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Journal articles on the topic 'Arpeggios'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 2. Arpeggio." Notes Muzyczny 2, no. 12 (2019): 33–44. http://dx.doi.org/10.5604/01.3001.0013.7166.

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The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or prélude

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2

Barbancho, Isabel, George Tzanetakis, Ana M. Barbancho, and Lorenzo J. Tardon. "Discrimination Between Ascending/Descending Pitch Arpeggios." IEEE/ACM Transactions on Audio, Speech, and Language Processing 26, no. 11 (2018): 2194–203. http://dx.doi.org/10.1109/taslp.2018.2858538.

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3

Krieg, Niki. "Pellegrino D'Acierno, The Fat Man Arpeggios." Forum Italicum: A Journal of Italian Studies 50, no. 1 (2015): 305–7. http://dx.doi.org/10.1177/0014585815623463.

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4

Zabanal, John-Rine A. "A Survey of Collegiate String Musicians’ Use of Drone Accompaniment to Improve Intonation." Update: Applications of Research in Music Education 38, no. 2 (2019): 46–54. http://dx.doi.org/10.1177/8755123319861428.

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The purpose of this study was to survey collegiate string musicians on their use of drone accompaniments to improve intonation. A questionnaire was developed and distributed to collegiate string musicians ( N = 152). Most participants reported that they used a drone accompaniment as a tool to improve their intonation and that they were introduced to it in high school. Participants indicated they used a drone accompaniment more regularly when practicing scales and arpeggios. Additionally, they believed that it was an effective technique for improving intonation, especially for scales and arpegg

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5

Butterfield, Craig. "The Block Approach: Expanded Arpeggios for Jazz Improvisation." American String Teacher 64, no. 1 (2014): 38–42. http://dx.doi.org/10.1177/000313131406400107.

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6

Kohn, Andrew. "Scales and Arpeggios for Bass: Reflections on Some Printed Sources." American String Teacher 67, no. 3 (2017): 38–41. http://dx.doi.org/10.1177/000313131706700308.

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7

Mochalin, B. V., and A. A. Yagovdik. "Actual approaches to work with scales and arpeggios by jazz guitarist." Alma mater. Vestnik Vysshey Shkoly, no. 7 (July 2018): 84–87. http://dx.doi.org/10.20339/am.07-18.084.

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8

Watson, Alan HD, and Kevin Price. "Embouchure Muscle Activity in Student and Elite Trumpeters." Medical Problems of Performing Artists 35, no. 1 (2020): 42–53. http://dx.doi.org/10.21091/mppa.2020.1006.

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AIMS: Objective information on embouchure muscle use in brass players is currently limited. This pilot study records and analyses embouchure muscle activity in trumpet players to identify typical patterns and to reveal how these can differ between playing tasks. METHODS: Activity in four embouchure muscles was recorded using surface electromyography in 7 conservatoire trumpet students and 3 elite professional trumpeters. Each played a set of simple exercises, tongued and slurred, including single notes of different pitch, upward and downward transitions between notes a fifth apart, arpeggios,

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9

Slade, Teri, Gilles Comeau, and Donald Russell. "Measurable changes in piano performance of scales and arpeggios following a Body Mapping workshop." Journal of New Music Research 49, no. 4 (2020): 362–72. http://dx.doi.org/10.1080/09298215.2020.1784958.

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10

Besouw, Rachel M. Van, Jude S. Brereton, and David M. Howard. "Range of Tuning for Tones With and Without Vibrato." Music Perception 26, no. 2 (2008): 145–55. http://dx.doi.org/10.1525/mp.2008.26.2.145.

