Search

In Washington DC, in 1901, the Samuel Coleridge-Taylor Choral Society was founded 'for the purpose of performing Coleridge-Taylor's music, with a particular goal of doing so with entirely black forces under the composer's direction' (p. viii). Unfortunately, this meant that Coleridge-Taylor's Symphony in A Minor quickly disappeared into oblivion. In this high-minded period, in which symphonic works by the great German masters such as Beethoven, Brahms and Schubert were viewed almost in religious terms, there was little sustained interest in the symphonies of young British composers, especially those written by persons of colour. [Extracted from the article]

During their education, artists receive soloist training by performing many works from the literature. However, people whose goal is to become an orchestra artist should be prepared for a possible audition by studying orchestral materials. Having information about the subjects and composers of the works can provide interpretation, knowing different playing techniques and finger positions can provide fluent and easy playing. In this study, information about the bassoon is given and its place in the orchestra is mentioned. In the research, four selections consisting of works from different periods, which are frequently encountered in orchestral exams, were determined and examined in terms of playing techniques. The works within the scope of this research are Scheherazade by Rimsky Korsakov, Ludwig van Beethoven's 4th Symphony, Igor Stravinsky's The Rite of Spring and Maurice Ravel's Piano Concerto in G Major. As a result of the research, it has been understood that these solos, which are requested to be played in the orchestra auditions, contain technical difficulties and that the terms requested by the composer affect the expression by shaping the interpretation of the work. This research is a qualitative study in which a literature review has been made about the works. It is aimed to give suggestions and recommendations on how to perform by examining the bassoon solos that are requested to be played in the orchestra auditions [ABSTRACT FROM AUTHOR]

Can there be another European city that has undergone so many dramatic transformations over the past hundred years as Berlin? The city has seen so much of history, created, and been the subject of, so many stories, and thus comprises so many versions of itself. The present article explores how Berlin films contain multiple historical and textual palimpsests, focussing on Walther Ruttmann's Berlin: Symphony of a Great City as the urtext of all subsequent Berlin films. Particular attention will then be paid to Berlin Symphony, Thomas Schadt's riposte to Ruttmann's film seventy-five years on, and the more recent Symphony of Now, directed by Johannes Schaff and which, in effect, responds to both. This article argues that these films, in complementary ways, uncover the cultural, historical and architectural palimpsests inscribed within the fabric of the city in their response to Ruttmann's urtext. [ABSTRACT FROM AUTHOR]

Copyright of Mehmet Akif Ersoy University Journal of Education Faculty is the property of Mehmet Akif Ersoy Universitesi Egitim Fakultesi Dergisi 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 essay examines the development of the image of Prometheus as a symbol of the revolutionary in Russia and the Soviet Union. After providing a historical overview of pre-Soviet and early-Soviet receptions of Prometheus' image in Alexander Scriabin's symphony Prometheus: The Poem of Fire (Prometei: Poema Ognia , 1908–10) and in the unfinished production of the ancient Greek tragic trilogy at the Moscow Art Theatre (1925–27), I focus on the analysis of Prometheus' myth in three screen adaptations: the 1936 film Prometheus (Prometei) by Soviet Ukrainian director Ivan Kavaleridze and the animated films The Return from Olympus (Vozvrashchenie s Olimpa , 1969), and Prometheus (Prometei , 1974) by Alexandra Snezhko-Blotskaya. I demonstrate that, besides the animation films directed by Snezhko-Blotskaya, the rest of the receptions were not successful at the time of their production. I examine how the creative programs of these projects did not fit the contemporary context, institutional framework, or official ideology because of technical, aesthetical, and political reasons. I argue that the screen receptions of Prometheus' myth employed Prometheus' image to reflect on and to address the changing political and cultural climate of the Soviet Union during critical periods of its history. [ABSTRACT FROM AUTHOR]

Adopting the Mahler measure from number theory, we introduce it to toric quiver gauge theories, and study some of its salient features and physical implications. We propose that the Mahler measure is a universal measure for the quiver, encoding its dynamics with the monotonic behaviour along a so-called Mahler flow including two special points at isoradial and tropical limits. Along the flow, the amoeba, from tropical geometry, provides geometric interpretations for the dynamics of the quiver. In the isoradial limit, the maximization of Mahler measure is shown to be equivalent to a-maximization. The Mahler measure and its derivative are closely related to the master space, leading to the property that the specular duals have the same functions as coefficients in their expansions, hinting the emergence of a free theory in the tropical limit. Moreover, they indicate the existence of phase transition. We also find that the Mahler measure should be invariant under Seiberg duality. [ABSTRACT FROM AUTHOR]

