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When he first heard in May of 1804 that Bonaparte intended to declare himself emperor, Beethoven famously tore off the dedication page of his third ('Eroica') symphony. In roughly the same time-frame during 1804–05 Wordsworth was coming to the conclusion of his first full version of The Prelude (completed May 20, 1805), with similar attention to Napoleon. I want to use this compositional coincidence as a lead-in to a concentrated reading of Book X of The Prelude which can lead to a stronger connection between Wordsworth and not just Beethoven, but the whole of nineteenth-century European literature, especially the great tradition of novels in France. By following carefully his intricate structuring of the stages of his crisis and its resolution we can arrive at a new way of seeing Wordsworth's links to the broad landscape of nineteenth-century European literature. [ABSTRACT FROM AUTHOR]

This article deconstructs the intersections of form, counterpoint, and narrative that contribute to parody in the third movement Rondo-Burleske of Gustav Mahler's Ninth Symphony. Motivic counterpoint problematizes the movement's main rondo theme, placing initial cracks in the movement's rondo façade. Through thematic and formal counterpoint, the rondo genre itself destabilizes as signifiers of sonata-form rhetoric intrude. To interpret how counterpoint and generic mixture contribute to the burlesque character of the movement, I consider theoretical accounts of parody and the burlesque, and I adapt, as a generative metaphor, Mikhail Bakhtin's notion of the carnivalesque. In the context of the Ninth Symphony's transsymphonic narrative, the Rondo-Burleske performs a carnival parody of the symphonic finale genre, functioning as a brazen, iconoclastic, but in the end, failed counterpart to the first movement. [ABSTRACT FROM AUTHOR]

Modern precision sequencing techniques have established humans as a holobiont that live in symbiosis with the microbiome. Microbes play an active role throughout the life of a human ranging from metabolism and immunity to disease tolerance. Hence, it is of utmost significance to study the eukaryotic host in conjunction with the microbial antigens to obtain a complete picture of the host-microbiome crosstalk. Previous attempts at profiling host-microbiome interactions have been either superficial or been attempted to catalogue eukaryotic transcriptomic profile and microbial communities in isolation. Additionally, the nature of such immune-microbial interactions is not random but spatially organised. Hence, for a holistic clinical understanding of the interplay between hosts and microbiota, it's imperative to concurrently analyze both microbial and host genetic information, ensuring the preservation of their spatial integrity. Capturing these interactions as a snapshot in time at their site of action has the potential to transform our understanding of how microbes impact human health. In examining early-life microbial impacts, the limited presence of communities compels analysis within reduced biomass frameworks. However, with the advent of spatial transcriptomics we can address this challenge and expand our horizons of understanding these interactions in detail. In the long run, simultaneous spatial profiling of host-microbiome dialogues can have enormous clinical implications especially in gaining mechanistic insights into the disease prognosis of localised infections and inflammation. This review addresses the lacunae in host-microbiome research and highlights the importance of profiling them together to map their interactions while preserving their spatial context. [ABSTRACT FROM AUTHOR]

In an increasingly interconnected world, understanding of cultures, traditions and systems of different countries is of growing importance. This article aims to acquaint readers of this journal with library systems in Namibia, shedding more light on its goals, history, and various branches such as the National Library of Namibia, the National Archives of Namibia, as well as special, academic, and school libraries. Through statistical data on services offered and user demographics, the author provides insights into the current landscape of libraries in Namibia. Additionally, the article addresses challenges faced by these institutions, ultimately concluding that while the library systems in Namibia has made significant strides since Namibia gained independence, further efforts are required for its continued development and enhancement.

The creative heritage of composer N.N. Sidelnikov (1930-1992) covers many musical genres — from piano miniatures and film music to large-scale oratorio and symphonic concepts. As a professor at the Moscow Conservatory, Sidelnikov always followed current artistic trends, masterfully rethinking and refining them in his creative work. Sidelnikov’s instrumental music represents one of the most important and at the same time unexplored areas of his activity. Nevertheless, seventeen works for solo instrument, ensembles and orchestra form a large layer in his legacy and clearly characterize the composer’s creative individuality. Performing instrumentalists in Sidelnikov’s works are not regulated by the traditions of musical genres — for example, his heritage includes symphonies for a solo instrument, an ensemble and an orchestra. The genres are most often mixed, and a set of certain genre features, as a rule, is determined by a specific author’s idea; meanwhile, double genre definitions (symphony-sonata, concert symphony, symphony-divertimento, etc.) raise questions of the relationship between several genre definitions within one composition. In the composer’s diverse and heterogeneous instrumental heritage, there is a clear tendency for him to turn to several favourite topoi — certain ‘common places’ that are characterized by a certain theme and means of musical language characteristic of its expression. From the above it follows that the question of systematizing Sidelnikov’s instrumental works is ambiguous and may involve different approaches — depending on performing instrumentalists in a musical work or a group of compositions belonging to different toposes. In this article we consider both approaches and their relevance in relation to the composer’s legacy.

