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This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library.

This music score was submitted for Resonate 2024: An Open Access Call for Scores by the UCLA Music Library with Bent Frequency and Jan Berry Baker.

For 2-part children’s choir, SATB adult choir, flute/piccolo, double bass, two percussionists and piano. Text by Robert Browning.

For a series of concerts, I decided to compose a fun, accessible piece which would give the audience an idea of the many sounds the flute can make. The extended flute techniques displayed in Flute Vibes include singing and humming while playing; producing more than one note at a time (multiphonics); and percussive effects such as key clicks with open and closed mouthpiece. Various sorts of tonguing are also used, including flutter tonguing, slap tongue or “tongue pizzicato” and tongue stops. At one stage the head joint is played on its own, and then the body of the flute is played without the head joint (trumpet sound). Aeolian sounds, jet whistles, pitch bends, glissandi, harmonics, buzz pitches, microtonality, quarter-tone scales, head vibrato…the list goes on!

Rock art may provide insights into the fluid cosmological relationships between people and other living beings. Described here is an iconographic cluster of Basketmaker II-III figures referred to as the “duck complex” with its geographic focus in the central San Juan region of Utah and Arizona. It consists of images of ducks themselves, as well as depictions of anthropomorphs with ducks on their heads that are often associated with fluteplayers, atlatls and darts, speared animals and figures that have quail topknots as headgear. I propose that the varied scenes represent episodes of supernatural travel by ritual practitioners enabled by the duck because of its capacity for speed and its ability to negotiate various vertical layers of the cosmos. [ABSTRACT FROM AUTHOR]

Purpose: To present a novel intraoperative application technique of basic salt solution (BSS) perfusate to address residual epiretinal perfluorocarbon liquid (PFCL) droplets. Methods: Following standard liquid-gas exchange and aspiration of visible PFCL using a flute needle, the adjuvant drip-irrigative method is employed. A 2mL needle containing BSS is introduced and maneuvered circumferentially around the posterior pole while injecting BSS intermittently to obviate droplet presence. Subsequently, droplets lying flat to the surface drain via the flute needle, and the process if repeated until no droplets are visible. Results: Among 112 consecutive patients diagnosed with rhegmatogenous retinal detachment (RDD) with at least 3 months follow-up, 109 patients (109 eyes, [97%]) experienced no PFCL-related complications follow pars plana vitrectomy. Among three patients with PFCL-related complications, two (2 eyes) presented with residual droplets on the retinal surface during silicone oil retrieval, and one (1 eyes) had PFCL migration to the anterior chamber. No patients experienced sub-retinal/ sub-foveal PFCL or iatrogenic injury. Conclusion: This adjuvant drip-irrigative technique offers enhanced droplet visibility, reduced risk of iatrogenic retinal damage, and ease of application. Findings reported suggest the potential of this approach as a standard practice when using PFCL to mitigate complications. Key summary point: This study introduces a drip-irrigative technique using a novel saline application method to enhance visibility and drainage of residual droplets during surgery, thereby reducing the risk of iatrogenic damage and migration. A case series supports its effectiveness, highlighting its potential as a safe adjuvant practice for vitreoretinal surgeons. [ABSTRACT FROM AUTHOR]

Copyright of Art Vision is the property of Ataturk University Coordinatorship of Scientific Journals 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 research aims to reveal the dark cultural dimensions in the novel "A Crazy Night" by Mohamed Hamdan Ben Jarsh, utilizing the radiations of the text that the writer artfully conveys within a framework of semantic data that implies cultural systems. The creative text carries multiple dimensions that do not directly surface and cannot be identified through a first reading; these dimensions require diving deep to search for signals that illuminate its obscurity . The study is based on both analysis and interpretation, being mindful of its intellectual perspective by following the course of events, recognizing the characters, and subsequently elucidating the ideas they carry, the principles they believe in, and the beliefs they yield to, while linking all of it with the external environment. The paper characters do not represent an individual case in a transient text; they consciously indicate- by the author's awareness-models in social reality. Consequently, a character may symbolize a thought of a particular group that believes in what this character believes. Thus, we focused on the most important elements and characters that open a window to the intellectual vision embedded in the novel text, aiming to engage with it to produce it anew within the critical space . The research axes are as follows: (The Obscurity of the Main Title, The Dark Cultural Dimensions in the Novel, Entry into Life, A Window of Hope, First Character: Salem/The Flute, Second Character: Hisham, Third Character: Noor Said Al-Sari). [ABSTRACT FROM AUTHOR]