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PREVIOUS STUDIES ON VIBRATO PITCH HAVE attempted to determine the "principal pitch" of vibrato tones and not the range of tuning for such tones in a melodic context. This study investigates the range of acceptable tuning (RAT) for tones with and without vibrato, using repeating ascending and descending three-tone arpeggios. The second tone in each sequence was modulated or unmodulated with an initial pitch that was flat or sharp. With each repetition the pitch of the second tone increased or decreased by 3 cents depending upon the initial pitch condition. Participants indicated when they perce

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11

Yoshie, Michiko, Kazutoshi Kudo, and Tatsuyuki Ohtsuki. "Effects of Psychological Stress on State Anxiety, Electromyographic Activity, and Arpeggio Performance in Pianists." Medical Problems of Performing Artists 23, no. 3 (2008): 120–32. http://dx.doi.org/10.21091/mppa.2008.3024.

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The present study examined the effects of psychological stress, as manipulated by performance evaluation, on the cognitive, physiological, and behavioral components of music performance anxiety (MPA) and performance quality. Twelve skilled pianists (five women, seven men) aged 21.9 ± 3.3 yrs performed arpeggios on a digital piano at the metronome-paced fastest possible tempo under the evaluation and no-evaluation conditions. Measurements were made of self-reported state anxiety, heart rate (HR), sweat rate (SR), and electromyographic (EMG) activity from eight arm and shoulder muscles, and MIDI

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12

Jacobs, J. Pieter, and Daniel Bullock. "A Two-Process Model for Control of Legato Articulation across a Wide Range of Tempos during Piano Performance." Music Perception 16, no. 2 (1998): 169–99. http://dx.doi.org/10.2307/40285786.

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The key overlap times (KOTs) required for legato articulation vary markedly with tempo. For scales/ arpeggios performed at interonset intervals (IOIs) of 100-1000 ms, prior reports show an increasing but nonlinear functional dependence of KOT on IOI. Because the major nonlinearity appears in the long-IOI (slow-tempo) region, the dependence of KOT on IOI is not attributable to gross biomechanical factors, such as finger inertias. Herein, we show that the dependence can arise from a neural circuit in which a predictive central process and a slow sensory feedback process cooperate to control arti

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13

Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 1." Notes Muzyczny 1, no. 11 (2019): 29–42. http://dx.doi.org/10.5604/01.3001.0013.3520.

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The present article is connected in terms of its topic with the text entitled Harpsichord or piano? Different concepts in the 18th century keyboard music published by the author in “Notes Muzyczny” no. 1 (9) 2018, and it is the continuation of the discussion on the capacities and ways of performance of music from the Classical period, which is now understood as piano music, on the harpsichord. Subsequent parts will touch on peculiar performance topics connected with the role of the harpsichord in that period: the understanding and rendering of the dynamics, the performance of arpeggios, and th

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14

Cath Vidler. "Arpeggio poems." Antipodes 27, no. 1 (2013): 72. http://dx.doi.org/10.13110/antipodes.27.1.0072.

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15

Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.

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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool

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16

Dejanović, I., G. Milosavljević, and R. Vaderna. "Arpeggio: A flexible PEG parser for Python." Knowledge-Based Systems 95 (March 2016): 71–74. http://dx.doi.org/10.1016/j.knosys.2015.12.004.

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17

Solow, Jeffrey. "Cello Scale and Arpeggio Books: A Survey." American String Teacher 54, no. 4 (2004): 66–71. http://dx.doi.org/10.1177/000313130405400416.

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18

Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.

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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibili

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19

Whishaw, Ian Q., and Boguslaw Gorny. "Arpeggio and fractionated digit movements used in prehension by rats." Behavioural Brain Research 60, no. 1 (1994): 15–24. http://dx.doi.org/10.1016/0166-4328(94)90058-2.

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20

Eloul, Shaltiel, Gil Zissu, Yehiel H. Amo, and Nori Jacoby. "Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance." Leonardo 49, no. 3 (2016): 203–10. http://dx.doi.org/10.1162/leon_a_01072.

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The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

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21

Giovannoni, Gavin, Volker Knappertz, Joshua R. Steinerman, et al. "A randomized, placebo-controlled, phase 2 trial of laquinimod in primary progressive multiple sclerosis." Neurology 95, no. 8 (2020): e1027-e1040. http://dx.doi.org/10.1212/wnl.0000000000010284.