The SARS-CoV-2 pandemic has affected 771 million people and caused 6.9 million confirmed deaths as of November 2023. Beyond the adversity, a crucial and less-explored chapter unfolds: adaptive sequelae. These have altered social, mental, and emotional conditions, leaving an imprint on biological systems. While some cases fully resolve the pathological process post-acute infection, others persist with symptoms, posing a challenge that underscores the need to comprehend pathophysiology from innovative perspectives. The article delves into "Long COVID" or Post-Acute COVID-19 Syndrome (PACS), where symptoms persist for =4 weeks irrespective of initial severity. Risk factors include a history of severe illness, in-hospital management, and intensive care. This article also explores theories, derived from various experimental models, that have demonstrated the involvement of the nervous system in coordination with the psychoneuroimmunoendocrine axes in the expression of inflammation. It is posited that PACS involves processes of peripheral and central sensitization (corticalization), facilitating dishomeostasis and the chronicity of the inflammatory process. In this context, various therapeutic strategies grounded in modulating the inflammatory reflex are reviewed, primarily through the infiltration of local anesthetics via linear and non-linear approaches. Neural therapeutic use is considered to stimulate the regulatory inflammatory circuits coordinated by the neuroimmune-endocrine system. [ABSTRACT FROM AUTHOR]

This article provides a detailed response to Markus Neuwirth and Martin Rohrmeier's article 'Wie wissenschaftlich muss Musiktheorie sein?', published in the Zeitschrift der Gesellschaft für Musiktheorie in 2016. I undertake to nuance their call for the wholesale adoption of machine‐assisted corpus‐based methods in music theory through a detailed appreciation of work‐specific analysis as is has been practiced in American music theory. The argument unfolds through three case studies: of David Lewin's 1982 analysis of Schubert's 'Auf dem Flusse'; of Vasili Byros's more recent approach to the Eroica Symphony; and then of Lewin again, on Schubert's 'Morgengruß'. By means of these examples, I probe where corpus‐based methods can enhance traditional approaches and what new avenues of research they make possible, but I also emphasise those aspects of work‐specific analysis that elude their grasp. [ABSTRACT FROM AUTHOR]

This article discusses two separate books that explore different aspects of music history. The first book focuses on interwar symphonies in the year 1933 and examines the works of composers such as Weill, Pfitzner, Harris, Copland, Honegger, and Price. The author argues that symphonies can provide insight into composers' relationships with society and explores the tension between the individual and the collective. The second book examines French art song from 1870 to 1914 and challenges the perception that it is inferior to other musical forms. The author explores the experimentation and significance of the genre within French musical life and presents it as a form of "new music" deserving of recognition and study. [Extracted from the article]

The last decade on the 19th century saw a major crisis of identity in what is known today as Finland. Having emerged from under centuries of Swedish rule and being incorporated into the Russian Empire, the population turned to its true ethnic roots. The compilation and the publishing of the Kalevala set in motion a series of cultural and artistic events which resonated deeply with the political aspirations of the moment. Amidst this effervescence came the young Jean Sibelius to present one of his earliest monumental works, Kullervo Op 7. Often mislabeled as a symphonic poem, this programmatic symphony draws upon the story of the Kalevala's 6th cycle. The unfolding plot is a typical tragic hero story set in a very Finnish framework. The composer had therefore to solve the task of presenting a particular version of a universal archetype and to create a symphony that can be both a testament to the struggles of his own time and a monument within the history of universal music. [ABSTRACT FROM AUTHOR]

The article focuses on the challenges faced by organizations in today's corporate environment, such as ensuring product quality, establishing partnerships & maximizing resource allocation. Topics include TPL Manufacturing's digitalization journey to address inefficiencies; streamline operations; and foster collaboration through integrating ISO standards, aiming to achieve Industry 4.0 success with improved operational efficiency and customer-centric approaches.

