognition inside the country. As literacy of re-existence and of resistance, the funk is potencialized by the digital media, mainly by the Internet, that aids on the democratization process of the circulation of these materials.--- DOI: http://dx.doi.org/10.22409/cadletrasuff.2017n54a369

O funk e o reggaeton são gêneros musicais híbridos, influenciados pela performatividade e estética do hip hop estadunidense, sendo hoje duas das maiores manifestações populares de jovens no Brasil e em diversos países latino-americanos dos últimos 30 anos. Considerando os contextos periféricos nos quais surgiram e se desenvolveram esses gêneros musicais, este presente artigo busca traçar uma breve descrição e contextualização de ambos, a partir de sua geografia, estética musical, relações de poder às quais estão condicionados, passando por eventos que buscaram criminalizá-los e outros que os deram legitimidade.

O Funk é uma das maiores expressões culturais dos estilos de vida e realidade da juventude das periferias brasileiras. Esta juventude na maioria das vezes enfrenta realidades de vulnerabilidade social e violência, o que muitas vezes contribui para o envolvimento desses jovens com o crime. Este artigo discorre sobre o estudo do Funk como processo emancipatório nas medidas socioeducativas do CASE-Santa Maria/RS, e tem como objetivos compreender a importância do Funk como ferramenta de aprendizagem, entender os processos de expressão cultural, política e social dos jovens e contribuir para a eficácia das medidas socioeducativas. Trata-se de uma Pesquisa Qualitativa, utilizando Método de Abordagem Dialético, e como técnica a observação participante através das oficinas do Projeto Leitura, Ação: Dramatização, realizadas no ano de 2018 com jovens em medidas socioeducativa no CASE Santa Maria/RS, no âmbito do convênio entre Universidade Federal de Santa Maria, Ministério Público Estadual e Fundação de Atendimento Socioeducativo. Os resultados observados no desenvolvimento das oficinas foram de reconhecimento dos jovens como sujeitos políticos e sociais e protagonistas da sua história, melhora dos níveis de leitura e construção do conhecimento e reconhecimento do Funk como expressão cultural das suas realidades.

Many K–12 teachers face hurdles when it comes to running a Modern Band, including the pedagogical challenges of facilitating large scale ensembles with unfamiliar repertoire and instruments. Approximation and scaffolding are two important tools teachers can use to help learners thrive in this environment. This article uses music examples to demonstrate how to approximate popular songs in a variety of ways, providing accommodations and adaptations for students of all skill levels to give all students an opportunity to learn. This article outlines how scaffolding in the Modern Band classroom allows for whole-class instruction while keeping advanced students motivated without alienating beginning students. [ABSTRACT FROM AUTHOR]

This work aims to analyze the legal impacts of dissemination of songs on the Internet that makes apology for sexual harassment against women. It also seeks to understand the social context in which this manifestation arises and to ascertain whether a crime has taken place within the lyrics that describe and exalt the sexual assault against women. Finally, the legislation on civil and criminal liability of providers for the dissemination of obscene content will be analyzed from a digital age viewpoint, pointing out an alternative to adapt the law that does not result in cultural repression, to avoid hate speech. [ABSTRACT FROM AUTHOR]

Este artigo propõe-se a investigar a forma como a internet e as plataformas digitais, em especial o streming de música Spotify, ajudaram a abrir espaço para novas narrativas do funk à cena brasileira e até mesmo global. A moda é apresentada também como parte dessa construção, quando analisada sob a ótica dos sistemas de difusão de tendências Bubble Up, Trickle Down e Trickle Across, a fim de compreender as novas posições de representatividade que o funk trouxe, em especial, à comunidade lgbtq+, em épocas de tensão que contam com diversos movimentos de resistência. [ABSTRACT FROM AUTHOR]

