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The present paper represents a contribution to the study of the relation between word and tone in the works of Jacob Gallus. The author bases his study on the doctrine of musical figures as it was formulated by the theorists of the 17th century, first of all by J. Burmeister. Since Gallus' music is intimately connected with the text, the application of this doctrine to his works yields interesting results. The figures isolated by the author from the compositions of Gallus can be divided into two groups: harmonic figures, which concern the whole structure of the composition, and melodic figures, which concern the melody itself. The first harmonic figure dealt with is the fuga realis which means the occurence of imitation. This generally used technique has an intimate connection with the text, only if it occurs in the middle of a homophonic piece. Its subsidiary form is, among other things, also hypallage, a counter-fugue serving to represent a contrast of content. In this connection it is interesting to note that Gallus follows the model of Lasso in his motet »Peccantem me quotidie« since Lasso in his composition of the same text also used a counter-fugue. As a further means of interpreting a text, the figure noema is employed, that is, a chordal passage in an otherwise polyphonic composition. This figure in contrast to imitation which illustrates the text in an image arouses a strong emotional state which results in turning the attention of the listener to the corresponding meaning of the text. Far more often than simple noema its repetitive forms analepsis and auxesis occur. The corresponding figure in polychoral compositions is anaploce which occurs in Gallus in such a characteristic form that Gallus' works were already taken by the theorists of the early 17th century as school examples of this polychoral technique. Among the harmonic figures in a narrower sense the dissonant figure syncope occuring in connection with the figures ple-onasmus and symblema, serves for effective underlining of an emotional state. In Gallus, the employment of the double subdominant, which nearly always appears in passages of heavy emotional content, belongs to specific harmonic structures. Such an employment of the double subdominant is denoted by Burmeister as the figure pathopoeia. The figure hypotyposis may comprise interpretation of strong emotional states and may illustrate the text in various ways. So it can occur, for example, as a change of a binary to ternary metre which is induced by a joyful mood in the text. In this respect Gallus' motet »Auditellus« is interesting with its conclusion in a ternary metre. Also here, Gallus follows Lasso's composition for the same text who set to music the same passage of this text in a ternary metre. Further, the figure hypotyposis may have a melodic meaning and denotes the employment of melisma, especially of coloraturas, to the effect of underlining a special moment of the content, above all, joy. In addition, this figure serves to illustrate movement and everything that is living. Gallus made a very moderate use of melisma, but when he did employ it, the reason was nearly always provided in the contents of the text. A special example of the figure hypotyposis appears in the structure of the so-called directed melodies: anabasis – an ascending melody, and katabasis – a descending line. Both the figures are employed by Gallus to illustrate progress of movement and to depict strong emotions. These figures are similar to circulatio, that is, a circular melodic movement, often found in Gallus and other composers of the 16th century. The passage »circumderunt eum« in the Passion 2, V (24, 141) and the parallel passage in Lasso has already been discussed by A. Schmitz. Like hypotyposis, the figure pathopoeia also has a melodic meaning in addition to a harmonic meaning. So Burmeister denoted the special use of semi-tonal progressions as pathopoeia, whether these are a part of tonality or not. Finally the author of the paper draws attention to the fact that Gallus, like other authors of that period, employs the general rest, denoted by Burmeister as aposiopesis, as a means of emphatic stress.

Proper corporate governance structures and principles guide companies towards financial health and lay down the blocks for a sustainable development of the private sector. Moreover, there is a widespread recognition and growing empirical evidence that strong fundamentals of governance are a condition for business benefits largely described by better management, effective boards, improved decision-making process, reduced risk, increased operational efficiency and valuations. Given that trust is a basic condition of functioning capital markets and corporate governance guarantees transparency, accountability and operational integrity, the aim of this present paper is to assess the conformity of the premium traded companies at the Bucharest Stock Exchange with its corporate governance code. The results of our empirical study reveal the ongoing concerns, focus and level of importance given to corporate governance structures and principles by the most trusted and profitable traded Romanian companies.

Along with recent advances in the knowledge of pigment formation and of pigmentcell biology, there has been an increasing interest in the pigmented mole or nevus. Since it is an extremely common lesion, clinically often disfiguring, many patients are seen who desire cosmetic removal of their moles. A great deal has been written about benign pigmented nevi, their pathology, their relation to melanoma, and their treatment, 1 but little has been published about treatment failures and recurrence. It is the purpose of this paper to discuss various mechanisms by which benign nevi may recur after treatment and to evaluate the significance of such recurrence. Several methods of dealing with the common mole are described in the literature. These may be divided into two main types: deep excision, which removes the entire lesion, and other methods, which do not completely remove it. Many dermatologists 2 feel that