This article examines the work of Yanov-Yanovsky, an Honored Artist of the Republic of Uzbekistan and a leading modern composer. Professor F. M. Yanov-Yanovsky has played a vital role in advancing the Uzbek school of composers, showcasing his unparalleled talent, artistic insight, and versatility as a composer, performer, and educator. His impact spans the entire field of contemporary compositional art in Uzbekistan. His personal and professional life are closely connected, mirroring the significant changes in the country over the last fifty years. The article highlights his diverse portfolio, which includes both classical and contemporary works. Yanov-Yanovsky's refusal to be restricted to one artistic path is evident in his broad range of compositions, such as poems, symphonic suites, instrumental concertos, and symphonies. His work seamlessly merges classical traditions with modern stylistic elements, demonstrating his mastery in both chamber and large symphonic formats. He excels in portraying lyrical, tragic, sarcastic, sorrowful, and poetic themes. Some of his pieces are known for their delicacy, fragility, and meditative nature, while others stand out for their intense emotionality and internal tension. His meticulous attention to detail, artistic craftsmanship, and rational approach are reflected in the clarity and balance of his musical ideas. Yanov-Yanovsky's body of work includes symphonies, concertos, oratorios, operas, chamber instrumental and vocal pieces, music for theater and film, and popular songs. He has significantly contributed to Uzbekistan's film industry, composing music for numerous films produced by the Uzbekfilm studio, which showcases the diversity of his work. Since the early stages of his career, Yanov-Yanovsky has also been involved in teaching at the State Conservatory of Uzbekistan, balancing his educational role with administrative responsibilities. [ABSTRACT FROM AUTHOR]

This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers' interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled "Flemish Legend" by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled "On the Wave of My Memory" composed by pop composer David Tukhmanov, based on the poems of poets with a "decadent" reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times. [ABSTRACT FROM AUTHOR]

Epigenetic machinery is a cornerstone in normal cell development, orchestrating tissue-specific gene expression in mammalian cells. Aberrations in this intricate landscape drive substantial changes in gene function, emerging as a linchpin in cancer etiology and progression. While cancer was conventionally perceived as solely a genetic disorder, its contemporary definition encompasses genetic alterations intertwined with disruptive epigenetic abnormalities. This review explores the profound impact of DNA methylation, histone modifications, and noncoding RNAs on fundamental cellular processes. When these pivotal epigenetic mechanisms undergo disruption, they intricately guide the acquisition of the 6 hallmark characteristics of cancer within seemingly normal cells. Leveraging the latest advancements in decoding these epigenetic intricacies holds immense promise, heralding a new era in developing targeted and more efficacious treatment modalities against cancers driven by aberrant epigenetic modifications. [ABSTRACT FROM AUTHOR]

Following the end of his tenure with the Vienna Philharmonic in 1901, Gustav Mahler conducted more concerts than ever outside the imperial capital, including two performances of his Symphony No. 1 as part of the Philharmonic Society of Lemberg's first season in 1903. In Lemberg, today the city of Lviv in western Ukraine, the symphony received an overall favourable and, perhaps unknowingly, perceptive critical reception, in contrast to the notoriously harsh reviews penned by critics in Vienna three years earlier. As a means of exploring such different responses in the centre and on the periphery of the Habsburg empire, I suggest that a common language of pluralities, which Mahler shared with the region of Galicia's quotidian heterogeneity and emerging modernist movements, allowed the Leopolitan public to be ahead of Vienna in their openness to the early modernist modes of expression that would soon dominate European culture. [ABSTRACT FROM AUTHOR]