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ObjectiveTo evaluate efficacy, safety, and tolerability of laquinimod in patients with primary progressive multiple sclerosis (PPMS).MethodsIn the randomized, double-blind, placebo-controlled, phase 2 study, ARPEGGIO (A Randomized Placebo-controlled Trial Evaluating Laquinimod in PPMS, Gauging Gradations in MRI and Clinical Outcomes), eligible patients with PPMS were randomized 1:1:1 to receive once-daily oral laquinimod 0.6 mg or 1.5 mg or matching placebo. Percentage brain volume change (PBVC; primary endpoint) from baseline to week 48 was assessed by MRI. Secondary and exploratory endpoints

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22

Stanton, Kelly Patrick, Fabio Parisi, Francesco Strino, Neta Rabin, Patrik Asp, and Yuval Kluger. "Arpeggio: harmonic compression of ChIP-seq data reveals protein-chromatin interaction signatures." Nucleic Acids Research 41, no. 16 (2013): e161-e161. http://dx.doi.org/10.1093/nar/gkt627.

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23

Önder, Gülten Cüceoğlu. "Analysis of Carl Joachim Andersen Op.15 Flute Etudes Used in Flute Education." International Education Studies 14, no. 4 (2021): 57. http://dx.doi.org/10.5539/ies.v14n4p57.

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In this study, it was aimed to examine C. J. Andersen&rsquo;s op.15 etude book used in flute education in terms of measurement units, vocalization techniques, technical studies, nuance terms, speed terms, tonality. Thus it is aimed to reveal the gains that the etudes can provide for the student. Document analysis method was used in the study. The summary of results as follows. Etudes are mostly written in 4/4 unit of measure. It was found that mostly legato and staccato was used a great extent in the etudes. Interval was run the most in the etudes. Also etudes include technical studies suc

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24

Zabanal, John-Rine A. "Effects of Short-Term Practice With a Tonic Drone Accompaniment on Middle and High School Violin and Viola Intonation." String Research Journal 9, no. 1 (2019): 51–61. http://dx.doi.org/10.1177/1948499219851407.

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The purpose of this study was to investigate the effect of tonic drone accompaniment on the intonation of violinists and violists. Twenty-eight middle and high school students performed an ascending diatonic line and a descending dominant 7th arpeggio on the violin or viola in three trials: pretest, posttest accompanied with drone, and posttest unaccompanied. The students were grouped based on age and years of experience. A significant difference in cent deviation scores was found between age groups but not years of experience. Post hoc analysis revealed a significant difference between the mi

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25

Butterfield, Craig. "The “Block” Approach: A System for Logical Arpeggio Fingerings on the Double Bass." American String Teacher 63, no. 1 (2013): 34–37. http://dx.doi.org/10.1177/000313131306300107.

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26

Butterfield, Craig. "The Block Approach: A System for Logical Arpeggio Fingerings on the Double Bass." American String Teacher 63, no. 4 (2013): 42–44. http://dx.doi.org/10.1177/000313131306300409.

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27

Jubb, Harry C., Alicia P. Higueruelo, Bernardo Ochoa-Montaño, Will R. Pitt, David B. Ascher, and Tom L. Blundell. "Arpeggio: A Web Server for Calculating and Visualising Interatomic Interactions in Protein Structures." Journal of Molecular Biology 429, no. 3 (2017): 365–71. http://dx.doi.org/10.1016/j.jmb.2016.12.004.

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28

Mantel, Georg. "Zur Ausführung der Arpeggien in J. S. Bachs "Chromatischer Phantasie"." Bach-Jahrbuch 26 (May 9, 2018): 142–52. http://dx.doi.org/10.13141/bjb.v19292490.

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29

Wristen, Brenda G. "Avoiding Piano-related Injury: A Proposed Theoretical Procedure for Biomechanical Analysis of Piano Technique." Medical Problems of Performing Artists 15, no. 2 (2000): 55–64. http://dx.doi.org/10.21091/mppa.2000.2012.