Acquiring new languages is crucial in today's globalized world. It enhances personal relationships, and promotes professional growth while broadening perspectives. It also fosters empathy and cultural sensitivity as we are currently in an era of inter-cultural communication. The objective of this study is to explore the role of translation in acquiring new languages as a contemporary necessity in this era when mankind is faced with the need to reach out to one another. Emphasis specifically, is on how it aids the acquisition of a second or multiple languages. Emphasis on situational/contextual teaching/learning of a second language (communicative approach), makes contextual translation suitable for this purpose. The core of the article is to establish the nexus between the trio: translation, communication, and language acquisition. A detailed review of the available literature on the above concepts is presented. This role is examined through the use of one of Achebe's literary works for children, The Flute. The analytical frame work is grounded in the interpretative theory of translation and it elucidates the effectiveness of translation in the acquisition of a second language, especially in young children. The conclusion attests to how children can easily acquire a second language and also communicate appropriately through the use of pedagogical translation. [ABSTRACT FROM AUTHOR]

Background: File fracture during root canal treatment in endodontics is a major concern for clinicians. The strength of the file is strongly dependent on its geometry, material, and working conditions; finite element simulations are used to understand these failure mechanisms. One limitation of the models used for these simulations is the approximate geometric representation typically obtained by rotating and scaling a specific cross-section shape along the file length. Given the influence of file geometry on file strength, a more realistic representation based on the manufacturing method is needed. Methods: A computerized method was developed to generate the file geometry by simulating the flute grinding manufacturing process. This method generates the 3D geometry of the file starting from a blank and reproducing the motions of the file and grinding wheel. Results: The cross-section of the resulting geometry does not involve simple rotation and scaling but changes from the shank to the tip. The tilt angle of the grinding wheel affects the final geometry, thus altering the convexity of the cross-section. Several other parameters, such as the pitch and the radius of the grinding disc tip, impact the final geometry. Conclusions: The proposed computational method allows for the generation of endodontic file geometries that match those produced via the actual flute grinding method. This tool may help researchers and tool designers in the preparation of finite element models to assess the strength of realistic files. [ABSTRACT FROM AUTHOR]

The purpose of the work is to substantiate the evolution of pipe art as a special phenomenon from archaic musical traditions to the present. The methodology. Significant for this work were historical, analytical, musicological, and cultural methods, which were used to reveal various aspects of flute art, including its evolution, use in different cultural and social contexts, and its impact on the music culture of Ukraine. The scientific novelty of the work is determined by its analytical perspective, which represents a comprehensive view of the history and evolutionary development of pipe art from archaic musical traditions to the present. Conclusions. The presented materials reveal the evolution of pipe art and its role in the modern world of musical performance and musical genres. Attention is focused on changes in materials and construction when making a musical instrument. The advantages of the chromatic flute as a unique instrument with a wide range of performance and musical-tonal possibilities are argued. The study demonstrates the significance and relevance of flute art for contemporary cultural and musical environments, opening up new prospects for future research in musicology. [ABSTRACT FROM AUTHOR]