The purpose of this work is to highlight the Biedermeier components of Schumann's creative method in line with the pianistic directions of training of F. Wik, K. Wik-Schuman with the justification of the semantic direction of Schumann's works, which are inseparable from Biedermeier aesthetics, in turn, connected with the aesthetic indicators of romanticism. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, comparative and hermeneutic prolongations of intonation in the works of D. Androsova, T. Verkina, O. Kozarenko, I. Kotlyarevskyi, I. Lyashenko, Liu Binjsan, O. Markova, O. Muravska, O. Ryzhova, O. Sokolova, with the use of scientific research methods: art history-analytical, descriptive-historical, cultural-regionalist, hermeneutic. Scientific novelty. For the first time in Ukraine, the Biedermeier side of R. Schuman's compositional thinking is emphasised in connection with his large cyclic works, in which the miniaturism of the components did not remove the romantic scale of thinking, but in the Biedermeier perspective, the avoidance of the author's stylistic egocentrism of expression. Conclusions. The two cycles of R. Schumann taken for analysis constitute a typical output of the composer's piano miniaturism, which stems from the idea of the "Oratorio for piano", namely from his "Carnival", in which the contrasts of tempo-genre juxtapositions, so prominent in romantic theatricality, appear here in the positive of Biedermeier imitation of Rococo sonata-suites, united by the kindness of communication in the latter, and here by the artistic disposition of the subject of the action. The piano version gravitates towards the "diamond" sounds of "light" pianism (Schumann repeatedly singled out Biedermeier in Chopin's playing, bypassing F. Liszt's orchestral discoveries), i.e. the Biedermeier component of the stylistic position of the author of "Carnival", while the mysterious-theatrical contributions testify to an approach to the romantic palette. [ABSTRACT FROM AUTHOR]

Although scholars have typically studied the Nazi concentration camp system through a political and military analysis, another approach is to consider how composers depicted the Holocaust. This article places two works about concentration camps in relation to human rights issues: Hanns Eisler's German Symphony (1935-58) and his mentor Arnold Schoenberg's A Survivor from Warsaw (1947). Both compositions rely heavily on texts to communicate their message. The article integrates Mark Philip Bradley's idea about the 'global human rights imagination': how nonstate actors, such as creative artists, could contribute to discussions about human rights through their art form or profession. [ABSTRACT FROM AUTHOR]

Pheochromocytoma (PCC) is a neuroendocrine tumor that produces and secretes catecholamine from either the adrenal medulla or extra-adrenal locations. MicroRNAs (miRNAs, miR) can be used as biomarkers to detect cancer or the return of a previously treated disease. Blood-borne miRNAs might be envisioned as noninvasive markers of malignancy or prognosis, and new studies demonstrate that microRNAs are released in body fluids as well as tissues. MiRNAs have the potential to be therapeutic targets, which would greatly increase the restricted therapy options for adrenal tumors. This article aims to consolidate and synthesize the most recent studies on miRNAs in PCC, discussing their potential clinical utility as diagnostic and prognostic biomarkers while also addressing their limitations. [ABSTRACT FROM AUTHOR]

Copyright of Jurnal Nusantara Aplikasi Manajemen Bisnis is the property of Universitas Nusantara PGRI Kediri 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 review navigates the evolving landscape of N6‐methyladenosine (m6A) research approaches, emphasizing the importance of advanced technology in understanding RNA epigenetics. Beginning with the fundamentals of m6A and the need for high‐ throughput methods, the investigation progresses from low‐throughput approaches to high‐throughput technologies, encompassing antibody‐dependent and antibody‐free sequencing methods, as well as nanopore‐based direct mRNA sequencing and computation methods for m6A detection. Spatial techniques and imaging tools for m6A are also introduced in addition. The discussion of their special applications emphasizes the biological significance of absolute quantification, single‐nucleotide resolution, single‐molecule detection, and single‐cell profiling. The review concludes with a vision of ideal approaches that combine current technologies for comprehensive m6A sequencing, with the potential to further our understanding of gene regulation, cellular diversity, and their roles in health and disease. [ABSTRACT FROM AUTHOR]

This article analyzes formal fusion in the first movements of Schumann's Symphonies Nos. 1 and 2 and the finale of his Overture, Scherzo, and Finale. Within these pieces, fusion results from what Julian Horton (2015) calls "conflation"—that is, a process in which previously distinct formal levels collapse into each other—resulting in two new categories of sonata expositions I term bipartite and undivided. These categories help explain some of the unique features of Schumann's orchestral music and provide new tools toward understanding nineteenth-century form. [ABSTRACT FROM AUTHOR]

We are accustomed to hearing the Adagietto from Mahler's Fifth Symphony played as an elegy, appropriate for state funerals and the like. But Wilhelm Mengelberg, once Mahler's assistant, claimed that the movement was composed as a love letter to Alma, and his performance offers an almost-too-explicit scenario of love making. In this article, I will return to Mengelberg's argument for this interpretation, then examine the ways his performance decisions produce simulations of erotic interactions. But his reading raises questions concerning historical performance practices: how prevalent were Mengelberg's tempo fluctuations and portamenti in the early twentieth century? To what extent should these practices inform our readings of other repertories of the time? And why might later conductors have chosen the elegaic mode, despite the fact that they thereby obscure what might be an important trace of Mahler's erotic sensibilities? [ABSTRACT FROM AUTHOR]