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Several biomechanical studies have been done with regard to the fingertip, hand, wrist, and upper arm in pianists. However, these studies have generally focused either on one isolated part of the anatomy, or on one specific motion. It is notable that none of the studies conducted to date examines the execution of a technical skill at the piano, such as a scale or arpeggio, in terms of the cooperative work done by all involved parts of the anatomy. Drawing upon established quantitative data, this study took a qualitative approach in describing and analyzing the execution of selected piano techn

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30

Carrière, Paul. "Das harmonische Gefüge und Arpeggio des C dur-Präludiums im I. Teil des Wohltemperierten Klaviers." Bach-Jahrbuch 22 (February 27, 2018): 64–92. http://dx.doi.org/10.13141/bjb.v19251451.

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31

Hollander, P. A., A. Amod, L. E. Litwak, and U. Chaudhari. "Effect of Rimonabant on Glycemic Control in Insulin-Treated Type 2 Diabetes: The ARPEGGIO Trial." Diabetes Care 33, no. 3 (2009): 605–7. http://dx.doi.org/10.2337/dc09-0455.

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32

Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.

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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some devel

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33

Morris, Renée, Andrew P. Tosolini, Joshua D. Goldstein, and Ian Q. Whishaw. "Impaired Arpeggio Movement in Skilled Reaching by Rubrospinal Tract Lesions in the Rat: A Behavioral/Anatomical Fractionation." Journal of Neurotrauma 28, no. 12 (2011): 2439–51. http://dx.doi.org/10.1089/neu.2010.1708.

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34

Mogensen, R., N. Deletaille, and A. Roudier. "The arpeggione and fortepiano of the 1820s in the context of current computer music." Early Music 42, no. 4 (2014): 545–54. http://dx.doi.org/10.1093/em/cau097.

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35

Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.

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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (198

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36

Sitompul, Amiruddin. "Metamorfosis Kupu-kupu: Sebuah Komposisi Musik." PROMUSIKA 5, no. 1 (2017): 17–24. http://dx.doi.org/10.24821/promusika.v5i1.2283.

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Gagasan menciptakan karya seni terkadang berasal dari lingkungan sekitar, di antaranya yang banyak digunakan sebagai ide ialah kupu-kupu yang perkembangbiakannya melalui proses metamorfosis. Metamorfosis Kupu-kupu dipilih sebagai gagasan komposisi musik karena memiliki metamorfosis sempurna, atau holometabolisme. Penerapan gagasan Metamorfosis Kupu-kupu dalam komposisi ini menggunakan unsur ekstra-musikal sebagai gagasan dasar penciptaannya. Elemen ekstra musikal tersebut ditransformasikan ke dalam ide musikal dengan menggunakan unsur musikal di wilayah musik tonal. Karya ini dibuat oleh sumbe

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37

Sugawa-Shimada, Akiko. "Playing with Militarism in/with Arpeggio and Kantai Collection: Effects of shōjo Images in War-related Contents Tourism in Japan." Journal of War & Culture Studies 12, no. 1 (2018): 53–66. http://dx.doi.org/10.1080/17526272.2018.1427014.

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38

Ohsawa, Chie, Ken-ichi Sawai, and Minoru Tsuzaki. "The role of real-time acquisition of visual and auditory information in the performance of scale and arpeggio tasks in pianists." Journal of the Acoustical Society of America 140, no. 4 (2016): 3318. http://dx.doi.org/10.1121/1.4970568.

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39

Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violin

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40

Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.

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Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Cathol

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41

Dobrowohl, Felix A., Andrew J. Milne, and Roger T. Dean. "Timbre Preferences in the Context of Mixing Music." Applied Sciences 9, no. 8 (2019): 1695. http://dx.doi.org/10.3390/app9081695.

