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Odkritje elektronskega glasbenega dela San Fernando Sequence (1963) Ernsta Kreneka, ki je dolgo veljalo za izgubljeno, sproža interpretativne probleme, ki na povraten način vključujejo dostop do samega glasbenega gradiva in identifikacijo dela. Članek vire tega dela postavlja v zgodovinsko-tehnološki okvir njihove produkcije in z muzikološko analizo za oceno avtentičnosti podaja estetsko interpretacijo dela znotraj zapletene stopnje razvoja avtorjevega kompozicijskega mišljenja v odnosu do elektronskega medija.

With the development of sound production and processing technologies, composers' private rooms stopped delimiting the boundaries of musical creativity, which started inhabiting recording studios instead. Here memory, traditionally entrusted to paper and to the silence of the musical text, met a technology that enabled to record sounds directly, thus achieving the acoustic fulfilment of the composer's thought. The crystalline abstraction of musical notation gave way to a world of sounds submerged in noise as well as in human and technological indeterminacy: it is a world that requires specific control strategies and direct confrontation with performance practices and listening within a complex system. Composers were tossed into this system, becoming performers and active observers of their own work. Thus, the linearity of Shannon’s model of communication was altered. In his works on musical semiology, Jean-Jacques Nattiez had already modified the model from Sender -> Message -> Receiver to Poietic dimension -> Trace . The rise of the composer as an active observer requires a new transformation of the model of communication, creating a continuous feedback between the different elements. This feedback will often involve the listener as well. The electronic music work can therefore be seen as a self-organizing system that includes in itself the electronic devices as well as the human factor that operates them. In this system, compositional models are the invariants that vouch for the identity and recognisability of the work.

Chronic Kidney Disease (CKD) provokes biochemical and systemic alterations, causing bone fragility with an increase in bone fracture risk, extraskeletal calcifications, increased morbidity, and cardiovascular mortality. The complex pathophysiological mechanism causes a syndrome called CKD-MBD (Chronic Kidney Disease - Mineral and Bone Disorders), which includes mineral and bone alterations leading to renal osteodystrophy (ROD). An early diagnosis is therefore essential to prevent the onset of more severe complications. A precise diagnosis of bone disorders and the subsequent administration of the best therapy is difficult without performing a bone biopsy. However, lately, the diagnostic focus is shifting to a series of molecules, the bone turnover markers (BTM), generated by the same bone tissue during the remodeling process, which is proving to be a useful diagnostic tool in the definition of ROD. BTMs are divided into bone formation molecules (amino-terminal propeptide of type 1 procollagen, P1NP; osteocalcin, OC; bone alkaline phosphatase, bALP) and bone resorption molecules (carboxy-terminal cross-linked telopeptide of type 1 collagen, CTX; isoform 5b tartrate-resistant acid phosphatase, TRAP-5b). There are also biomarkers of bone metabolism such as parathyroid hormone (PTH), fibroblast growth factor 23 (FGF23), and sclerostin. Although PTH is one of the most used molecules, P1NP, bALP, CTX, and TRAP-5b have proven to be superior in the discrimination of low turnover pathologies. The diagnostic capability of these molecules and their potential still require further studies, but clinicians must include BTMs in the diagnostic process of CKD-MBD., (Copyright by Società Italiana di Nefrologia SIN, Rome, Italy.)