Mahler's use of the contralto voice in his Second and Third Symphonies and in Das Lied von der Erde is commonly observed but little examined. The contralto sound in the "Urlicht" movement of the Second Symphony and the "Midnight Song" of the Third remains to be thought through; so does the return of the contralto a decade later in Das Lied. Why this voice? What expressive and cultural force does it bear? And why does Mahler in the Third Symphony and again in Das Lied explicitly assign a female voice to a male narrator? The starting point for answers to these questions is the unique status of the contralto voice in Mahler's musical world. Between roughly the 1820s and the 1920s, this rarest of all voice types enjoyed a transcendental mystique. Traces of its elevation, linked to its rarity, persist into the present, as does the descriptive language that the voice attracts. The transcendental character of the contralto, however, did not lead from the earth but to it. This is the case even in the "Urlicht" movement, which might seem to go the other way. And "lead" is a key term: the voice belongs to an unforeseen guide who leads the listener to a more acute sense of earthly existence. Mahler's model here was almost surely the contralto role of Erda--a guide who loses her own way--in Wagner's Ring cycle. But Mahler changes the contralto's gender, or, more exactly, makes the contralto guide a hybrid being who belongs to no gender, much like the angels in Rainer Maria Rilke's near-contemporaneous Duino Elegies of 1912--22. [ABSTRACT FROM AUTHOR]

Given the openness to ideas about sexuality, not least in music, in post-Wagnerian turnof- the-century Vienna, Mahler's outwardly rather guarded and seemingly conservative approach to sexual experience is examined in the light of more recent biographical research (as in the German edition of Mahler's letters to Anna von Mildenburg). Discussion focuses upon a reconsidered approach to the evidence of his first two extended musical works: Das klagende Lied (a copy of whose score he gifted to von Mildenburg at the end of their relationship and to Alma Schindler at the beginning of theirs) and the First Symphony. Aspects of the critical reception of both works--presented in Vienna for the first time by Mahler, in reverse order, in 1900 and 1901--revealed the disapproval of more conservative commentators and their implicitly anti-Semitic interpretation of the works' questionable audience appeal in terms of a kind of mass-culture critique. The link between the evasion of or indulgence in musical representations of sexuality and changing attitudes toward musical taste and reception might heighten our awareness of how the complex modernity of those works was tending in a quite different direction to that of the nascent modernism of Mahler's younger contemporaries. [ABSTRACT FROM AUTHOR]

Discussion of Mahler and his music in the context of eroticism is rare. He is often personally contrasted with his wife Alma in terms of cultural interests and behavior. Evidence reveals, however, that he was more romantically experienced than Alma indicated at the time of their marriage. Mahler's music seems less overtly erotic than that of many of his important contemporaries. But he spent a career bringing some of the most sexually charged operatic repertoire to the stage as conductor. His patriarchal views on the idea of "Eros" as having both bodily and spiritually creative aspects of the "Common Eros" and the "Heavenly Eros" deriving from Plato's The Symposium, and the Wunderhorn song "Verlorne Müh'!" (1892) provide ways of understanding this stylistic shift and the exalted erotic at play in Mahler's music. [ABSTRACT FROM AUTHOR]

Pyrene, a renowned aromatic hydrocarbon, continues to captivate researchers due to its versatile properties and potential applications across various scientific domains. Among its derivatives, bromopyrenes stand out for their significance in synthetic chemistry, materials science, and environmental studies. The strategic functionalisation of pyrene at non-K region and nodal positions is crucial for expanding its utility, allowing for diverse functionalisation strategies. Bromo-substituted precursors serve as vital intermediates in synthetic routes; however, the substitution pattern of bromoderivatives significantly impacts their subsequent functionalisation and properties, posing challenges in synthesis and purification. Understanding the distinct electronic structure of pyrene is pivotal, dictating the preferential electrophilic aromatic substitution reactions at specific positions. Despite the wealth of literature, contradictions and complexities persist in synthesising suitably substituted bromopyrenes due to the unpredictable nature of substitution reactions. Building upon historical precedents, this study provides a comprehensive overview of bromine introduction in pyrene derivatives, offering optimised synthesis conditions based on laboratory research. Specifically, the synthesis of mono-, di-, tri-, and tetrabromopyrene isomers at non-K positions (1-, 3-, 6-, 8-) and nodal positions (2-, 7-) is systematically explored. By elucidating efficient synthetic methodologies and reaction conditions, this research contributes to advancing the synthesis and functionalisation strategies of pyrene derivatives, unlocking new possibilities for their utilisation in various fields. [ABSTRACT FROM AUTHOR]