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Mixing music is a highly complex task. This is exacerbated by the fact that timbre perception is still poorly understood. As a result, few studies have been able to pinpoint listeners’ preferences in terms of timbre. In order to investigate timbre preference in a music production context, we let participants mix multiple individual parts of musical pieces (bassline, harmony, and arpeggio parts, all sounded with a synthesizer) by adjusting four specific timbral attributes of the synthesizer (lowpass, sawtooth/square wave oscillation blend, distortion, and inharmonicity). After participants mixe

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42

Parkhomenko, Dar’ia. "“Musical gastronomy” in Rossini’s piano miniatures (on the example of the cycle “Quatre horsd’oeuvres et quatre mendiants”)." Aspects of Historical Musicology 19, no. 19 (2020): 169–88. http://dx.doi.org/10.34064/khnum2-19.10.

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Formulation of the problem. If the operatic creativity of G. Rossini constantly attracts researchers, then the chamber instrumental music of the composer is lighted only in some works of Western European musicologists, in particular, in the dissertation of Sh. Miller (1990), in which the author analyzes Rossini’s late piano pieces, noting the master’s penchant for frequent repetitions of musical elements. Ch. Park (1997), in turn, examines the chamber-instrumental works of G. Rossini in stylistic and compositional aspects, as a result concluding about his bright innovativeness in this area. B.

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43

Salman, Fikra Zaky Aryamani. "Analisis Teknik Permainan Gitar Pada Komposisi Gitar Sunburst Karya Andrew York." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 2, no. 2 (2020): 99. http://dx.doi.org/10.26740/vt.v2n2.p99-105.

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Salah satu komponis pada abad ke 19 adalah Andrew York, lahir pada tahun 1958 di Atlanta dan dibesarkan di Virginia dan kecintaan terhadap musik ditanamkan pada usia dini. Dari sekian banyak komposisi yang dibuat Andrew York, sunburst adalah salah satu komposisi yang sangat populer dikalangan masyarakat. Sunburst sendiri ditulis pada tahun 1986 dan dipublikasikan pada tahun 1998. Penelitian ini bertujuan untuk; 1) Mendeskripsikan teknik permainan gitar dalam komposisi sunburst karya Andrew York; 2) Mendeskripsikan faktor-faktor pendukung teknik-teknik gitar klasik dalam memainkan komposisi sun

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44

Supiarza, Hery, Deni Setiawan, and Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta." Resital: Jurnal Seni Pertunjukan 20, no. 2 (2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.

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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik ras

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45

Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.

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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musica

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Bielova, Yе D. "Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 104–23. http://dx.doi.org/10.34064/khnum1-53.07.

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Theoretical background. According to the concept of M. Bakhtin (1986, others), every from outstanding works enters to the “large time”, where it enriches with new meanings, senses, fully revealing the subtext embedded in it. A similar dialogue occurs directly in the process of composer’s interpretation of a literary text taken as the primary basis for a musical piece. Especially this is true for the archaic literary source, since the perception of it in the distant epoch don’t coincide with the way it is perceived by contemporaries of the composer. This phenomenon is due to a new cultural and

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Milosavljevic, Stefan, Tony Kuo, Samuele Decarli, et al. "ARPEGGIO: Automated Reproducible Polyploid EpiGenetic GuIdance workflOw." BMC Genomics 22, no. 1 (2021). http://dx.doi.org/10.1186/s12864-021-07845-2.

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Abstract Background Whole genome duplication (WGD) events are common in the evolutionary history of many living organisms. For decades, researchers have been trying to understand the genetic and epigenetic impact of WGD and its underlying molecular mechanisms. Particular attention was given to allopolyploid study systems, species resulting from an hybridization event accompanied by WGD. Investigating the mechanisms behind the survival of a newly formed allopolyploid highlighted the key role of DNA methylation. With the improvement of high-throughput methods, such as whole genome bisulfite sequ

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Walser, Peter, Steen Savery Trojaborg, Thomas Darholm, Magnus Kollén, and Rico Stockmann. "Arpeggio – die Hauptbrücke der neuen Hisingsbron in Göteborg." Stahlbau, September 12, 2021. http://dx.doi.org/10.1002/stab.202100058.

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