A brief consideration of Janáček's connections with the modernist trends in the music of the twenties involves an exact analysis of his later work. In the work of this composer who was born in the fifties of the last century we find a number of the fundamental problems of modern music, such as melodies and chords of the forth, the whole-tone scale, the loss of tonality and tonal centre, some characteristics of tetrachordal groups, the beginnings of bitonality, an original use of macro- and micro-techtonics often operating with the so-called constant montage, and finally the beginnings of working with two desparate layers at the same time. The author tries to show the relation of Janáček, composer and man, to the avant-garde of the twenties. His relation to Schönberg was intensest in 1920 when he studied his »Harmonielehre« in detail; later, however, it assumed a critical aspect, as can be seen from his observations on the book mentioned and on certain compositions of Schönberg (Serenade in Venice 1925). After the encounter of both composers in Berlin (1926) Janáček wrote to Max Brod: »Schreker and Schönberg came to me to compliment me on the opera Káta Kabanova. This gave me the greatest pleasure . . .« He emphasized consciously his relation to the avant-garde in the speech on the occasion of his promotion on January 28tn, 1925, when he said: ». . . The moderns Schreker, Schönberg, Debussy feel in the same manner as I . . .« In the last two years of his life Janáček came to know the work of Berg also. He realised intuitively the profound significance of the genius of the Austrian musical dramatist and commented in the following manner: ». . . He is a dramatist of astounding significance, of deep truth. Let him speak! . . . his every note has been steeped in blood . . .« The author draws attention to the apparent ideological similarity of »Wozzeck« and of Janáček's last opera »From the House of the Dead«. The paper brings some additional evidence of Janáček's connections with the avant-garde. The author points out that Paul Hindemith first performed Janáček's violin sonata in 1923 and that he prepared some further performances. His relation to Béla Bartók is indicated by the concert arranged by Janáček in Brno on March 3rd, 1925. Janáček heard, analysed and criticised also a number of compositions by Igor Stravinsky. Further the enthusiasm of the younger generation for Janáček's work is documented: the two letters of Paul Dessau, the visit of the American experimentalist Henry Cowell who later nominated Janáček together with Bartók, Hába, Křenek, Berg and so on as honorary members of the New Music Society of California, the sincere relation of the Prague Society for Modern Music to the composer who had been its honorary member since December 16th, 1924. Finally the author outlines the most important characteristics of the music of the twentieth century in Janáček's work, which clearly forshadow the sphere of European music of the twenties and thirties.

During the last half century scores of papers have been written on pain in the upper extremity, but it is evident that the problem today lacks satisfactory resolution. There is little doubt that in certain instances compression of the neurovascular structures in the neck is due to a cervical rib. Essentially the same symptoms may be present when there is no cervical rib, and numerous authors have believed that the scalenus anterior muscle plays a major role in the production of these symptoms. A review of recent literature indicates growing discord regarding compression of the brachial plexus due to displacement (scalenus anticus syndrome), and many dissent from the idea that the scalenus anterior syndrome without cervical rib is a definite factor in upper extremity pain. In the past 16 years my associates and I have seen 117 patients whose symptoms and signs were such that a diagnosis of cervical rib

Almost the only work from the large library of the church of St. Wenceslas in Naumburg still extant is a copy of the Auferstehungshistorie of Antonio Scandello. The manuscript, dated 1595, contains both monophonie and polyphonic solo roles; at the end the verses of the entire chorus are also added. This manuscript is signed with a red monogram consisting of the letters J. H. C. and a cross, with a loop at the foot of the shape of a letter G. This monogram could be explained as denoting Jacob Handl Carniolus and as Gallus. This assumption is corroborated by an entry in an accounts book where we find in connection with the payment of 6 golden Rhenish gilders on the date 7th March 1596 the following comment: »Jacobi Handeln, sonst Gallus genannt, vor die anher geschickten Partes«. Apparently the manuscript of the church of St. "Wenceslas is identical with the compositions of the consignment referred to in the accounts book. As Jacob Gallus was already dead in 1591 his brother George sent the manuscript of the Auferstehungshistorie, which was among the belongings of the composer, to the town council of Naumburg. Hoping to obtain more money for it he sent it under the name of his famous brother. The commentary in the Auferstehungshistorie is written in an awkward language, which is completely in accordance with the general opinion that German was not the mother tongue of Gallus. As can be seen from the photographs accompanying this paper, the texts under the music, the annotation of the voices, and the commentary, with the monogram J. H. C. and G. come from the same hand. Probably also the musical notation, the title and the inscriptions for individual singing characters have the same origin. It seems we have a precious document to deal with which might mean an enrichment of the field of Gallus research.

Slavko Osterc entered into the centre of Slovene musical life as a revolutionary, as a champion of modern, world art trends and as the leading personality in the struggle for the introduction of contemporary principles of composition into the music of our contry. He devoted all his endeavours in art and in the field of criticism to this end. He found in the written word a more immediate means for affirming contemporary works of composition before a wide audience, and for removing those elements in Slovene musical life which impeded this affirmation. As a follower of absolute music, athematic and atonal style, he soon came up against resistance and negative appreciation from the critics who published their reviews in the various papers, representing different political standpoints. They reproached him for lack of invention and feeling, cold constructivism, his striving for originality at any cost, for his destructive revolutionary style and so on. These attacks, however could not weaken Osterc's addiction to contemporary music, but instead he ever consolidated his attachment to new paths in music: in composition he gave preference to intellect and not to emotion, to form and not to content; in his judgements he emphasized that the strict major-minor system was out-of-date, as were orchestral painting, Wagnerian dramatics, sensibility and dramatic tremo-loes; and so he stressed his affinity to new and bold harmonic progressions, to grotesque, to caricature, starkness, asceticism of emotion and to contrapunctal treatment especially in his longer works. Being convinced that for new content we must also find new musical forms, corresponding to contemporary idiom, he thought that an original solution of the formal problem is the first condition for every important composition. In his opinion, old proven traditional forms, whether in chamber, symphonic or operatic music, are incompatible with the expression of a new content. In this fact Osterc also saw the main reason, on the one hand, for the rather small contemporary output of symphonic and operatic works, and, on the other hand, for the varied chamber work production, because its small setting is most appropriate for the search for new possibilities in form and content. Thus in his creative work he devoted special care to chamber music. At the same time he stimulated those who were just beginning to employ contemporary composition techniques to discover further new ways, and encouraged those who had not yet decided on modernism to attempt such new techniques. He endeavoured to attract young composers to the ranks of our avantgarde so that they might attain the level of European development and then take an equal part in it.