The article focuses on Corrado D'Errico's The Path of Our Heroes (Il cammino degli eroi), a 1936 compilation documentary comprising footage shot by the Istituto Luce's East Africa Film Unit operators. By reconstructing the production history of the film, it draws attention to the integration of cinema into the Second Italian-Ethiopian war (and later the empire) and the influence of cinematic and artistic avant-gardes in the making of the imperial documentary. Through a formal analysis, the essay proposes the notion of "empire symphony film" to examine how the film strives to render visible, while being fully integrated to, the infrastructure of the empire. In doing so, it invites a reconsideration of 1930s Italian documentary cinema in light of the reconfiguration of militancy, film culture, and aesthetics prompted by the Ethiopian war. [ABSTRACT FROM AUTHOR]

This document explores the application of Neo-Riemannian Theory (NRT) to wind band literature, specifically analyzing a theme from Johan de Meij's Symphony No. 1, The Lord of the Rings. NRT is a contemporary music theory that focuses on nonfunctional triadic progressions. The document discusses the effectiveness of NRT for analyzing music within the wind band genre and highlights its interpretive utility for conductors and performers. It provides an overview of NRT concepts, a close reading of the analyzed theme, and a list of other wind band works where NRT could be useful. The document also mentions the relationship between NRT and film music analysis. [Extracted from the article]

The article discusses the commencement of a new production of Wagner's "Ring" cycle in Basel. The production features performances of "Das Rheingold" and "Die Walküre," with "Siegfried" and "Götterdämmerung" scheduled for the future. The director, Benedikt von Peter, presents the action from the perspective of Brünnhilde, with the adult Brünnhilde appearing alongside her younger self in "Das Rheingold" and "Die Walküre." The staging collapses Wagner's timeline, and the production includes spoken reflections by Brünnhilde during pauses in the music. The performances were generally strong, with notable performances by the singers and a smooth orchestral accompaniment. [Extracted from the article]

The finale of Mahler's Ninth Symphony is saturated with turn figures. More than a traditional Baroque embellishment, in this movement the turn establishes a densely motivic role while simultaneously, on three occasions, functioning as an allusion to the Heilandsklage motive (the "Savior's Lament") of Wagner's Parsifal. Yet despite the wealth of literature on Mahler's Ninth Symphony, the turn figure has been almost entirely overlooked in Mahler studies, both as motivic device and intertextual reference. This article fills this gap and provides a detailed investigation into the role of the turn in the finale of Mahler's Ninth Symphony as both a motive and allusion to Wagner's Heilandsklage. It begins by exploring Mahler's relationship with Wagner's last drama before examining the appearance of the Heilandsklage motive in Mahler's songs and symphonies more broadly. Following this, it embarks on a detailed investigation into the turn in the finale of the Ninth Symphony and offers a fundamental rethinking of the turn, not simply as a musical ornament, but as a tool for musical and intertextual meaning in Mahler's and Wagner's works. [ABSTRACT FROM AUTHOR]

This comprehensive review delves into the forefront of research on the human oral microbiome, exploring recent advancements that span microbial colonization, state-of-the-art detection methodologies, and the complex interplay involved in disease progression. Through an exhaustive analysis of the contemporary literature, we illuminate the dynamic orchestration of microbial communities within the oral cavity, underscoring their pivotal role in health and disease. Cutting-edge detection techniques, including metagenomics and high-throughput sequencing, are discussed regarding their transformative impact on understanding the intricacies of oral microbial ecosystems. As we stand on the cusp of a new decade, this review anticipates a paradigm shift in the field, emphasizing the potential for rapid identification and targeted management of detrimental oral microorganisms. Insights gained from this exploration not only contribute to our fundamental understanding of the oral microbiome but also hold promise for the development of innovative therapeutic strategies to maintain oral health. This article aims to serve as a valuable resource for researchers, clinicians, and public health professionals engaged in unraveling the mysteries of the microbial symphony within the human oral cavity. [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.)