The forming grinding process is a crucial method for helical flute grinding of the end mill and screw tap, and the grinding wheel profile is the key to ensure the precision of the helical flute, which is constrained by the grinding wheel posture. However, the existing methods have some deficiencies such as the invalidity or uneven wear problems. In this paper, an optimized calculation method of the grinding wheel profile for the forming grinding of the helical flute is proposed, including the suitable grinding posture correspondingly. Firstly, the parametric models of the helical cutting edge and the helical flute surface are established. Secondly, the contact condition between the grinding wheel and the flute is deduced to calculate the grinding wheel profile by the envelop theory. Thirdly, an optimization method for grinding wheel profile is proposed, which could predict of the solution interval, avoid the profile intersection, and improve wear resistance. Finally, the method was verified by a series of simulations and experiments, and the results show that the method could meet the grinding precision requirements and expand the application range of forming grinding technology in helical flute. [ABSTRACT FROM AUTHOR]

Copyright of Techno.com is the property of Universitas Dian Nuswantoro, Fakultas Ilmu Komputer 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 study examines the fluting of two well‐known Late Pleistocene fluted point types in North America: Clovis and Folsom. Using scaling analyses, we assess the changing relationship between flute length and point length in a large sample of each type. Researchers use scaling to investigate the physical constraints of an object and determine how its dimensions change with size. We compare the strength and consistency of the scaling relationships between the older Clovis and the younger Folsom with the aim of shedding light on scaling differences, if any, over their temporal span. Our results show that there is a significant difference in the relationship of fluting length to point length between these types. In Folsom point manufacture, flute length increases nearly twice as fast with increasing point length than in Clovis. Importantly, the scaling of flute length to point length relationship is isometric (linear) in the Folsom sample, whereas it is allometric (sublinear) in the Clovis sample. In other words, Folsom flintknappers maintained a constant ratio of flute length to point length. Clovis flintknappers were less concerned about maintaining this ratio. We attribute this difference to a potentially increasing, or changing, functional role of fluting in Folsom. [ABSTRACT FROM AUTHOR]

The scientific research is devoted to the disclosure of the most characteristic features and distinctive particularities of the All-Ukrainian festival competition of academic wind music "Magic Flute". This festival-competition has been held by teachers of the academic wind music and percussion department of the Kryvyi Rih Regional Professional Music College for fifty years. The "Magic Flute" is implemented with the constant support of the educational institution's administration and headed by the director of Musical College, L.V. Rakityanska. On the half-century anniversary, the specialized festival competition showed the uniqueness of its creative face. There are maximizing the introduction of various musical and performance forms (solo, ensemble, and orchestral performance on wind and percussion instruments), constant diversification of the repertoire palette (academic masterpieces, works of various cultural and historical periods), involvement of the broadest possible professional wind and percussion academic instruments, as well as artistic and patriotic relaying of the annual holding of this professional and specialized forum of academic wind musicians and percussionists of the Kryvyi Rih region are creating the achievements in the fiftieth anniversary of the artistic life for the "Magic Flute" academic wind festival-competition. The method of historical and comparative analysis of the most significant events in the chronicle of the "Magic Flute" festival-competition, we will emphasize, with the subsequent determination of the stages of formation and development of this large-scale festival-competition event can become a significant prospect for further scientific investigations regarding the specified topic of the presented scientific article. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)

In 1988, in one of the burial mounds near the village. Rybinsk in the North-Eastern Azov region, a bone product was discovered, which was originally called a cheek-piece, but ultimately remained unidentified. Later it turned out that the cultural, and, consequently, the chronological position of the burial is undisputed. This short article again draws attention to an incomprehensible bone product from the North-Eastern Sea, because an analogy appeared – a bone product from a kind of Neolithic burial ground in the Bom Santo cave (southcentral Portugal), discovered in 1993 and partially explored in 1994-1995, 1997, 2001. The product from the Bom Santo cave was tentatively called a «flute», but the authors of the find are not sure that this is a musical instrument, and ultimately the find in this case also remained uncertain. Despite the significant territorial and cultural heterogeneity of the two bone finds, I consider it useful to compare them, especially since the chronological position of the item from the Sea of Azov can be significantly omitted and not differ so much now from the dating of the bone find from the Bom Santo cave.