Copyright of Cadernos de Arte e Antropologia is the property of Cadernos de Arte e Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Das Konzept Industrie 4.0 sieht steigende Flexibilität und Mobilität im Produktionsprozess vor. Daher werden bei der Funkkommunikation zunehmend höhere Anforderungen an das Zeit- und Fehlerverhalten gestellt. Zum Einsatz kommen mehrere gleichzeitig aktive Funkkommunikationssysteme. Diese Systeme müssen im Gesamtsystem koexistieren. Zur Sicherstellung der Koexistenz dient das Koexistenzmanagement. Ein aussichtsreicher Ansatz besteht darin, dieses Koexistenzmanagement mit regelungstechnischen Methoden zu untersuchen. In diesem Beitrag wird die Modellierung des Interferenzverhaltens beschrieben. Dafür wird das Zeitverhalten einer Nachrichtenübertragung mit der Petri-Netz Notation in max-plus Algebra nachgebildet. Zur Validierung des Modells wird ein industrienaher Hardware-in-the-Loop Aufbau genutzt. The concept of Industrie 4.0 provides more flexibility and mobility in the production process. This leads to increasing requirements concerning the time and fault behaviour in industrial wireless communication. Parallel operating of several wireless communication systems is typical for industrial applications. These systems have to be coexistent to ensure that every application communication requirement is fulfilled. Ensuring this coexistence is called coexistence management. The scope of this research work is to develop an automated coexistence management with control engineering considerations. This contribution investigates the modelling of the interference behaviour. For modelling the time behaviour of message transmission the authors use the Petri-net method in max-plus algebra. For the validation of the model the authors use an industry-oriented Hardware-in-the-Loop setup. [ABSTRACT FROM AUTHOR]

This article examines the media sensation “MC Véia” and how Carioca funk (funk music from Rio de Janeiro) has changed her life. Leda Maria Soares Ferreira, or “MC Véia”, changes her identity and sense of belonging after moving to the suburbs of Rio de Janeiro. She had to adapt to a new environment, and in doing so she developed a new sense of belonging and reinvented herself through the local culture of funk. In order to explain this cultural transformation and production, we borrowed from the theory of folk communication and the theories from the Chicago School, as well as Oswald de Andrade’s concepts of anthropophagy and Nestor Canclini’s cultural hybridization. This is an exploratory and bibliographical research, with the evaluation posts of Mc Veia´s Facebook, materials from magazines and websites, and interviews between Leda Maria, the media and the authors.

By looking at the growth of rap and favela funk as it begins to acquire visibility among the Brazilian middle class in Rio de Janeiro, this article analyzes black women performers of funk and rap who have negotiated the use of the pejorative depictions of women inherent to the genre to express a type of empowerment. Exploring the transitions between generations of feminist thought and practice, I explore the resonance of gender ideologies with working-class and racialized women rap and funk performers. The article emphasizes the importance of these performers for voice and visibility, preparing the stage for a fourth wave of feminism erupting through but transcending lipstick, libido and microphones

This article discusses some issues that traverse the relationship between music and sexuality in everyday life in a public school. To do so, I intend to accomplish this thread following a path suggested by Benjamin: narrative as a college (apparently inalienable, but often the withdrawal) to exchange experiences. Assume this position is justified by the fact that the narrative consists of a significant part of the complex relationship between ethics and aesthetics. Narrating not mean to convey the pure thing in itself, as an information or report, but soak the thing in the life of the reporter in order to extract it from her again. In other words, music and sexuality discussed in the following pages are in no way absolutized (not relativized), but dipped in everyday encounters that weave the position of teacher in music. Thus, the ambivalence of a practice of playing (and hear) music at school (more specifically the songs sampled on the Beatbox called funk-whoring) emerges both the normativity of a stereotype of pornography as well as the tensions of his most different processes of subjectification . These processes complicate this same stereotype to spell out opportunities to speak with sexuality beyond its binaries.

In 2000 The Law No. 3410/2000 was created which outlined conditions which the funk parties could be held in the Rio de Janeiro city, in 2008, the Álvaro Lins Law stiffened the Law of 2000, was created by imposing a series of restrictions of funk parties and rave parties. However, one year later, on September 1 , 2009 , a law was passed to lift the Carioca Funk to cultural patrimony of the State of Rio de Janeiro. In same day the Álvaro Lins law has been repealed . The purpose of this paper is to develop a critical discussion on the concepts of identity and patrimony as the source legislation defining Funk Carioca like Cultural Movement and Musical popular character since 2009. We intend through this discussion, capture the socio-political struggles which emerged with the implementation of this law, as well as to understand this change in the traced framework.