Simple Summary: Around 20 years ago, genomic profiling of breast carcinomas identified tumor subtypes with clinical implications and opened the door for a better understanding of breast cancer biology. The commercialization of multigene tests had a significant impact on clinical practice, and yet, controversy exists as to which methodology is best to inform the choice of therapy and existing recommendations are inconsistent and often driven by cost-effectiveness. Here we report data from a cohort of breast cancer patients in which pathological and molecular subtyping are directly compared in a clinical setting. The findings show that some patients with genomic low-risk tumors could receive unnecessary systemic therapy if only following the classical clinical parameters, while others could remain under-treated. This study suggests that to design precise treatment regimens for patients with early breast cancer, the conventional clinicopathological classification should be complemented with the robust prognostic information provided by molecular subtyping. Precise prognosis is crucial for selection of adjuvant therapy in breast cancer. Molecular subtyping is increasingly used to complement immunohistochemical and pathological classification and to predict recurrence. This study compares both outcomes in a clinical setting. Molecular subtyping (MammaPrint®, TargetPrint®, and BluePrint®) and pathological classification data were compared in a cohort of 143 breast cancer patients. High risk clinical factors were defined by a value of the proliferation factor Ki67 equal or higher than 14% and/or high histological grade. The results from molecular classification were considered as reference. Core needle biopsies were found to be comparable to surgery samples for molecular classification. Discrepancies were found between molecular and pathological subtyping of the samples, including misclassification of HER2-positive tumors and the identification of a significant percentage of genomic high risk T1N0 tumors. In addition, 20% of clinical low-risk tumors showed genomic high risk, while clinical high-risk samples included 42% of cases with genomic low risk. According to pathological subtyping, a considerable number of breast cancer patients would not receive the appropriate systemic therapy. Our findings support the need to determine the molecular subtype of invasive breast tumors to improve breast cancer management. [ABSTRACT FROM AUTHOR]

Climate change influences the ocean's physical and biogeochemical conditions, causing additional pressures on marine environments and ecosystems, now and in the future. Such changes occur in environments that already today suffer under pressures from, for example, eutrophication, pollution, shipping, and more. We demonstrate how to implement climate change into regional marine spatial planning by introducing data of future temperature, salinity, and sea ice cover from regional ocean climate model projections to an existing cumulative impact model. This makes it possible to assess climate change impact in relation to pre‐existing cumulative impact from current human activities. Results indicate that end‐of‐century projected climate change alone is a threat of the same magnitude as the combination of all current pressures to the marine environment. These findings give marine planners and policymakers forewarning on how future climate change may impact marine ecosystems, across space, emission scenarios, and in relation to other pressures. [ABSTRACT FROM AUTHOR]

Hearing a song, listeners can often pick up the syntactical relationships among its words only with great difficulty. The musical flow washes away most of the syntax, and the musical connections from one phrase to the next or one section to the next, sometimes even from one note to the next, are what connect the words to one another and give them meanings very different from their submerged syntactically fixed meanings. This article probes the musical relationships joining the phrases in Beethoven's Freude theme and attempts to paraphrase "joy" and "brotherhood" as their meanings are qualified by the musically determined relation of each to the other. It pays particular attention to the music that sets texts with a religious dimension, and the way their musical connections change the meaning of joy and brotherhood. [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.)

Previous studies have examined how popular music is preserved and curated. However, little is known when it comes to the more 'high-brow' and institutionalized western classical music, especially in a non-western context. In this article, we look at Shanghai Symphony Museum, built and renewed from western urban heritage owned first by an upper-class elite, and then the government, co-managed by a property company in the metropolitan city, Shanghai. Through its spatial and curating strategies, we discuss how the elites curate and 'police' the critical moments of the music culture in history, describe, and include it into the 'Haipai Culture' context, and identify themselves with this spontaneously formed culture in contrast to policy-oriented culture from the broader Chinese context. We also include the visitors' feedbacks for gaining a fuller picture. It is argued that renewing and reusing western heritage can become a successful institutional negotiation by policy-makers, designers, organisers, and the visitors. To some extent, this success is derived from both the museum's nature of being an elite space and institution and its approved motivation of developing cultural voice and commercial value. [ABSTRACT FROM AUTHOR]

Kevin Lynch's Image of the City is central to film studies, where cognitive mapping is often used to position screen depictions of cities in terms of genre affiliation, urban development, and subject formation. However, Lynch's model affirms that to image the city is to possess it, and that representation is an activity undertaken by human observers of a place rather than integral to places themselves. It is, in the end, a model fully aligned with—and one that naturalizes—the capitalist (re)development of the city and the role that commercial cinema plays in this process. The city symphony is closely associated with Lynchian mapping, but I argue such films articulate an alternative to it, one in keeping with Jameson's model of the location and coming to consciousness of the subject within ideology. City symphonies depict a day in the life of an urban environment, combining unities of time, space, and theme with rapid and complex montage. I show how Seeing the World pt 1: A Trip to New York (Burckhardt, 1937) uses a doubled structure to insist on New York as a place constructed (rather than perceived) by the images and representational strategies of its planners, inhabitants, visitors, and visual cultures, including cinema. By invoking and then mocking established itineraries through the city while pointing to the constructed nature of these itineraries as well as the city itself, Burckhardt's film performs a new kind of cognitive mapping, one that dispenses with the image of the city. [ABSTRACT FROM AUTHOR]