There is growing evidence highlighting benefits of musical exposure and participation on several aspects of development and parenting. Aiming to establish a rigorous protocol allowing researchers to study different types of musical interactions and their benefits on the development of early communication, the present study explored parents' experiences of musically engaging with their infants in different types of music groups. Twenty-five infants and their parents were randomly assigned to one of three groups: (1) singing, (2) flute playing, or (3) control group. Music sessions were held weekly for 14 weeks and were followed by the home use of the recorded routines specific of each group, for further 3 months. Semi-structured interviews were conducted with the experimental groups' participants, and pre/post quantitative developmental measures were collected from all groups, to assess participants' compliance. Qualitative analyses of the interviews revealed both shared themes, (communication enhancement, enjoyment, and regulation); and unique themes (creativity and freedom in the flute group; familiarity and responsiveness in the singing group). The feasibility study was successful in establishing a workable protocol to use in RCT longitudinal interventions aiming to examine how specific aspects of the musical experience might differentially support developmental outcomes, in parent–infant groups. [ABSTRACT FROM AUTHOR]

Objective was to provide an overview of the study findings addressing medical problems in flautists to better understand their complaints and pave the way for more personalized healthcare. Several electronic databases (PubMed, Embase, Cochrane Library) were systematically searched in July 2022. Furthermore, the references of all included articles were reviewed for additionally relevant sources. The resulting set of studies was summarized in a table, with quality assessment according to the SIGN grading system. From an initial 433 hits, the search yielded 95 studies with a total of 32,600 musicians, including at least 2134 flautists. Among the latter, evidence was found for musculoskeletal, neurological, dermatological, temporomandibular, and hearing complaints, overuse and reflux symptoms, velopharyngeal insufficiency, as well as upper and lower airway impairment. Other specialists may be consulted equally often and should be sensitive to the particular medical problems in flautists. Future studies would ideally contain specific outcome analyses on an international scale and consider flautists as an individual subgroup within a larger number of total participants. [ABSTRACT FROM AUTHOR]

This article explores the way sybyzghy cassettes are used by Kazakhs in northern Xinjiang to affirm identities shaped around nationhood, regionality, and clans. It discusses sybyzghy imagery alongside the remediating power of these cassettes, a power that informs, confirms, and diversifies the meanings of the sybyzghy repertoire, thus functioning in a "performative" way that signifies a symbolic and semiotic vision of collective memories. It contributes to the existing literature on biphonic flutes in Central and Inner Asia as well to the understanding of sound collections that feature ignored but performative notions of selfhood around sonic materiality, iconicity, and metaphor. [ABSTRACT FROM AUTHOR]

Copyright of Notes Muzyczny is the property of Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczow w Lodzi 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.)