In order to improve the effect of symphony intelligent creation and command, this paper combines artificial intelligence technology to study the symphony intelligent creation and command system. Moreover, this paper designs three common signal conditioning circuits, namely gain-adjustable circuit, universal high-order filter, and D/A converter, and implements them in a cross-coupled POTA-based FPAA array. In addition, this paper verifies the programmability and correctness of these three signal conditioning circuits through simulation analysis in cadence software. Finally, this paper builds a simulation system based on the requirements of symphony intelligent creation and conducting. Through the simulation evaluation, it can be seen that the symphony intelligent creation and command system based on artificial intelligence proposed in this paper has a good simulation effect in the symphony intelligent creation and command system, and can play an important role in the symphony intelligent creation and command. [ABSTRACT FROM AUTHOR]

It is generally admitted that Dvořák’ s compositional work has been sealed mainly by his symphonic and chamber music production, while he has not been a piano virtuoso like the majority of his contemporary composers of the romantic era. However, he composed a large volume of solo piano compositions - apart from his popular four-hands original works and transcriptions – that are technically less demanding for the pianist than his chamber music works containing the particular attributes of Czech music. Although Dvořák’s piano compositions are often overlooked for the benefit of works by other romantic composers consisted of more idiomatic characteristics and features of impressive virtuosity, nevertheless, surprisingly, his best piano music is to be found at his less virtuosic compositions. This study, examining comprehensively Dvořák’s piano sets and single pieces, particularly his most defining compositions for solo piano, aims to capture composer’s distinctive and potentially personal traits in his piano writing regarding use of technical devices, in order to abstract conclusions about his possible influences by other romantic composers, to figure a certain manner of pianism, to evaluate the quality and peculiarity of his pianistic writing, to detect weak points that reveal likely lack of familiarity with the piano instrument and ultimately to view the evolution of his pianistic style throughout his compositional lifetime course. [ABSTRACT FROM AUTHOR]

The sea has always represented a source of inspiration in art (especially in the visual arts), but also in music - which borrows many attributes, such as evanescence and fluency, specific to musical Impressionism. Music also took over the metaphor of the sea, especially through the Impressionist music of Claude Debussy (The Sea) and A Sea Symphony by R. V. Williams, composers who will be celebrated at 160 and 150 years, respectively, from their birth. The purpose of the work is to stylistically compare the compositional details of the marine theme in the two proposed repertoire elements, from the 20th century. The work is structured in such a way that it involves a brief analysis of each of them, ending with comparative elements. [ABSTRACT FROM AUTHOR]

The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based on the score of the 2nd Concerto for Cello and Symphony Orchestra, published in 2019 by the PWM Edition in Kraków. The structure of the paper includes: introduction, three paragraphs and a summary. The characteristics of Paweł Mykietyn’s work contained in the introduction will allow the reader to become familiar with stylistic tendencies at various stages of the composer's work. The section devoted to the genesis and reception aims to present the history of the creation of the analysed work, as well as its contexts and resonance. The analytical sketch in the context of the issues of time and form will allow to present selected aspects of the compositional technique. [ABSTRACT FROM AUTHOR]

Copyright of ICT in Muzical Field / Tehnologii Informatice si de Comunicatie in Domeniul Muzical is the property of Tehnologii Informatice si de Comunicatie in Domeniul Muzical / ICT in Musical Field 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.)

The paper analyses the features of a symphony style in The Ukrainian Quintet by Borys Liatoshynsky, finding that the most researchers consider this work to be a symphony written for string quartet and piano. The grounds for this statement lie in the ideological depth of the dramatic concept of the tragic conflict in The Quintet, the scale of thematic transformations, the introduction of monothematism as the basic principle of composition, the use of semantic, genre, modal, melodic and intonation, as well as tonal and harmonic symbolism. The introduction of symphonism as the main method of building the concept led to a more ambitious interpretation of the chamber quintet genre. The author highlights the important role of polyphony in the creation of a multifaceted musical space at different levels of composition--from content, form creating, genre specificity to texture, rhythmic, melodic, and timbre development. Thus, the study dwells on the manifestations of symphonism in the musical drama of The Ukrainian Quintet. [ABSTRACT FROM AUTHOR]