Artikel ini menyajikan hasil analisis struktur musik dan teknik penyajian “Partita in A Minor” (BWV 1013), karya Johann Sebastian Bach. Repertoar “Partita in A Minor” (BWV 1013), karya Johann Sebastian Bach aslinya digubah untuk solo flute, namun untuk kepentingan pementasan, disajikan dalam permainan solo saksofon alto. Rumusan masalah yang muncul adalah terdapatnya perbedaan dalam teknik permainan antara flute dan saksofon alto sehingga menghadirkan beberapa tantangan dalam mengartikulasikan kalimat-kalimat musik dalam repertoar tersebut. Hal-hal yang muncul dalam permainan saksofon alto dipaparkan berdasarkan metode penelitian kualitatif dengan pemaparan secara deskriptif analisis musikologis. Bentuk kebaruan dalam artikel ini adalah menyajikan analisis struktur musik dan tantangan dalam permainan solo saksofon alto, karena repertoar ini aslinya untuk solo flute tanpa iringan. Melalui kajian ini disimpulkan bahwa repertoar untuk instrumen flute sangat memungkinkan dimainkan alto saksofon karena memiliki beberapa persamaan dalam hal register suara dan klaviatur organologis, meskipun juga memiliki perbedaan yang cukup signifikan pada warna suara dan frasering pernafasan. Pengaruh yang paling signifikan adalah cara penyajian dalam tempo yang lebih lambat dari permainan flute. Penulis berharap bahwa penelitian ini dapat memberi dorongan kepada para musisi lainnya untuk mentranskipsi atau memainkan repertoar-repertoar klasik instrumen flute ke saksofon menjadi semakin masif. Abstract Analysis of Musical Structure and Technique in the Presentation of "Partita in A Minor" (BWV 1013) for Alto Saxophone. This article presents the results of an analysis of the musical structure and performing technique of "Partita in A Minor" (BWV 1013) by Johann Sebastian Bach, an alto saxophone soloist whose original repertoire was composed for solo flute. The formulation of the problem that arises is that there are differences in playing techniques between the flute and the alto saxophone, which present several challenges in articulating the musical sentences in the repertoire. Any things that appear in alto saxophone playing are explained based on qualitative research methods with a descriptive presentation of musicological analysis. This article's novelty is that it analyzes the musical structure and challenges in alto saxophone solo playing because this repertoire was originally for unaccompanied flute solos. This study concluded that the repertoire for the flute instrument could be played on the alto saxophone because it has several similarities in register and organological claviature. However, there are also significant differences in timbres and breathing phrasing. The primary influence factor is executing this repertoire at a reduced pace compared to the original flute. The author hopes this research can encourage other musicians to transcribe or play the classical repertoire from flute instruments to the saxophone more massively. Keywords: Partita in A minor; classical; articulating; flute; alto saxophone

By studying the distribution of wind instruments made of bone, we investigate the presence of musical traditions in the American Southeast and nearby regions during the last few centuries prior to European arrival. Our findings show that southeastern Indigenous peoples used bone instruments far less than their neighbors, suggesting that they almost exclusively made whistles and flutes from reeds, wood, and other materials that do not survive in the archaeological record. This variation in materials was not based on a lack of knowledge, as we detail the presence of several bone wind instruments in the Southeast, but rather, we suggest, a unique musical tradition in the region. [ABSTRACT FROM AUTHOR]

Some albums entail more than meets the ear. In the Age of Ravel and In the Age of Debussy surround representative works of Maurice Ravel (1875–1937) and Claude Debussy (1862–1918) with contextualizing selections from contemporaries. Compellingly rendered by Ransom Wilson and François Dumont, these discs document six decades of innovation. They also illuminate intriguing connections as well as fascinating contrasts among familiar and unfamiliar works. And each celebrates the art of the French flute. But there's more. [ABSTRACT FROM AUTHOR]

Taper end-mills are extensively employed in CNC machining and the flute is integral to the cutting efficacy of the end-mill. Nonetheless, forming the grinding wheel path for a taper end-mill is exceptionally challenging owing to its intricate structure and variable cross-section. In traditional methods, the wheel path is generated by experience, and the accuracy of flute parameters cannot be guaranteed. To overcome those problems, this paper proposed a wheel path generation approach for taper end-mills flute-grinding subject to variable cross-section, which is capable of ensuring the accuracy of parameters of the cross-section. In the wheel path generation, the taper end-mill is discretized into a series of finite slices, which can be transformed into solving a series sub-problem of grinding cylindrical end-mills. To eliminate the interference and discontinuity caused by the discretization, the enhancement based on sensitivity analysis and smoothing are used to optimize the grinding wheel path. Finally, the approach is validated by both simulation and experiments. The results indicated that this approach is capable of generating the wheel path for grinding the taper end-mill flute accurately and efficiently subject to the variable cross-section parameters. [ABSTRACT FROM AUTHOR]

In the production of boxes, it is customary to align the flutes vertically, corresponding to a 0° flute angle. This configuration is widely believed to yield optimal compressive strength, despite existing evidence from corrugated flute boards and boxes that challenge this assumption. The present study investigates the hypothesis that non-vertical flute angles do not significantly compromise box compression strength and may potentially offer enhancements in other performance characteristics. Regular slotted container boxes (385 × 238 × 300 mm) constructed from single wall C-flute board were used in this study. Ten flute angles were selected for box level testing: 0°, 5°, 7.5°, 10°, 12.5°, 15°, 20°, 30°, 45° and 60°. Samples of converted board were subjected to edge crush testing (ECT) following TAPPI T-811 and four-point-bending following TAPPI T-820. Box crush testing (BCT) followed NZS 1301.800 2006 (New Zealand Standard). Component testing results were consistent with previous studies. Outcomes showed a general linear reduction in ECT with increasing flute angle, and nonlinear relationships between flute angle and bending force and stiffness. At the box level, peak load did not decline significantly between 0° and 45°, however 60° flute angles had significantly lower peak loads (α = 0.05). At certain angles, notably 10° and 30°, less variation in peak load was observed. BCT force and stiffness of the box significantly improved in terms of median and variation at 10° and 30°. Therefore, a flute angle of less than 45° does not significantly reduce compression strength. [ABSTRACT FROM AUTHOR]

As a composer-performer, Cat Hope has collaborated with Éliane Radigue in the creation of three new works: 2015's OCCAM HEXA II, co-composed with Carol Robinson and commissioned by Decibel new music ensemble, 2018's OCCAM XXIV for solo alto flute, and 2019's OCCAM RIVER XXIV for flute and cello. In this article, Hope traces the genesis of these works and her experience bringing these compositions to life via a shared composer-performers' circle: friendship networks and ways of being together that Hope argues are key to the success of Radigue's acoustic work. Drawing from meetings, discussions, and workshop sessions with Radigue, the experience of the evolving performance process and consultations with other Radigue performers, Hope outlines her perspective on how these works come together, link to each other, and contribute to the broader community of composer-performers. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences Studies is the property of Social Sciences Studies 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.)

El artículo discute los silbatos de pájaros y las flautas de cerámica para pájaros durante la época de los mayas, centrándose en los presagios y las actividades relacionadas con figurillas e instrumentos sonoros y flautas globulares de Calakmul y Tikal.

A quantitative evaluation of the musical timbre and its variations is important for the analysis of audio recordings and computer-aided music composition. Using the FFT acoustic descriptors and their representation in an abstract timbral space, variations in a sample of monophonic sounds of chordophones (violin, cello) and aerophones (trumpet, transverse flute, and clarinet) sounds are analyzed. It is concluded that the FFT acoustic descriptors allow us to distinguish the timbral variations in the musical dynamics, including crescendo and vibrato. Furthermore, using the Random Forest algorithm, it is shown that the FFT-Acoustic provides a statistically significant classification to distinguish musical instruments, families of instruments, and dynamics. We observed an improvement in the FFT-Acoustic descriptors when classifying pitch compared to some timbral features of Librosa. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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 analysis of narrative elaborations like fables provides elements for the valuation of the way we have represented animals, intelligence and, also, the way we propose behavioral models through didactic literary genres. However, the change in paradigm in the way we conceive the human-animal relationship offers an interpretative horizon that this article seeks to explore through the reading of a series of fables with the same protagonist and similar motifs. The protagonist owes, in great measure, its condition of archetypal beast to these stories: donkey has become a synonym of brute or lacking civility. Thus, the interest for this figure in three fables from different temporary and social coordinates, that employ this character - the donkey - and its encounter with a musical instrument to formulate a deontic precept: the value of knowledge, education and effort as opposed to casual accomplishment or one due to chance. "The Ass and the Lyre" (Phaedrus), "The flutist Donkey" (T. de Iriarte), and "The Donkey and the Flute" (A. Monterroso) are three texts with similar structures and form that will allow an exploration of genre, form, compositional elements and meaning to project sense onto aspects that compromise the symbolic value of animal representation and allow for ethical and ontological considerations in the evolution of this tale, in the face of the actual conception of the identity of its nature, in its sphere and in some correlative problems. [ABSTRACT FROM AUTHOR]

The corrugated board is a versatile and durable material that is widely used in the packaging industry. Its unique structure provides strength and cushioning, while its recyclability and bio-degradability make it an environmentally friendly option. The strength of the corrugated board depends on many factors, including the type of individual papers on flat and corrugated layers, the geometry of the flute, temperature, humidity, etc. This paper presents a new approach to the analysis of the geometric features of corrugated boards. The experimental set used in the work and the created software are characterized by high reliability and precision of measurement thanks to the use of an identification procedure based on image analysis and a genetic algorithm. In the applied procedure, the thickness of each layer, corrugated cardboard thickness, flute height and center line are calculated. In most cases, the proposed algorithm successfully approximated these parameters. [ABSTRACT FROM AUTHOR]

Bird bones were rarely used for production of artifacts, due to various reasons—they were much smaller and thinner than bones of mammals usually selected for tool production; they also have specific shapes and fine structure, inadequate for the majority of common artifact types. They were occasionally used for some specific objects, such as flutes, pipes, needle cases, and amulets. When it comes to the Eneolithic and Early Bronze Age periods in south‐eastern Europe, bird bone artifacts are rare; only few have been discovered thus far. In this paper, we will present one additional finding of a bird bone artifact, from the site of Zók–Gradina, situated in present‐day Hungary. Excavations carried out in 1920 by the National Museum in Belgrade revealed a multi‐period site, with major parts of the stratigraphic sequence belonging to the Late Eneolithic/Early Bronze Age Vučedol culture (2900–2500/2400 BC). Vučedol layers yielded relatively large quantities of worked bone, including one artifact produced from a bird bone, that will be presented here. The object in question was produced from the right radius of a Cygnus sp.; it is in the shape of an elongated tube; carefully cut at both ends. The function of this item is uncertain—it may have served as some sound‐producing instrument (flute), or it was some sort of a handle or needle case. It is interesting to note that bird representations, in particular, ornithomorphic vessels, are among the specific traits of the Vučedol culture; therefore, the choice of a bird bone for the production of this artifact may have had a certain symbolic significance as well. [ABSTRACT FROM AUTHOR]

This article is dedicated to the analysis of the piece "Co(ho)quet(us) for two flutes" written by Diana Rotaru, a young-generation Romanian composer, in 2011. It examines the new methods of sound production on the flute, linking them with musical language, the architectonics of the piece, as well as the composer's explanations and remarks about the flute's role in her oeuvre, the significance of these new sound production methods, and her relationships with famous contemporary flute performers. Emphasis is given to modern flute playing techniques such as Aeolian sounds, slap-tongue, and tongueram. [ABSTRACT FROM AUTHOR]

The shield bosses of the type Dobrodzień possess typical longitudinal flutes or facets on the calotte. These artefacts are well known in the Barbaricum, particularly in the Middle Danube area and to the north of the Carpathians, with a few isolated finds documented to the east of the Carpathians, on the eastern Black Sea coast, and on the Roman empire’s Danubian frontier. The images of the shield bosses of the type Dobrodzień rarely occur on the Roman pictures (the Monza diptych) and on the metalware discovered in the Barbaricum (horse tack plates from Untersiebenbrunn). The period of existence of the shield bosses of the type Dobrodzień as a whole corresponds to 370s – 430s. The article suggests the Roman origin of this weaponry: most likely, it was manufactured in a workshop in the Middle Danube area. Moreover, it is still possible that there were some Germanic prototypes for faceted shield bosses were known in the Germanic context already in the late 1st and 2nd c. [ABSTRACT FROM AUTHOR]